Tim Burton's choice to work with the Alice in Wonderland story was a smart one; the quirkiness of the world created by Lewis Carroll was a perfect set-up for Burton's usual circus of dark art. The story and production fit together so well that it didn't even seem like an especially bizarre adaptation, unlike Charlie and the Chocolate Factory.
Negative Viewer Responses About the Message
But many people who saw the film claim that it wasn't enough; the message of bravery and female independence was not particularly strong, which was important to fans because it was an added element to the original story, and a reviewer from The Record claims that the characters were flat with little development (Whitty, 3).
Alice's desire for independence and adventure was not a theme that was so central and supported that audience members left the theater with a renewed desire to overcome their own obstacles. This was not that kind of movie. This was a Burton movie, about Alice in Wonderland, which was originally more word games, logic-twists, and satire than anything dealing with personal journeys. The added theme was exactly that--added; not the central focus.
The Beauty of Burton's Wonderland
Burton designs Wonderland, or as he renames it, "Underland," similarly to his previous films-heavy make-up, quirky architecture/landscape, and a gothic overtone.
The once-beautiful and lush land of riddles and mathematic cabaret has been usurped by the selfish red queen, turning it into a desolate disarray. The mad hatter has gone madder (though as a turn from the story most people are familiar with, he shows signs of distinct sanity and reachability when engaged with a person of character, such as Alice), and the trees and field are dark gold with the implication of death.
The Red Queen and White Queen
The two queens are the artistic focal points in the film, and they offer a major juxtaposition in mood. They are related (sisters), but one is self-absorbed, childish, emotional, and violent. The other is serene, graceful, and a lover of peace. Burton uses mostly color and shape to set them apart--the evil queen is short, like a child, has an oversized head, like a selfish person, and has bright red hair and a partly red castle. The good queen on the other hand, is tall, slender, and very pale with white hair and a dusty white palace.
One weakness of the film is that the artistic interpretation is awkward, for although the "good queen" is passive, peaceful, gentle (almost obnoxiously so), and washed-out, Underland itself is a place of vibrant color and excitement. The red queen and her castle, on the other hand, reflect Underland's character much more in terms of color and design. It almost seems as though the red queen is more suited to run the country, until the audience sees that the creatures clearly hate the red queen for what she has done to Underland.
Technically a piece of fan-fiction, the film's added plot elements keep the story interesting and the audience engaged into a new but related and beloved story. Perhaps the new plot is the only reason some people interpret a "message" out of the film at all. But Burton succeeds at everything he takes on in the film, weaving together his world with the world of Lewis Carroll. Which is, of course, why Burton's name is the preface of the title.
Sources:
Whitty, Stephen. "It's the wrong way to Wonderland." The Record 5 Mar. 2010: 3.
Elisabeth Sharber - Elisabeth Sharber is a Messiah College graduate with a BA in English, and minors in politics and psychology. She is currently job ...
