The Online Reflector

By Manny Casillas, Guest Writer, Theatre Major

Chances are you’ve already heard of New Line’s recent fantasy epic and box-office hopeful “The Golden Compass.” Based on the first in a trilogy of fantasy novels from Philip Pullman, the film has stirred controversy for months and incited boycotts from the likes of the Catholic League and other groups over the supposed anti-Christian content of the film. There is even a Facebook group, “Do NOT Support The Golden Compass.”

Pullman, an avowed atheist, has been cited a number of times in interviews as saying that he is trying to undermine the basis of Christian belief. Many believe that the novel’s themes indoctrinate young readers to view Christianity as dangerous and feel that it could lead to a rise in Atheism, particularly among youths. Pullman’s novel, controversy notwithstanding, is filled with rich symbolism and engaging concepts.

If only I could say anything close to that for the movie. New Line made millions from Peter Jackson’s stunning “Lord of The Rings” trilogy, and in the hopes of capitalizing on that success, they poured $150 million into this tepid adaptation. Director Chistopher Weitz was even sent by New Line to the set of Jackson’s “King Kong” for a lesson in box office moviemaking. Even from a script adapted by Weitz and Pullman himself, “The Golden Compass” movie drains all the vital life and energy that the book so deftly portrayed. Weitz should have taken better notes.

It starts with a little girl named Lyra Belacqua (Dakota Blue Richards), an orphan living at the Jordan College in Oxford with her adventuring uncle, Lord Asriel (Daniel Craig of “Casino Royale”). Joined by her ever-present ‘demon,’ Pan (voiced by Freddie highmore), an extension of the human soul represented by an animal, Lyra involves herself in some mischief that reveals things to her she does not quite understand. Rumors and stories abound among the children, particularly those of the sea-traveling “gyptians” and what happens to the ever-growing number of disappearing children. When a mysterious and powerful woman known as Mrs. Coulter arrives to take Lyra, the college master turns over ownership of an alethiometer, a golden compass, to Lyra.

Lyra soon suspects that Mrs. Coulter (as played with more creepiness than necessary by Nicole Kidman) is involved with the disappearing children, and suddenly she is taken in by gyptians looking to mount a rescue mission, cavorting with aeronauts and hiring talking bears (a talking bear voiced by Ian McKellen, doing his best Aslan) for help.

Pullman’s novel never skimped on the action, and neither does the movie, but the novel never skimped on the emotion and urgency of the story either. And it’s in many of the movie’s more dramatic scenes that Weitz stumbles. Filling a big-budget fantasy with sufficient character development is no easy task, especially when Peter Jackson set the bar so high. But even his “Rings” trilogy displayed excellent and memorable nuances among the characters, live and computer generated. Weitz tries to up the stakes as best he can, but he does his actors no favors by rushing things along. How sad it is to see top actors like Kidman and Craig reduced to the sidelines. Even when they are given something to do, it seems the only direction was “emphasize your accents as best you can.”

Actors this good can afford to take risks, but a hack like Weitz only can throw so much on screen in the hopes that something will stay sharp, no such luck. Many of the action sequences are messy, and although the climax involving a battle that includes witches led by sexy Eva Green (“Casino Royale”) manages to build some excitement and vivacity, it’s too little, too late.

Making an adaptation of the controversial novel was a risk in itself, but what could have been a fresh new take on fantasy is instead saddled with rushed and choppy direction, average acting and tacky effects. Dakota Blue Richards only scowls when necessary and emotes elsewhere, but her acting is not registering. Lyra is a character whose curiosity leads her into life-altering experiences, but Richards is bogged down by clunky dialogue that is embalmed in endless exposition. And her demon is more annoying than insightful.

As “The Da Vinci Code” movie proved last year, a film filled with controversial material should be a good film first, debate-worthy second. All you Facebook-ers out there have nothing to fear. “The Golden Compass” fails to turn up any lasting effect of heart, urgency, dazzle or anticipation for a sequel. It’s a droning and tacky affair, a shame for the studio that gave us the iconic “Lord of the Rings” films.

Still, given the stir it has caused, it’s still a credit to Pullman and New Line that they would ever try to bank on Pullman’s novels. Do yourself a favor and judge the novel on its own merits. Despite incidents to the contrary, Pullman asserts his books do not promote atheism. In response to the boycott, he said, “Why don’t we trust readers? Why don’t we trust film-goers? Oh. It causes me to shake my head with sorrow that such nitwits could be loose in the world.” Amen to that.