Many of you know I used to edit children’s books for a living. It was work I mostly loved, and it carved my affection for children’s literature into a lasting passion. That means I’m snobby about the quality of books: of course I want kids to fall for reading, and if that means they devour a lot of trash on their way to the good stuff, so be it. But I hope they’ll develop palates discerning enough to tell the difference and appreciate well-written, thoughtful books with something worthy at the core. I want those stories and their characters to live on in children’s imaginations after the last page is turned. And I jealously guard my own experiences of good books.
So I greet the current parade of adaptations for the big screen with a healthy dose of distrust and chagrin. The Lord of the Rings and Harry Potter seem to have inaugurated a veritable gold rush to mine the children’s literature canon for blockbusters. When the former head of Dutton Children’s Books made the decision to sell merchandising rights to Winnie the Pooh, he privately referred to it as the Rape of Pooh. I can’t help but see a Rape of Children’s Classics underway. The Lion, the Witch, and the Wardrobe, Bridge to Terabithia, Charlotte’s Web. I can hardly bear to mention The Polar Express. And according to the previews, they’re plowing through the contemporary best-sellers next: Inkheart is next on the block, and there were posters for The Spiderwick Chronicles all over the theatre. This is not to say that good movies can’t be and haven’t been made from children’s books. (I’ll skip, for now, the tangential argument that having the experience handed to you visually is far less fulfilling than animating the story yourself as you read.) But too many attempts to capture the worlds and characters that live in our hearts fall desperately flat, and I’m afraid I have to pronounce The Golden Compass just such an effort.
I probably should have known better. It lured me with its fine cast and promising visuals. I love the story, and I wanted to see if Hollywood had taken the care to do it right. They didn’t. The directing, screenwriting, and editing are poor. I’m not sure I’d have been able to follow the story at all if I didn’t know the book. It’s choppy; it’s a madcap dash from one plot point to the next in order to squash the tale into feature length. Countless subtleties that slowly dawn on you in the book are dumped out in expository dialogue like Spam from a tin. The CG isn’t convincing except in a few scenes (the bear fight, notably, and for some reason the forms of transportation) where they clearly spent the extra money to dazzle us. And the movie isn’t convincing, either. Mostly, it’s just frustrating. You catch glimpses of what it could have been: Lee and Hester are pitch perfect, Fra Pavel is unctuous and creepy, Lyra is forthright and brave and doesn’t overact, Lord Asriel is suitably haughty, Serafina Pekkala is luscious and otherworldly (and boy can she fight without mussing her hair). Nicole Kidman is a reasonably good Mrs. Coulter, although she looks disconcertingly like Renee Zellweger in many of her costumes. Unfortunately, the golden monkey is such a lousy piece of digital work that I was distracted from her performance.
So what’s the silver lining of two wasted hours? Peter Jackson just keeps looking better and better. I may have to do my evening cashmere lace knitting to one of the Lord of the Rings movies.
P.S. If you’re set on seeing The Golden Compass despite my warnings, at least do yourself the favor of sprinting from the theatre as Lee’s balloon sails off into the sunset after the fight at Bolvangar (yes, that’s really where the film ends), before the soul-sucking treacle of the Original Song oozes stickily over the credits. It’s quite honestly the worst piece of music I’ve heard in years. My ears and stomach have not yet recovered.