According to filmmaker David Cronenberg, in order to remain faithful to a novel, you have to betray it. This belief, which was made in reference to his own film adaptations, is prevalent in Tim Burton's blockbuster version of "Alice in Wonderland." The film pays homage to the works of original author Lewis Carroll, but is not a direct cinematic version of the book.
One of the first major alterations to the source material is the circumstances surrounding Alice's entrance into Wonderland, which in the film, is referred to as "Underland." In the novel, Alice chases a vest coat-wearing bunny down a magical rabbithole to escape boredom; in the film, she chases the rabbit, trying to escape her arranged marriage. This alteration is one of the new trademarks by director Tim Burton, who previously examined arranged marriages in Victorian London in "The Corpse Bride." It can even be considered a sister-piece for the film, since they share the same plot, cast and ending.
The alterations also include the state of Underland: when Alice had previously visited it and left with amnesia, the Red Queen took over and started enslaving the inhabitants, not unlike the villainess of "The Lion, the Witch, and the Wardrobe." So, it is up to Alice to fulfill the prophecy: to acquire the Vorpal Sword and to ensnare the Jabberwocky, the Queen's attack-dragon. That is pretty much the extent of the story. However, the film does offer some intellectual food: it examines the debate over free will and predestination, but does not offer a conclusion.
Narrative decisions aside, the film is distinct from all of the preceding adaptations because of the world Burton creates for the viewer. The Wonderland here is a lush, animated place like Pandora, but with speckles of Mordor thrown into the midst. In the hands of other directors, the contrast would have been paradise versus hell, in terms of the landscape. But, with Burton, he makes everything frightening and comforting, capturing the duality of the text. The contrast is not limited to the visuals, either. The film shows the whimsical characters and their circumstances - whether it be the dark undertones of implied decapitation, the absurdity of Alice changing height or her character ending up naked almost every fifteen minutes.
Populating these dark and wonderful places are the Burton Regulars. Much like John Carpenter and Rob Zombie, Burton has his own set of players who he continually recycles and are cast in unsurprising roles in the film for the most part. Johnny Depp portrays the eccentric Mad Hatter, who spends his time indulging in slapstick
humor that would make the Stooges proud or reciting riddles he doesn't know the answer to. Helena Bonham Carter, Burton's domestic partner, takes on the role
of the Red Queen, offering snickers and terror. But, Alan Rickman ended up with a shocking role; instead of voicing the Jabberwocky, which was voiced by Christopher Lee, he takes on the character of the Blue Caterpillar, an opium-using creature offering veiled prophecies.
Adding soul to the lifeblood of the film is none other than Burton's cinematic-lifetime collaborator, Danny Elfman. Elfman offers a score that is not as epic and loud as his previous contribution in "The Wolfman" (which was arguably an influence of his hero, Bernard Hermann.) The soundtrack is subtle and adds extra hues to the content on screen, though it can be rousing at times (the final confrontation on a large chessboard) or mournful (when the Hatter recounts his tale). The score itself is not required to carry the film, unlike "The Wolfman," but works along with it, providing a diverse and organic arrangement.
So now, a question arises: how does one evaluate this film? Well, that's very akin to asking, like the Mad Hatter, how is a raven like a writing desk? On one hand, the film captures the spirit of Lewis' works and ends up more truthful than previous adaptations. Those who want a page-for-page retelling should view the previous incarnations, but should avoid the 1976, x-rated musical. On the other hand, it is not one of Burton's best. He has departed from his style -- which is a hybrid of German Expressionism, Gothic Art and Edward Burra -- and ended up painting a Burraesque feature. However, he will be returning to his original style: he will be directing a stop motion animation adaptation of "The Addams Family," which, like Alice, will undoubtedly be the penultimate adaptation.
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