Alice in Wonderland:

Gothic touch to the classic tale

Ruwini JAYAWARDANA

Tim Burton had put a new twist in Lewis Carroll's classic children's tale of 'Alice in Wonderland', in this Disney 3D magical makeover.

Interestingly Burton makes us realize that his 'Alice' is not the 'Alice' that is on Carroll's story but a much older version who returns to Underland. This is evident by the debate carried out by the Underland inhabitants on whether Alice is the real Alice. Scenes reveling flashbacks and stream of consciousness on Alice's part to portray that Alice had visited the place as a child though she is unable to recall any solid memory of the incident.

Dodging a garden-party marriage proposal from the dorky son of a lord and lady, Burton's Alice chases a white rabbit clutching a pocket watch and tumbles down his rabbit hole. She soon finds herself in the magical Underland where engages in all sorts of mishap.

Alice with the Red Queen, White Rabbit, Mad Hatter, March Hare Cheshire Cat and the White Queen at the tea party

Later on, after a series of confusions, the core of the tale is reveled. Alice must find the Vorpel sword, a sacred Arthurian device, and choose sides between the graceful White Queen and the ugly, oppressive Red Queen. Her ultimate enemy is the latter's fearsome Jabberwock, and the film's inevitable climax is Alice's journey to confront the dangerous dragon.

Unlike its original, Burton's version has a gothic element. Not only is the background movements noisy and busy, but it also has a certain eerie essence. The 3D effects are at times eye-popping and at other times puzzling because it goes overboard in its comic-grotesque visuals. One such instance is when you see the Red Queen's arm extended to greet her wafer-thin lover's kiss.

The Red Queen's castled is well etched by the director so that a canopy of vibrant shades and noticeable shapes roam in the sets. Both animals and human beings are her slaves and to displease her is one's path to death. Another interesting sequence is the battle between the Red and White Queen's armies.

Yet another difference between the story and movie is the character of the Mad Hatter. While Carroll's version has a caricature role which merely evokes laughter, Burton's production makes the individual an unsung hero whose potentials shine with Alice's intervention. Johnny Depp had fitted snugly into the Hatter's role. Yet he, even in the height of his lunacy, seems to engage in sloppy acting. His overdone make up hides his emotions and does not help to generate the intended sympathy, admiration or joy intended of his character.

Anne Hathaway does her best to fit into the role of the White Queen but lacks the majestic aura. Australian newcomer Mia Wasikowska makes a very dull Alice Kingsleigh and seems to have not put much effort into her performance.

The White Rabbit, one of the crucial characters of the tale, is hardly visible. Only Helena Bonham Carter's hilarious and frightening Red Queen is the attractive feature of 'Alice in Wonderland'.

Other than the main cast, the smaller characters fare better in keeping the audience engaged. Alan Rickman and Stephen Fry are entertaining as the Blue Caterpillar and the Cheshire Cat. Likewise Matt Lucas manages to make us smile in his Tweedle-Dum and Tweedle-Dee twin avatars.

There are some funny exchanges, particularly between the Red Queen and the Mad Hatter but these are overshadowed by the bland atmosphere which runs throughout the movie. Burton may have excelled in 3D and rich visuals, but he had failed to hit the right button in captivating the magical emotions which surrounds the well-loved fairytale.