Introduction
It is essential to note that The Lion, the Witch, and the Wardrobe by C.S. Lewis is a tale about the struggle between the forces of evil and good. Its main characters include four ordinary siblings, Peter, Susan, Edmund, and Lucy, who access the magical world of Narnia through a special wardrobe. They side with the forces of good led by a lion god, Aslan, against the evil under the command of the White Witch.
In short, Edmund is tricked by the Witch, whom he later betrays, for which he is asked to be killed. Aslan steps in and sacrifices himself for Edmund, which opens the way for the White Witch to attempt to control Narnia (Lewis, 1950). Ultimately, Aslan is brought back to life and ends the Witch, leading to a victory of good over evil.
The story teaches that violence is not inherently negative but rather a mere tool. The purpose of violence in The Lion, the Witch, and the Wardrobe is to separate the good and the evil, where the former uses it as a last resort after all reconciliation methods fail. The audio and visual effects of the film significantly enhanced the portrayal of violence compared to the book, adding more psychological and emotional depth through body language, music, and scenery.
Violence in the Film and the Book
Verbal vs. Non-Verbal Expression
Firstly, the film portrays violence more sinisterly by utilizing the characters’ body language and facial expressions, as opposed to the book. In the book, in the scene when the White Witch arrives at Aslan’s camp to claim Edmund’s life, her aggression and desire for violence can be observed only through her statements. For example, she stated, “‘You have a traitor there, Aslan … Have you forgotten the Deep Magic … Tell you?’ said the Witch, her voice growing suddenly shriller” (Lewis, 1950, p. 75). A reader can understand her violent intentions mainly through her words and the author’s descriptions. The term ‘shriller’ acts as an indicator, which is one-dimensional and open to interpretation.
The film enriches the interaction by introducing facial expressions and body language, as well as the detailed appearance of the character. For instance, when the White Witch arrives in the film, the sounds become silent, and the music communicates her shrillness (Adamson, 2005). In addition, the Witch stares directly at Aslan, and she talks sinisterly and politely with a condescending tone and a smirk.
Visual Imagery and Music vs. Verbal Descriptions
Secondly, the portrayal of violence in the film is significantly more disturbing and dramatic than in the book because some aspects of violent behavior cannot be communicated textually but only through visceral visual imagery. When Aslan arrives to sacrifice himself for Edmund, the book can only use descriptions and words to show how violent the Witch and her followers are. For example, the author writes: “and they surged round Aslan, jeering at him, saying things like ‘Puss, Puss! Poor Pussy,’ and ‘How many mice have you caught today, Cat?’” (Lewis, 1950, p. 81).
These statements from Aslan’s enemies cannot compare to the portrayal of violence in the film, enriched with visuals, voices, sounds, and music. The scene in the film features beastly sounds, evil cheers, and violent imagery, including torches, knives, and the Witch’s malevolent stare (Adamson, 2005). Aslan’s computer-generated imagery (CGI) is sophisticated enough to show his pain and submission. The image of the lion’s humiliation, such as mane cutting, is indescribable through textual information. All of these acts of violence are accompanied by sad and depressing music.
Audio and Visual Effects Lacking in the Text
Thirdly, the best example of how the film utilizes audio and visual effects to enhance the psychological experience of the viewer is the final battle between the White Witch and the army of Narnia. It is essential to note that the battle is secondary in the book, as the remaining chapters primarily focus on the girls and Aslan’s resurrection. For example, the author writes: “There stood Peter and Edmund and all the rest of Aslan’s army fighting desperately against the crowd of horrible creatures whom she had seen last night” (Lewis, 1950, p. 93).
However, the battle in the film is the most epic and enjoyable part of the movie precisely because it is best portrayed through visuals and sounds. The rush of the two armies against each other is accompanied by epic music, which subsides and slows down close to the moment of a clash (Adamson, 2005). The two armies colliding with each other without any music shows that the rush might be emotional, but the fighting itself is brutal and violent. The sheer number of combatants is indescribable through textual information, and the scale of the battle is extraordinary.
Conclusion
In conclusion, the film utilizes music, sound, visuals, scenery, body language, and characters’ facial expressions to significantly enrich the story through audio and visual effects, adding layers of psychological depth to the narrative. Violence is more accentuated in the film compared to the book because evil characters show their sinister and cunning nature through their stares, smirks, violent intentions, and aggression. Music plays a critical role in setting the tone and mood for each scene, and the violent moments utilize escalating musical backgrounds, which are cut at the climactic moments.
References
Adamson, A. (2005). The Chronicles of Narnia: The Lion, the Witch and the Wardrobe [Film]. Buena Vista Pictures Distribution.
Gillions, A., Cheang, R., & Duarte, R. (2019). The effect of mindfulness practice on aggression and violence levels in adults: A systematic review. Aggression and Violent Behavior, 48, 104-115. Web.
Lewis, C. S. (1950). The Lion, the Witch, and the Wardrobe. Geoffrey Bles.