Film Critique

November 13, 2025

 "The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe" (2005) presents a story about opposing forces that we've all heard before. What makes this movie stand out is how it uses visuals to talk about childhood, Christianity, faith, and war. This review is about the 2005 movie, rather than the first book by C.S. Lewis. The movie starts in London, England during World War II and then slowly moves into the world of Narnia via the iconic wardrobe scene. The movie doesn't dive immediately into big battles and special effects. Instead, it lets us explore this unfamiliar land with Lucy. The movie stays true to her perspective in important scenes, which preserves the story centered in a child's experience while it develops toward a major confrontation.

The initial time you go through the wardrobe, it transforms a normal spare room into a doorway between worlds. While Lucy walks through the fur coats, the camera stays close to her. The clank of snow crashing replaces the sound of her footsteps on the hardwood floor. The dark, dirty browns change to bright, icy whites and blues, which makes it easier to tell the difference between Narnia and home. The director grasps on as Lucy takes reluctantly steps towards the woods, maintaining Lucy's petite frame centered between the huge trees. This composition underscores how vulnerable she is, but it also gives her quiet power: the world opens around her instead of just towering over her.

The initial encounter with Mr. Tumnus indicates how the movie presents danger and appears less scary while also hinting at more complex issues of deception and fear in an authoritarian system. Initially, the camera portrays Mr. Tumnus in a welcoming, amusing manner, with soft lighting from the lamplight, and alongside close-ups of his uneasy smile. The warm flames, rhythmic sounds, and tea inside his underground residence make it seem cozy yet the narration and pictures have already told viewers that the White Witch rules Narnia. When he breaks down and admits he planned to hand Lucy over, the angle shifts to show him more in shadow. That simple change in lighting and composition marks his moral struggle more clearly than the dialogue does. It also suggests how ordinary people can be pressured into serving a violent regime, then pull back when they are forced to see the human cost.

The Stone Table execution is the movie’s darkest sequence and the clearest example of religious symbolism turned into blockbuster imagery.The sound structure creates anticipation prior to the dagger shows up, with beats, creature, and animal screams, and chants vibrating along the cliff side where the White Witch (Jadis) stands. While Aslan walks through the crowds, the camera often looks down on him, which is the opposite of the standard heroic low-angle shots. This makes him appear a bit more humble. The White Witch, on the other hand, is shown from below, with tight angles along with a stiff design of her costume which evoke viewers of oppressive images and connect her with authoritarian power. The broken stone table, shimmering light, and slow camera motion at sunrise make Aslan's resurrection a visual metaphor for grace and new life. Some people may find the Christian symbolism and metaphor inspirational whereas others could find it too much. However, it is primarily presented through pictures and sounds, not evangelical dialogue.

The final battle leans into fantasy spectacle but reveals some limits in the film’s message. Wide shots of armies racing across the valley, saturated colors and sweeping camera moves create excitement around war, even though the story began with the trauma of World War II air raids. The Pevensie children are suddenly generals, leading charges and wielding weapons, with quick cuts that minimize the horror of combat. While this fits the expectations of a family fantasy film, it simplifies violence into a clean, justified act that leads directly to coronation and a comfortable vision of monarchy. The visual language rewards courage and loyalty, but it rarely questions who gets to be chosen, who stays in power and who is left out of the “good side.”

Overall, the 2005 movie "The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe" by C.S Lewis seems like a kindhearted story with regard to fate and sacrifice, via fantasy visuals that are easy to identify.   The movie keeps us interested by remaining close to the children and showing viewers how nervous, curious, and brave they are as they learn their lines.. At the same time, it presents a very traditional idea of power: certain people are “born” to lead, the good side is obvious, and a big, righteous battle fixes everything and puts the right rulers on the throne. From a media literacy point of view, it is not just a beautiful, snowy adventure. It also quietly teaches us ideas about faith, family and who deserves to be in charge, which are worth noticing and questioning as we watch.