Dakota Blue Richards and Lorek Byrnison the Ice Bear (voiced by Ian McKellen) in THE GOLDEN COMPASS (2007).
© New Line Cinema
Mania Grade: B+
Reviewed Format: Theatrical Release
Rated: PG-13
Stars: Dakota Blue Richards, Nicole Kidman, Daniel Craig, Sam Elliott, Ben Walker
Writer: Chris Weitz, based on the novel "Northern Lights" (also known as "The Golden Compass") by Philip Pullman
Director: Chris Weitz
Distributor: New Line Cinema
Reviewed Format: Theatrical Release
Rated: PG-13
Stars: Dakota Blue Richards, Nicole Kidman, Daniel Craig, Sam Elliott, Ben Walker
Writer: Chris Weitz, based on the novel "Northern Lights" (also known as "The Golden Compass") by Philip Pullman
Director: Chris Weitz
Distributor: New Line Cinema
THE GOLDEN COMPASS
By: Abbie BernsteinReview Date: Friday, December 07, 2007
The religious right has been making noise about Philip Pullman’s fantasy trilogy His Dark Materials and, unlike complaints about the Harry Potter series, one can understand what the fuss was about with the books: the Church (albeit in another dimension) is a fascist authority aiming to do terrible things to young children. To tone down the clamor, the film version of the first installment, The Golden Compass, calls the governing body the Magisterium, but otherwise remains fairly faithful to Pullman’s imaginative and complex yarn.
For the sake of clarity and sanity, director/adaptor Chris Weitz has frontloaded exposition in the film, so that we understand there are thousands of worlds out there, including ours. However, Compass takes place not in our world, but in a parallel one, where London exists in what seems to be a late 19th-century form. Norway exists, but nearby is Svalbard, the kingdom of armored (and talking) bears. All humans have external souls in the form of animals, called daemons. Of course, there is magic as well. Twelve-year-old Lyra Belloqua (Dakota Blue Richards), an orphan being raised at the prestigious Jordan College (her daemon is called Pantalaimon, voiced by Freddie Highmore) at the behest of her powerful Uncle Azriel (Daniel Craig), fits rather better with the street urchins outside the university gates than she does in high society; her best friend is young kitchen boy Roger (Ben Walker). When Lyra and Roger try to get to the bottom of the disappearance of mostly working-class children from the streets of London, Roger is himself abducted. Lyra is given possession of a truth-telling device, the golden compass, which only she can read. She is put into the care of Mrs. Coulter (Nicole Kidman), a bewitching but very complicated society woman who is about to make an excursion to the North. Lyra makes some alarming discoveries about Mrs. Coulter and instead heads North with a band of seafaring Gyptians, led by Lord Faa (Jim Carter), who aim to rescue the abducted children of their clan. Lyra’s adventures bring her in contact with aeronaut Lee Scoresby (Sam Elliott), who in turn suggests she hire the services of disgraced ice bear Iorek Byrnison (voiced by Ian McKellen) in her quest to find the missing children.
What makes The Golden Compass work so well on screen is partly that Weitz has done a commendable job of making it possible to follow a dense and populous narrative, partly because the design team is wondrously imaginative, and partly because the source material has been respected. By physicalizing and personalizing the concept of soul-as-daemon, Pullman has created a way of speaking to children about some provocative topics, including the notion of adults trying to censor what children think and feel for their own good.
Richards is a strong young heroine, not overly aggressive but nobody’s pushover, radiating intelligence and curiosity. Kidman makes us think and think again about her seductive, contradictory Mrs. Coulter and Elliott puts a lot of laconic charm into the folksy, capable Scoresby. Eva Green is suitably ethereal as a witch who enlists in Lyra’s cause and McKellen and Ian McShane put a lot of booming ursine power into the voices of the story’s two principal bears.
The biggest problem is that the CGI isn’t consistent. It’s a plot point that the daemons of children are shapeshifters, but the daemons of adults (mostly CGI rather than real animals) seem to sometimes likewise alter in width and breadth from shot to shot, as do the ice bears. Also, even though we’re shown that some people (nasty ones, so far as we can tell) have insect daemons, there are scenes of crowds with insufficient animal/bird life on a world where each person is accompanied by some sort of creature.
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