The Young Victoria

The Brits have a love/hate obsession with their royals that is still somewhat a mystery to Americans. We have our celebrities that we love to hate but rarely, if ever, do we follow their story from birth to death. The young princes William and Harry have been speculated about since before they were born. For England, it has been true since the monarchy was installed. And as Americans, we have a limited, cursory view of the woman whose name inspired an era synonymous with propriety and staid relationships.

Seeing Academy Award winning screenwriter Julian Fellowes tender dramatization of Queen Victoria's early years was refreshing, lovely and often amusing. He interpreted a time in her life before she had become comfortable with power. Having been groomed to be nothing but a figurehead, she defied numerous pressures to take her place as the longest reigning English monarch to date.

Emily Blunt (who looks more than a little like HRH) brings an understated, light honesty to the role. She manages to show Victoria's humor, stubbornness, strength, compassion and uncertainty. Rupert Friend takes on the awkward but sweet and sincere Prince Albert of Saxon-Coburg. Their onscreen chemistry enhances the flirtatious nature of their courtship.

Most striking about the film's presentation is how accessible it is. Despite the depictions of excessive wealth, power, inane protocol, the audience is constantly aware that these are just people. It is more than a costume drama. It makes one of history's most notable love affairs as simple as a college sweetheart romance. They are nervous, excited, and have fights, just like any couple. The audience was actually cheering when the two finally become engaged -- even though we all knew the Victoria and Albert were a couple.

Additionally, Jim Broadbent's boisterous King William is very funny, and again underscores that everyone has an ungrateful aunt, a difficult uncle or an annoying cousin. Families will be families, no matter how blue their blood.

The Young Victoria bases itself on true events, including Sir John's vehement wish for a Regency, the attempt on Victoria's life and Victoria and Albert's adjoining desks. Of course, much of the dialogue is speculation, but Fellowes embeds so much that we cannot help but fall in love with the royals, just like any Brit.

Prince Caspian

I am a great lover of literature. I am also a great lover of these books, these tales. They are a modern "1001 Nights", born of a war-torn society with Blitzkrieg ringing in their ears, and Coventry freshly wounded. "The Chronicles of Narnia" reflect British pride yet give away a certain sense of doubt and skepticism. These stories encourage a fight against evil, despite the odds of winning. It is the fight that is worth it.
The first cinematic installment of these fantastic tales remained greatly faithful to CS Lewis's original book (with only one fabricated scene - on the icy river escaping from the wolves). It answered to some of the current trends in blockbuster film-making but it still managed to retain some soul.
"Prince Caspian" also remains fairly faithful to the book. Some elements are glossed over or "sped through" to get to the lavish battle scenes. I would have enjoyed seeing a young Caspian with his tutor on the parapets at night as so vividly described in the book. Instead, it was only alluded to in the film.
Crossing the Fords of Beruna was also severely truncated and the fact that the non-talking bear that was slain they actually butchered and carried with them for the couple of days they trekked through the woods.
However, plenty of attention was given to the two main battles - at Miraz's castle and at the ruins of the Stone Table. Both were well rendered, if a little too long.
It's as if the producers decided that the story is only there to lead up to the battle, and the battles are what sell the movies. I have 60 years of history that say otherwise, but I am not a profit-driven entity in the art business. The greatest atrocity was saved for the last three minutes. In a flagrant disregard altogether, some genius decided that it would be a great idea to have Susan (just as she is able to jump back into England forever, never to return to Narnia ever) turn back and kiss Caspian. And as if that wasn't painful enough, their lips touching cued a trashy, t-weeny, Hanna Montana song with even worse lyrics. It was so bad that everyone in the theatre either laughed or threw up their arms in disgust.
Disney/Walden Media/Adamson need to realize that these stories are already popular. We are going to the movies to see the books we read come to life, not some numbers-crunching producer who never read them (let alone under the covers with a flashlight because you couldn't sleep without knowing what happened next) version of what will sell adjunct merchandise.
They had better be careful. If they wish to make the entire series of 7, they better not break the trust of those who love Narnian lore.
(Pictured. Reepicheep, as voiced by Eddie Izzard)