Dr Jacques COULARDEAU This collection gives us the complete set of the BCC adaptations of the Narnia novels by C.S. Lewis in three miniseries of six episodes each, plus some extras. The first is "The Lion, the Witch and the Wardrobe" (1988) about the city Wardrobe in the country Spare Room. The second (1989) brings together "Prince Caspian" (two episodes) and "The Voyage of the Dawn Treader" (four episodes). The third concerns "The Silver Chair" (1990).The first adaptation sets the tone and the main characters. The tone is that of the novel and it is done for children. It sounds slightly naïve at times because the storyteller is no longer constantly present and is not C.S. Lewis at all when there is a voice over. The regular "we" or "this world" or even the "lions of Trafalgar Square", meaning the real world, addressing the children's audience from an external adult point of view, reminding us of the fact that this is all a story, disappear and I think it is a loss.The second adaptation makes two full novels into one story with a shift from the first one to the second that is at least abrupt and the packing up of the two in six episodes makes psychological details and descriptive details scanty. The story becomes a story line more than a fully developed story. The dragon though is a good nice creation, and that was necessary since it was an essential element and it had to fly properly, which is not the case with other flying animals, particularly Aslan. They are mostly simple and stiff. It keeps the story of the Dawn Treader the way it is in the novel and the end is the real end including the final pilgrimage of the mouse Reepicheep and the return of the children. It is a lot more respectful of the spirit of the story than the ending of the recent long feature that can be seen in cinemas.The last adaptation gives details and the witch is a marvel though her becoming a serpent and being killed is less impressive since no green blood is shed and only Prince Rilian takes part in that execution. Eustace and Puddleglum taking part is nice but in the novel. The escape from the underground city does not try to explain the even deeper world of fire and incandescence into which all the gnomic slaves of the witch jump back happily. I miss the big celebration outside the hole from which they extract themselves, with fauns, dryads, satyrs and dwarfs all dancing together. But well at least they keep the details of King Caspian X's death and his resurrection in Aslan's country though they soften the harsh commentary of C.S. Lewis on the English school system and the incompetence of school principals and inspectors, or MPs.But these adaptations are interesting nevertheless. They insist on the fact these stories are not heroic fantasy but only children's literature. That is important because then the values that are presented in the films are pedagogical and not only entertaining. It is also important because it avoids, like the books, any subject that is not childlike or child-friendly. No love is wasted on anyone and even friendship is rather kept lily pure. No kissing, please, we're British.Ut also defends the basic humanistic values of the books in fair contrast with the the world at the time or the literature of Lewis's time. A fair and clear condemnation of slavery and the exploitation of animals. But since the novel "The Boy and His Horse" is not there the rejection of political totalitarianism is absent. The allusion to the usurping uncle in Prince Caspian is by far not enough. Lewis's books are deeply committed to a democratic system. The films are far from being as clear as that. Calormenes are absent for example.The films are also a lot less clear than the books that only people having some human blood can rule Narnia, including the White Witch of the first film who is a descendant of Adam, mixed with other bloods, including jinn blood from the sexual partner Adam had to procreate that line of descent. The absence of "The Boy and His Horse" also deprives us of the description of the four initial human kings and queens of Narnia, including Queen Suzan who is definitely not served very fairly.But for me the main absence is in fact "The Last Battle" because it reveals two essential things in these seven novels: the idea that all worlds have a beginning and an end, including Narnia, that this end can only come from both inner strife, invasion and political manipulation of the masses that are shown as basically easy to manipulate into divisions or obeying absurd commands. The masses make history but only when some individuals and foreign forces join their efforts to conquer the minds and imagination of these masses.This last novel was Lewis's testament and he showed in it that he did not really believe in democracy, i.e. the power of the people, for the people and by the people, because he did not trust any politicians but preferred an aristocratic monarchy in which kings and queens are of a different sort from the people and the masses. The main difference between Calormenes and Narnians is that The Calormene "master" (who is a Calormene by genetic birth) governs Calormenes as slaves, with a very narrow aristocracy, and the Narnian "king (genetically different from all Narnians by at least some human genes) grants them freedom and diversity.To avoid in anyway the bleak atmosphere of "The Lord of the Rings" or "The Time Machine" they produced a brave new world that lacked most of its pith and marrow. The series are interesting but only as entertainment for children and they lose the pedagogical dimension the books constantly keep.Dr Jacques COULARDEAU

de_niro_2001 C S Lewis died the day before the first ever episode of Dr Who was broadcast and like Dr Who this version of The Lion, the Witch and the Wardrobe has excellent production values but low budget special effects. I think the animatronic of Aslan must have absorbed quite a lot of the special effects budget. The two-dimensional animations of the various creatures contrasting with the three-dimensional Aslan mar the impact of an otherwise good production as do the rather humanoid beavers and wolves. But Barbara Kellerman is every bit as good as Tilda Swinton and the four child actors playing the Pevensie children are excellent. Thanks to the films of more recent years and a DVD promotion by the Daily Mail this BBC version of the second Narnia book will have gained a new following. It might lack the special effects and spectacular New Zealand locations of the 2005 film but I still recommend it highly.

kate It is hard to express just how magical this series seemed when it first aired. It held the nation enthralled.The animation and special effects that some reviewers have condemned as hokey really seemed utterly amazing to a me as a seven year old child. Part of that is obviously my naivety, although I was the target audience so it was fair for the BBC to assume that of the viewers. However special effects at the time were far less advanced and less common than now. The skeletons in Jason and the Argonauts don't rate by today's standards but were pretty amazing at the time and this should be viewed in a similar light.I actually think this is more effective in capturing the spirit of Narnia as a fantasy land if you are prepared to enter into that spirit of fantasy than the more recent big budget film that attempts to leverage in a photo-realism that, I think, didn't quite come off.I should also mention that the acting is really lovely across the board and the witch terrified a generation!This was sort of the Doctor Who of its time: The whole family sat down together to watch it at teatime; We were wowed by the TV budget special effects; The BBC props department had one of its finest hours; and all the kids hid behind the sofa terrified of the witch!

CalvinValjean The BBC adapted four of the Narnia books over the course of three epic-length miniseries. Each one got better than the previous installment. Here's the first in my three-part review of each: THE LION, THE WITCH, AND THE WARDROBE Definitely the weakest, despite easily being the one most regularly seen, due to the popularity of the book. Sadly, the superior Walden Media version has now made this one completely obsolete, except maybe for some nostalgia value.Okay, there're some good things: the musical score is very gentle and pretty, Ronald Pickup has a great presence as the voice of Aslan, and the series is very faithful to the book, bringing just about every single scene and line of dialogue to the screen. Each of these positive attributes carried over into the later BBC entries.The production value being what it is, you eventually forgive them the quality of the visual effects (most notably the fake-looking Aslan, the Beavers whose suits don't look anything like beavers, and the cartoon characters that populate Narnia with the rest of the gang).The series makes up for this with acting, and Edmund and Mr. Tumnus in particular are very good. In fact, I know a large number feel the original Edmund is superior to Skandar Keynes. But there're two clunkers. First is the White Witch; Barbara Kellerman does not how to do anything but overact, and every single line is screamed. "We shall sneak up suddenly and BUST UPON THEM!" Or how about: "Come to me, all EVIL!!!!" The campiness of that line's delivery should go down in history with "No wire hangers, ever!" from Mommie, Dearest.And then there's Lucy. Almost everyone I meet who brings up this version always says: "Remember the fat girl that played Lucy?" I think the problem with the actress isn't just that she's chubby and buck-toothed; she just has a bossy attitude that comes through in the character people don't like. And she's WAY too old for the role. Lucy's supposed to be like 8 or 9, and she looked 12.Finally, the entire series is extremely slow-paced. I realize most BBC productions tend to be this way so that they can be extremely faithful to the source material, but I think 3 hours is just a lot for a relatively short book. Many scenes drag.WEAKEST MOMENT: Each of the BBC entries has one scene that is laughably bad. In the case of LWW, it is when Giant Rumblebuffin is fighting against cartoon goblins, and simply shakes his hands in the air like some kind of fake karate chop. Oy vey! So I don't think there's much question that LWW is the weakest of the BBC series. Fortunately, they would improve, but as far as the story of LWW goes, I doubt I will ever watch this version again, as the new one has surpassed it in every single regard, except perhaps for Edmund.Feel free to contact me for further discussion on Narnia, and check out my reviews on the two other entries.