The original effect
Tim Burton appears to have lost his imagination.
He’s come a long way since the joy of “Beetlejuice” and the genius of “Edward Scissorhands.” Even his adaptation of “Batman” brought an originality to the superhero movie that had been sorely lacking.
But at least since “Sleepy Hollow” his films have followed a steady trend away from character and plot and toward a desperate attempt to recreate the curlicue atmosphere of the classic “The Nightmare Before Christmas”. He hasn’t bothered coming up with interesting stories, relying instead on twisting other people’s tales to suit his vertiginous vision. He’s put Johnny Depp in all sorts of white makeup (none of which matches the beauty of Edward) and he’s papier-mached or CGI-ed trees imitating the Mandelbrot set or the Golden Ratio (depending on his mood). And he’s sacrificed some truly beautiful stories to these visual allusions to his own better work.
“Alice in Wonderland” is no exception. Naturally, he had to start by making Alice older – nineteen – in order to add a touch of sex appeal and to develop a loose and unconvincing coming-of-age story in an attempt to add depth. (As if a story about a girl falling down a mile-deep rabbit hole needed to go any deeper!) He then gives Depp some erratic antics, and his muse Helena Bonham Carter (does anyone else cast her anymore?) her standard sneer-pout-sneer-pout, and his special effects department a blank check to put as many curlicues as they can into the set dressing.
To their credit, Depp as the Mad Hatter and Mia Wasikowska as Alice turn in solid performances, almost covering over the unwarranted shifts in character and the gaping plot holes. Anne Hathaway, on the other hand, was unable to transcend the absurd role of the White Queen with humanity or believability. Or maybe it was just frustration with Burton’s demand that she keep her hands constantly in the air.
Ultimately, the film fails on the level of imagination. (And yes, this is where I make the virtue connection.) Imagination requires a freedom of mind, as well as a solid grounding in reality – neither of which Burton seems able to muster any more. The closest to reality he comes is the idea that international trade is a way to get rich. But his grasp of courtship, of the tension between social expectation and personal expression, and of the nature of authority all fail to consider the human person anything other than a plot-point to be manipulated into a special-effects sequence.
Ultimately, he has no notion of the difference between good and evil. The Red Queen is arbitrary and unpleasant. The White Queen is arbitrary and (so we’re told) pleasant. But the White Queen also brews a witch’s potion without moral qualm – though she’s made some vague vow against taking life; and she shows no virtue or reason she should merit Alice’s loyalty any more than the Red Queen. Well, except that she is albino and her body is not distended by CGI.
Mr. Burton would have done much better had he taken the time to meditate on Lewis Carroll’s works, rather than mutilating them.
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