Literary adaptations are always a testy business, with filmmakers consistently trying to appease fans of the original work while still making sufficient changes to make the material work as a film. With this in mind, as well as the inevitable uproar from various religious sects, The Golden Compass, adapted from the first book in Philip Pullman's 'His Dark Materials' trilogy was hardly an easy sell, and by no means a sure bid for box office success. Despite all of the negative factors against it, the film, while not the timeless fantasy epic it would like to be, proves a decent adaptation of Pullman's work and a sufficiently entertaining piece of escapism to boot.
Despite initial skepticism, director Chris Weitz of American Pie infamy demonstrates sufficient care and interest in his subject matter to bring the novel to life in a suitably quality fashion. Despite the occasional moment of flashy cinematography or special effects giving the impression of a child experimenting with his film-making toys, Weitz demonstrates a firm and steady grip on his film, keeping the tone light for a younger audience while retaining the occasional darker moment from the book to keep fans satisfied. Weitz's screenplay, while nowhere near as disappointing as it could have been, falls prey to the typical film fantasy pitfall of consistently struggling to force-feed as much information to the audience as possible as quickly and in as simplistic a fashion as possible, leading to a somewhat rushed narrative and an irritating lack of character development or exposition. Fans of the source material will likely grumble due to the occasional creative change, some more noticeable than others, while those unfamiliar with Pullman's books may be lost in a flurry of confusion, bombarded with a constant array of new names, faces and theoretical concepts. However, despite a disappointingly simplistic tone, the sheer enjoyment factor of the novel is not lost, and such is the film's primary strength: entertainment, if at the cost of profundity.
The special effects are for the most part top notch - the shapeshifting daemon effects are impressively integrated, the armoured bear fight is without question the pure, unfiltered exhilarating spectacle of the year, and the final mass battle sequence is similarly thrilling. The film's sets, costumes and props are spellbinding, easily giving the viewer the sense of being immersed in an imaginative alternate world with all of the visual splendour befitting such a fantasy epic. However, the film's musical score is a painful rehash of far too many clichéd epic film scores of late - far too overdone to be in the least emotionally affecting.
The stellar cast prove to be the film's high point, each inhabiting their roles with a comfort suggesting they had been born to play their respective parts. Newcomer Dakota Blue Richards is a revelation, surpassing the wooden efforts of most other child actors and carrying her lead role with ease, holding her own alongside her incredibly accomplished adult co-stars. Nicole Kidman is sheer perfection as the malevolent yet hypnotic Mrs. Coulter, effortlessly walking away with the show - every moment on screen, every glance, every movement is entirely in character, so fully does Kidman make the role her own. Daniel Craig proves a very fitting choice as scientific explorer Lord Asriel, making good use of his far too fleeting screen time, though one can't help but wish his character had a slight bit more of an edge to him.
Sam Elliot gives his strongest performance in years, instilling sardonic aeronaut Lee Scoresby with an offbeat charisma and sly humour wonderfully fitting the role and Eva Green is an ethereal and captivating presence as mysterious witch Serafina Pekkala. The somberous tones of Ian McKellan prove ideal in breathing life and soul into armoured bear Iorek Byrnison, and young Freddie Highmore is well cast as the voice of Lyra's daemon, Pantalaimon. Derek Jacobi and Simon McBurney give strong, if one dimensional performances as heads of the ominous Magesterium organization, as does Christopher Lee, whose 'blink-and-you-miss- him' role appears to be nothing less than a blatant cash in on The Lord of the Rings, but who delivers his one line well at any rate.
While fans of the novels may lament the watering down of the philosophical undertones of Pullman's novel, and the film being directed towards a younger audience, on the whole, despite the inescapable criticisms, as a sprawling piece of fantasy escapism, immersing the viewer in a world of armoured bears, daemons and witches, the film is a rousing success. It's just a shame to see such a strong premise fraught with such an overbearing air of caution and safety to please the lower common denominator, and one can't help but wish the producers had been slightly more daring, and captured a trace more of Pullman's nervy grit and spark to make the film a slightly less generic Hollywood blockbuster, and more satisfying overall. The film certainly isn't the 'next Lord of the Rings' which New Line certainly seems to intend for it to become, but an enjoyable and sufficiently impressive effort to warrant the next installment in the series, The Subtle Knife being made.
-7.5/10
Despite initial skepticism, director Chris Weitz of American Pie infamy demonstrates sufficient care and interest in his subject matter to bring the novel to life in a suitably quality fashion. Despite the occasional moment of flashy cinematography or special effects giving the impression of a child experimenting with his film-making toys, Weitz demonstrates a firm and steady grip on his film, keeping the tone light for a younger audience while retaining the occasional darker moment from the book to keep fans satisfied. Weitz's screenplay, while nowhere near as disappointing as it could have been, falls prey to the typical film fantasy pitfall of consistently struggling to force-feed as much information to the audience as possible as quickly and in as simplistic a fashion as possible, leading to a somewhat rushed narrative and an irritating lack of character development or exposition. Fans of the source material will likely grumble due to the occasional creative change, some more noticeable than others, while those unfamiliar with Pullman's books may be lost in a flurry of confusion, bombarded with a constant array of new names, faces and theoretical concepts. However, despite a disappointingly simplistic tone, the sheer enjoyment factor of the novel is not lost, and such is the film's primary strength: entertainment, if at the cost of profundity.
The special effects are for the most part top notch - the shapeshifting daemon effects are impressively integrated, the armoured bear fight is without question the pure, unfiltered exhilarating spectacle of the year, and the final mass battle sequence is similarly thrilling. The film's sets, costumes and props are spellbinding, easily giving the viewer the sense of being immersed in an imaginative alternate world with all of the visual splendour befitting such a fantasy epic. However, the film's musical score is a painful rehash of far too many clichéd epic film scores of late - far too overdone to be in the least emotionally affecting.
The stellar cast prove to be the film's high point, each inhabiting their roles with a comfort suggesting they had been born to play their respective parts. Newcomer Dakota Blue Richards is a revelation, surpassing the wooden efforts of most other child actors and carrying her lead role with ease, holding her own alongside her incredibly accomplished adult co-stars. Nicole Kidman is sheer perfection as the malevolent yet hypnotic Mrs. Coulter, effortlessly walking away with the show - every moment on screen, every glance, every movement is entirely in character, so fully does Kidman make the role her own. Daniel Craig proves a very fitting choice as scientific explorer Lord Asriel, making good use of his far too fleeting screen time, though one can't help but wish his character had a slight bit more of an edge to him.
Sam Elliot gives his strongest performance in years, instilling sardonic aeronaut Lee Scoresby with an offbeat charisma and sly humour wonderfully fitting the role and Eva Green is an ethereal and captivating presence as mysterious witch Serafina Pekkala. The somberous tones of Ian McKellan prove ideal in breathing life and soul into armoured bear Iorek Byrnison, and young Freddie Highmore is well cast as the voice of Lyra's daemon, Pantalaimon. Derek Jacobi and Simon McBurney give strong, if one dimensional performances as heads of the ominous Magesterium organization, as does Christopher Lee, whose 'blink-and-you-miss- him' role appears to be nothing less than a blatant cash in on The Lord of the Rings, but who delivers his one line well at any rate.
While fans of the novels may lament the watering down of the philosophical undertones of Pullman's novel, and the film being directed towards a younger audience, on the whole, despite the inescapable criticisms, as a sprawling piece of fantasy escapism, immersing the viewer in a world of armoured bears, daemons and witches, the film is a rousing success. It's just a shame to see such a strong premise fraught with such an overbearing air of caution and safety to please the lower common denominator, and one can't help but wish the producers had been slightly more daring, and captured a trace more of Pullman's nervy grit and spark to make the film a slightly less generic Hollywood blockbuster, and more satisfying overall. The film certainly isn't the 'next Lord of the Rings' which New Line certainly seems to intend for it to become, but an enjoyable and sufficiently impressive effort to warrant the next installment in the series, The Subtle Knife being made.
-7.5/10