Las crónicas de Narnia: El león, la bruja y el armario
Título original: The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
Cuatro niños viajan a través de un armario a la tierra de Narnia, donde descubren cuál es su destino con el consejo de un león místico.Cuatro niños viajan a través de un armario a la tierra de Narnia, donde descubren cuál es su destino con el consejo de un león místico.Cuatro niños viajan a través de un armario a la tierra de Narnia, donde descubren cuál es su destino con el consejo de un león místico.
- Ganó 1 premio Óscar
- 18 premios y 46 nominaciones en total
Shelly Edwards
- Distraught Mother
- (as Shelley Edwards-Bishop)
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Argumento
¿Sabías que...?
- CuriosidadesGeorgie Henley's reaction to Mr. Tumnus at the lamppost is genuine. She had not seen her castmate James McAvoy in his costume before filming the scene, so her screams and reactions were real. Georgie's first reaction to the snowy world of Narnia is also genuine. She was carried into the set blindfolded to make her first entrance, and her wide-eyed, delighted reactions to it all were entirely her own.
- PifiasWhen the children are running around in the house trying to find a hiding place while playing hide and seek, Lucy's dress changes from purple to brown.
- Créditos adicionalesThere is a further brief scene with Lucy and the Professor after the initial cast credits.
- Versiones alternativasGerman theatrical version (non-digital) was cut for violence to secure a "Not under 6" rating. Digital presentations were uncut (with a "Not under 12" rating). On DVD, both versions were released (standard DVD was cut, collector's edition was uncut).
- ConexionesEdited into Crítico de la nostalgia: Black Cauldron (2019)
- Banda sonoraOh Johnny Oh, Johnny Oh!
(1917)
Music by Abe Olman
Lyrics Ed Rose
Performed by The Andrews Sisters
Courtesy of Geffen Records
Under license from Universal Music Enterprises
Reseña destacada
A strangely disappointing experience given the quality credentials of just about all involved.
The relative inexperience of the writers is clearly evident. Whether seen as a metaphor for a world without God (hell), or the Nazi regime, the cultural and social landscape of Narnia is ripe with potential, none of which is realized here. The White Witch's regime is not explored, we are not told who she is, where she came from, how or why she took over the world. She lacks any motivation or real emotional drive. Similarly, the children seem happy to throw themselves into a war without a second thought of home. Nothing in this story is ever explained, we are simply expected to accept it without question, which is a far more dictatorial representation of Christianity than Lewis ever intended. The plotting lacks energy and momentum, with no real sense of suspense. The characterization is weak and one-dimensional. But even more surprisingly from the creators of Shrek, is the complete lack of humor.
The acting is sound from all but the leads. The two older children struggle to bring the necessary range of emotion to their roles, with Moseley in particular presenting a decidedly weak interpretation of heroic kingliness. The two younger children luckily make up for their on screen siblings' shortcomings, with Henley bringing the wide-eyed innocence to Lucy that the role requires, and Keynes displaying a surprising amount of subtlety as the eternally wronged and resentful Edmund. McAvoy and Swinton are both excellent and at times are required to carry the movie alone.
The CGI is competent, but little more. It's always good to see Fauns and Centaurs running around, but it doesn't break any boundaries in terms of design or execution. There's none of the thrill of the vast armies of Middle Earth, or the attention to the minutiae of Narnia that is really necessary in realizing a new world from scratch.
Disney clearly hopes that this will bring them the rewards that 'Lord of the Rings' brought New Line Cinema and 'Harry Potter' is bringing to Warner Brothers. But 'The Lion, the Witch and the Wardrobe' lacks the emotional depth, epic range, creative inventiveness and dramatic urgency of the 'Rings' trilogy. Similarly, it has none of the humor, camaraderie, charisma or charm of 'Harry Potter'. Judging from the audience that I saw it with, it will be very popular, and a sequel is very probable, but unless Narnia finds some heart and soul, the complete cycle seems unlikely.
The relative inexperience of the writers is clearly evident. Whether seen as a metaphor for a world without God (hell), or the Nazi regime, the cultural and social landscape of Narnia is ripe with potential, none of which is realized here. The White Witch's regime is not explored, we are not told who she is, where she came from, how or why she took over the world. She lacks any motivation or real emotional drive. Similarly, the children seem happy to throw themselves into a war without a second thought of home. Nothing in this story is ever explained, we are simply expected to accept it without question, which is a far more dictatorial representation of Christianity than Lewis ever intended. The plotting lacks energy and momentum, with no real sense of suspense. The characterization is weak and one-dimensional. But even more surprisingly from the creators of Shrek, is the complete lack of humor.
The acting is sound from all but the leads. The two older children struggle to bring the necessary range of emotion to their roles, with Moseley in particular presenting a decidedly weak interpretation of heroic kingliness. The two younger children luckily make up for their on screen siblings' shortcomings, with Henley bringing the wide-eyed innocence to Lucy that the role requires, and Keynes displaying a surprising amount of subtlety as the eternally wronged and resentful Edmund. McAvoy and Swinton are both excellent and at times are required to carry the movie alone.
The CGI is competent, but little more. It's always good to see Fauns and Centaurs running around, but it doesn't break any boundaries in terms of design or execution. There's none of the thrill of the vast armies of Middle Earth, or the attention to the minutiae of Narnia that is really necessary in realizing a new world from scratch.
Disney clearly hopes that this will bring them the rewards that 'Lord of the Rings' brought New Line Cinema and 'Harry Potter' is bringing to Warner Brothers. But 'The Lion, the Witch and the Wardrobe' lacks the emotional depth, epic range, creative inventiveness and dramatic urgency of the 'Rings' trilogy. Similarly, it has none of the humor, camaraderie, charisma or charm of 'Harry Potter'. Judging from the audience that I saw it with, it will be very popular, and a sequel is very probable, but unless Narnia finds some heart and soul, the complete cycle seems unlikely.
- Rathko
- 11 dic 2005
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Detalles
- Fecha de lanzamiento
- Países de origen
- Sitios oficiales
- Idiomas
- Títulos en diferentes países
- Las crónicas de Narnia: El león, la bruja y el ropero
- Localizaciones del rodaje
- Adrspach National Park, Trutnov, República Checa(winter forest scenes)
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Presupuesto
- 180.000.000 US$ (estimación)
- Recaudación en Estados Unidos y Canadá
- 291.710.957 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 65.556.312 US$
- 11 dic 2005
- Recaudación en todo el mundo
- 745.013.115 US$
- Duración2 horas 23 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.39 : 1
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