Philosophy
Roger Ebert said of Carroll's fantasy..."It reminds me of uncles who tickle their nieces until they scream."
As a young reader, I found Alice in Wonderland creepy and rather distasteful. Alice's adventures played like a series of encounters with characters whose purpose was to tease, puzzle and torment her. Few children would want to go to wonderland, and none would want to stay. The problem may be that I encountered the book too young and was put off by the alarming John Tenniel illustrations. Why did Alice have such deep, dark eye sockets? Why couldn't Wonderland be cozy like the world of Pooh? Watching the 1951 Disney film, I feared the Cheshire Cat was about to tell me something I didn't want to know.
Tim Burton's new 3-D version of "Alice in Wonderland" answers my childish questions. This has never been a children's story. There's even a little sadism embedded in Carroll's fantasy. It reminds me of uncles who tickle their nieces until they scream. "Alice" plays better as an adult hallucination, which is how Burton rather brilliantly interprets it until a pointless third act flies off the rails. It was a wise idea by Burton and his screenwriter, Linda Woolverton, to devise a reason that Alice (Mia Wasikowska) is now a grown girl in her late teens, revisiting a Wonderland that remains much the same, as fantasy worlds must always do.
Burton is above all a brilliant visual artist, and his film is a pleasure to regard; I look forward to admiring it in 2-D, where it will look brighter and more colorful. No artist who can create these images is enhancing them in any way by adding the annoying third dimension. But never mind that.
He brings to Carroll's characters an appearance as distinctive and original as Tenniel's classic illustrations. These are not retreads of familiar cartoon images. They're grotesques, as they should be, from the hydrocephalic forehead of the Red Queen (Helena Bonham Carter) to Tweedledee and Tweedledum (Matt Lucas), who seem to have been stepped on. Wonderland itself is not limited to necessary props, such as a tree limb for the Cheshire Cat and a hookah for the Caterpillar, but extends indefinitely as an alarming undergrowth beneath a lowering sky. Why you can see the sky from beneath the earth is not a fair question. (The landscape was designed by Robert Stromberg of "Avatar.")
When we meet her again, Alice has decidedly mixed feelings about her original trip down the rabbit hole, but begins to recall Wonderland more favorably as she's threatened with an arranged marriage to Hamish Ascot (Leo Bill), a conceited snot-nose twit. At the moment of truth in the wedding ceremony, she impulsively scampers away to follow another rabbit down another rabbit hole and finds below that she is actually remembered from her previous visit.
Burton shows us Wonderland as a perturbing place where the inhabitants exist for little apparent reason other than to be peculiar and obnoxious. Do they reproduce? Most species seem to have only one member, as if nature quit while she was ahead. The ringleader is the Mad Hatter, played by Johnny Depp, that rare actor who can treat the most bizarre characters with perfect gravity. Whoever he plays (Edward Scissorhands, Sweeney Todd, Jack Sparrow, Willy Wonka, Ichabod Crane), he is that character through and through.
This is a Wonderland that holds perils for Alice, played by Wasikowska with beauty and pluck. The Red Queen wishes her ill, and the White Queen (Anne Hathaway) wishes her well, perhaps because both are formed according to the rules of Wonderland queens. To be sure, the insecure White Queen doesn't exhaust herself in making Alice welcome. The Queens, the Mad Hatter, Alice, the Knave of Hearts (Crispin Glover) and presumably Tweedledee and Tweedledum are versions of humans; the others are animated, voiced with great zest by such as Stephen Fry (Cheshire), Alan Rickman (Absolem the Caterpillar), Michael Sheen (White Rabbit), Christopher Lee (Jabberwocky), Timothy Spall (Bayard) and Barbara Windsor (Dormouse).
The film is enchanting in its mordant way until, unfortunately, it arrives at its third act. Here I must apologize to faithful readers for repeating myself. Time after time I complain when a film develops an intriguing story and then dissolves it in routine and boring action. We've seen every conceivable battle sequence, every duel, all carnage, countless showdowns and all-too-long fights to the finish.
Why does "Alice in Wonderland" have to end with an action sequence? Characters not rich enough? Story run out? Little minds, jazzed by sugar from the candy counter, might get too worked up without it? Or is it that executives, not trusting their artists and timid in the face of real stories, demand an action climax as insurance? Insurance of what? That the story will have a beginning and a middle but nothing so tedious as an ending?
Cast & Credits
Mad Hatter Johnny Depp
Alice Mia Wasikowska
Red Queen Helena Bonham Carter
White Queen Anne Hathaway
Knave Crispin Glover
And the voices of:
Caterpillar Alan Rickman
Cheshire Cat Stephen Fry
White Rabbit Michael Sheen
Bayard Timothy Spall
Jabberwocky Christopher Lee
Disney presents a film directed by Tim Burton. Written by Linda Woolverton, based on the books Alice's Adventures in Wonderland and Through the Looking Glass by Lewis Carroll. Running time: 108 minutes. Rated PG (for fantasy action/violence involving scary images and situations, and a smoking caterpillar).
Into the dark you tumble in “Alice in Wonderland,” Tim Burton’s busy, garish and periodically amusing repo of the Lewis Carroll hallucination “Alice’s Adventures in Wonderland.” It’s a long fall turned long haul, despite the Burtonian flourishes — the pinch of cruelty, the mordant wit — that animate the Red Queen (Helena Bonham Carter) and the porker that slides under her feet with a squeal. “I love a warm pig belly for my aching feet,” the queen tells Alice. Played by Mia Wasikowska, Alice looks a touch dazed: she seems to have left her pulse above ground when she fell down the rabbit hole of Mr. Burton’s imagination.
Mr. Burton has done his best work with contemporary stories, so it’s curious if not curiouser that he’s turned his sights on another 19th-century tale. Perhaps after slitting all those throats in his adaptation of “Sweeney Todd,” he thought he would chop off a few heads. Whatever his inspiration, he has tackled this new story with his customary mix of torpor and frenzy. After a short glance back at Alice’s childhood and an equally brief look at her present, he sends the 19-year-old on her way, first down the hole and then into a dreamscape — unfortunately tricked out with 3-D that distracts more than it delights — where she meets a grinning cat and a lugubrious caterpillar, among other fantastical creatures.
Dark and sometimes grim, this isn’t your great-grandmother’s Alice or that of Uncle Walt, who was disappointed with the 1951 Disney version of “Alice in Wonderland.” “Alice has no character,” said a writer who worked on that project. “She merely plays straight man to a cast of screwball comics.” Of course the character of Carroll’s original Alice is evident in each outrageous creation she dreams up in “Wonderland” and in the sequel, “Through the Looking-Glass,” which means that she’s a straight man to her own imagination. (She is Wonderland.) Here she mostly serves as a foil for the top biller Johnny Depp, who (yes, yes) plays the Mad Hatter, and Mr. Burton’s bright and leaden whimsies.
First thought up by Carroll in a rowboat in which one of the passengers was the 10-year-old Alice Liddell, the object of his much-debated love, “Wonderland” (1865) is, among many other things, a testament to glorious nonsense as well as an inspiration for dark thoughts (about Carroll’s feelings for Liddell) and for lysergic works from the likes of David Lynch. It’s a total (head) trip, one that starts and stops and doesn’t fit easily into the mainstream narrative mold, which could explain why the screenwriter Linda Woolverton, borrowing both from “Wonderland” and “Through the Looking Glass,” has given Alice a back story, a dash of psychology and a battle royal if, alas, not a pool of her own tears in which to swim.
Since narrative momentum isn’t Mr. Burton’s strength, “Alice in Wonderland” probably seemed a good fit for him, and there are moments when his transparent delight in the material lifts the movie and even carries it forward. His Wonderland (here, Underland) isn’t inviting or attractive. The colors are often bilious, though the palette also turns gunmetal gray, bringing to mind “Sweeney Todd.” There’s a suggestively nightmarish aspect to Alice’s journey, as when she steps on some severed heads in the Red Queen’s moat as if they were stones. The queen herself is a horror: Bette Davis as Elizabeth I and reconfigured as a bobble-head doll. Ms. Bonham Carter makes you hear the petulant child in her barbarism and the wounded woman too. She rocks the house and the movie.
And she does, even though the character is a harridan cliché who, smitten with her knave (Crispin Glover) and clutching her power, rules with a boom. (“Off with his head!”) She eventually dukes it out with her rival and sister, the White Queen (Anne Hathaway, gliding like an ice dancer), who enlists Alice’s help. There’s more, including computer-generated flowers, assorted 3-D projectiles and the usual British actors earning their pay, like the “Harry Potter” alumni Timothy Spall, Alan Rickman and Imelda Staunton. Mr. Burton lavishes his attention on the little things in “Wonderland” — the perfectly drawn red heart painted on the center of the Red Queen’s mouth, for instance — perhaps because nothing else claims his attention. He’s very bad with the awkward action scenes, maybe because he’s embarrassed that they even exist.
Mr. Depp’s strenuously flamboyant turn embodies the best and worst of Mr. Burton’s filmmaking tendencies even as the actor brings his own brand of cinematic crazy to the tea party. With his Kabuki-white face, the character seems to have been calculated to invoke Heath Ledger’s Joker, though at his amusing best the Hatter brings to mind a strung-out Carrot Top. But Mr. Depp doesn’t have much to do, which he proves as he wildly flirts with the camera. The only time the character hooks you is in the shivery moment when his gaze turns predatory as he looks at Alice, who, every inch a Tim Burton Goth Girl, from her corpselike pallor to her enervated presence, presents a more convincing vision of death than of sex.
That queasy, potentially rich and frightening moment expectedly fades as fast as the Cheshire Cat (Stephen Fry), which doesn’t leave you with much else to hold onto, Alice included. Mr. Burton’s heroine is a wan figure to hang an entire world on, and Ms. Wasikowska, who’s a livelier, truer presence in the forthcoming “The Kids Are All Right,” barely registers among Mr. Burton’s clanging and the computer-generated galumphing. This isn’t an impossible story to translate to the screen, as the Czech filmmaker Jan Svankmajer showed with “Alice” (1988), where the divide between reality and fantasy blurs as it does in dreams. It’s just hard to know why Mr. Burton, who doesn’t seem much interested in Alice, bothered.
“Alice in Wonderland” is rated PG (Parental guidance suggested). It is a surprise (or not) that this movie, with its severed heads and Jabberwocky battle, is not rated PG-13, which serves as a warning for parents.
ALICE IN WONDERLAND
Directed by Tim Burton; written by Linda Woolverton, based on “Alice’s Adventures in Wonderland” and “Through the Looking-Glass” by Lewis Carroll; director of photography, Dariusz Wolski; edited by Chris Lebenzon; music by Danny Elfman; costumes by Colleen Atwood; senior visual effects supervisor, Ken Ralston; makeup design by Valli O’Reilly; produced by Richard D. Zanuck, Joe Roth, Suzanne Todd and Jennifer Todd; released by Walt Disney Pictures. Running time: 1 hour 48 minutes.
WITH: Johnny Depp (Mad Hatter), Mia Wasikowska (Alice Kingsleigh), Anne Hathaway (White Queen), Helena Bonham Carter (Red Queen), Crispin Glover (Stayne-Knave of Hearts), Matt Lucas (Tweedledee and Tweedledum), Alan Rickman (Absolem the Caterpillar), Timothy Spall (Bayard the Bloodhound) and Imelda Staunton (Tall Flower Faces).
WITH THE VOICES OF: Michael Sheen (White Rabbit), Stephen Fry (Cheshire Cat), Barbara Windsor (Dormouse), Christopher Lee (Jabberwocky), Michael Gough (Dodo) and Paul Whitehouse (March Hare).
John Tenniel---189 years ago
"Alice in Wonderland"--two reviews
Wonderland...an essay by Gerrick D. Kennedy
AS Byatt on Alice, Carroll, and Burton
Burton's "Alice"
"Alice in Wonderland"...Tim Burton style
Tim Burton's "Alice in Wonderland"
- Missed It...charles Lutwidge Dodgson's Birthday
Probably the most beloved child literature author was born on January 27th,1832. Adults enjoy his literature too. Above is a snap of a stage production of Alice in Wonderland taken by Victorian society photographer Alexander Bassano in 1900 at the Vaudeville...
- Alice Through The Years
Alice Liddell Now that the Tim Burton's Alice in Wonderland has come and almost gone, here are some of those who portrayed Alice [Time]. "Through the Looking Glass: The Many Alices of Wonderland" by Allie Townsend March 5th, 2010 Time Wonderland?...
- "alice In Wonderland"--two Reviews
Here are two reviews from two giants in the film industry: The Hollywood Reporter and Variety. "Alice in Wonderland -- Film Review" by Michael Rechtshaffen, February 25th, 2010 The Hollywood Reporter Bottom Line: Truly, madly wonderful. Not that there...
- Wonderland...an Essay By Gerrick D. Kennedy
"Philosophy prof uses 'Wonderland' to answer the big questions" by Gerrick D. Kennedy February 27th, 2010 The Los Angeles Times Are you ready for a trip down the rabbit hole? Tim Burton, Johnny Depp and Disney are adding a strange new chapter...
- Burton's "alice"
Lewis Carroll's Alice In Wonderland is not a normal narrative or a simple story and I will be pleased to see how Burton "fills in the gaps". "'Wonderland' looks curiouser, but Burton fills gaps in story" by Susan Wloszczyna Februrary 26th,...
Philosophy
"Alice in Wonderland"...R. Ebert and NYT reviews
Roger Ebert said of Carroll's fantasy..."It reminds me of uncles who tickle their nieces until they scream."
"Alice in Wonderland"
Enchanting and mordant, but does it need an action climax?
by
Roger Ebert
March 3rd, 2010
***
Chicago Sun Times
Enchanting and mordant, but does it need an action climax?
by
Roger Ebert
March 3rd, 2010
***
Chicago Sun Times
As a young reader, I found Alice in Wonderland creepy and rather distasteful. Alice's adventures played like a series of encounters with characters whose purpose was to tease, puzzle and torment her. Few children would want to go to wonderland, and none would want to stay. The problem may be that I encountered the book too young and was put off by the alarming John Tenniel illustrations. Why did Alice have such deep, dark eye sockets? Why couldn't Wonderland be cozy like the world of Pooh? Watching the 1951 Disney film, I feared the Cheshire Cat was about to tell me something I didn't want to know.
Tim Burton's new 3-D version of "Alice in Wonderland" answers my childish questions. This has never been a children's story. There's even a little sadism embedded in Carroll's fantasy. It reminds me of uncles who tickle their nieces until they scream. "Alice" plays better as an adult hallucination, which is how Burton rather brilliantly interprets it until a pointless third act flies off the rails. It was a wise idea by Burton and his screenwriter, Linda Woolverton, to devise a reason that Alice (Mia Wasikowska) is now a grown girl in her late teens, revisiting a Wonderland that remains much the same, as fantasy worlds must always do.
Burton is above all a brilliant visual artist, and his film is a pleasure to regard; I look forward to admiring it in 2-D, where it will look brighter and more colorful. No artist who can create these images is enhancing them in any way by adding the annoying third dimension. But never mind that.
He brings to Carroll's characters an appearance as distinctive and original as Tenniel's classic illustrations. These are not retreads of familiar cartoon images. They're grotesques, as they should be, from the hydrocephalic forehead of the Red Queen (Helena Bonham Carter) to Tweedledee and Tweedledum (Matt Lucas), who seem to have been stepped on. Wonderland itself is not limited to necessary props, such as a tree limb for the Cheshire Cat and a hookah for the Caterpillar, but extends indefinitely as an alarming undergrowth beneath a lowering sky. Why you can see the sky from beneath the earth is not a fair question. (The landscape was designed by Robert Stromberg of "Avatar.")
When we meet her again, Alice has decidedly mixed feelings about her original trip down the rabbit hole, but begins to recall Wonderland more favorably as she's threatened with an arranged marriage to Hamish Ascot (Leo Bill), a conceited snot-nose twit. At the moment of truth in the wedding ceremony, she impulsively scampers away to follow another rabbit down another rabbit hole and finds below that she is actually remembered from her previous visit.
Burton shows us Wonderland as a perturbing place where the inhabitants exist for little apparent reason other than to be peculiar and obnoxious. Do they reproduce? Most species seem to have only one member, as if nature quit while she was ahead. The ringleader is the Mad Hatter, played by Johnny Depp, that rare actor who can treat the most bizarre characters with perfect gravity. Whoever he plays (Edward Scissorhands, Sweeney Todd, Jack Sparrow, Willy Wonka, Ichabod Crane), he is that character through and through.
This is a Wonderland that holds perils for Alice, played by Wasikowska with beauty and pluck. The Red Queen wishes her ill, and the White Queen (Anne Hathaway) wishes her well, perhaps because both are formed according to the rules of Wonderland queens. To be sure, the insecure White Queen doesn't exhaust herself in making Alice welcome. The Queens, the Mad Hatter, Alice, the Knave of Hearts (Crispin Glover) and presumably Tweedledee and Tweedledum are versions of humans; the others are animated, voiced with great zest by such as Stephen Fry (Cheshire), Alan Rickman (Absolem the Caterpillar), Michael Sheen (White Rabbit), Christopher Lee (Jabberwocky), Timothy Spall (Bayard) and Barbara Windsor (Dormouse).
The film is enchanting in its mordant way until, unfortunately, it arrives at its third act. Here I must apologize to faithful readers for repeating myself. Time after time I complain when a film develops an intriguing story and then dissolves it in routine and boring action. We've seen every conceivable battle sequence, every duel, all carnage, countless showdowns and all-too-long fights to the finish.
Why does "Alice in Wonderland" have to end with an action sequence? Characters not rich enough? Story run out? Little minds, jazzed by sugar from the candy counter, might get too worked up without it? Or is it that executives, not trusting their artists and timid in the face of real stories, demand an action climax as insurance? Insurance of what? That the story will have a beginning and a middle but nothing so tedious as an ending?
Cast & Credits
Mad Hatter Johnny Depp
Alice Mia Wasikowska
Red Queen Helena Bonham Carter
White Queen Anne Hathaway
Knave Crispin Glover
And the voices of:
Caterpillar Alan Rickman
Cheshire Cat Stephen Fry
White Rabbit Michael Sheen
Bayard Timothy Spall
Jabberwocky Christopher Lee
Disney presents a film directed by Tim Burton. Written by Linda Woolverton, based on the books Alice's Adventures in Wonderland and Through the Looking Glass by Lewis Carroll. Running time: 108 minutes. Rated PG (for fantasy action/violence involving scary images and situations, and a smoking caterpillar).
"What’s a Nice Girl Doing in This Hole?"
by
Manohla Dargis
March 5th, 2010
The New York Times
by
Manohla Dargis
March 5th, 2010
The New York Times
Into the dark you tumble in “Alice in Wonderland,” Tim Burton’s busy, garish and periodically amusing repo of the Lewis Carroll hallucination “Alice’s Adventures in Wonderland.” It’s a long fall turned long haul, despite the Burtonian flourishes — the pinch of cruelty, the mordant wit — that animate the Red Queen (Helena Bonham Carter) and the porker that slides under her feet with a squeal. “I love a warm pig belly for my aching feet,” the queen tells Alice. Played by Mia Wasikowska, Alice looks a touch dazed: she seems to have left her pulse above ground when she fell down the rabbit hole of Mr. Burton’s imagination.
Mr. Burton has done his best work with contemporary stories, so it’s curious if not curiouser that he’s turned his sights on another 19th-century tale. Perhaps after slitting all those throats in his adaptation of “Sweeney Todd,” he thought he would chop off a few heads. Whatever his inspiration, he has tackled this new story with his customary mix of torpor and frenzy. After a short glance back at Alice’s childhood and an equally brief look at her present, he sends the 19-year-old on her way, first down the hole and then into a dreamscape — unfortunately tricked out with 3-D that distracts more than it delights — where she meets a grinning cat and a lugubrious caterpillar, among other fantastical creatures.
Dark and sometimes grim, this isn’t your great-grandmother’s Alice or that of Uncle Walt, who was disappointed with the 1951 Disney version of “Alice in Wonderland.” “Alice has no character,” said a writer who worked on that project. “She merely plays straight man to a cast of screwball comics.” Of course the character of Carroll’s original Alice is evident in each outrageous creation she dreams up in “Wonderland” and in the sequel, “Through the Looking-Glass,” which means that she’s a straight man to her own imagination. (She is Wonderland.) Here she mostly serves as a foil for the top biller Johnny Depp, who (yes, yes) plays the Mad Hatter, and Mr. Burton’s bright and leaden whimsies.
First thought up by Carroll in a rowboat in which one of the passengers was the 10-year-old Alice Liddell, the object of his much-debated love, “Wonderland” (1865) is, among many other things, a testament to glorious nonsense as well as an inspiration for dark thoughts (about Carroll’s feelings for Liddell) and for lysergic works from the likes of David Lynch. It’s a total (head) trip, one that starts and stops and doesn’t fit easily into the mainstream narrative mold, which could explain why the screenwriter Linda Woolverton, borrowing both from “Wonderland” and “Through the Looking Glass,” has given Alice a back story, a dash of psychology and a battle royal if, alas, not a pool of her own tears in which to swim.
Since narrative momentum isn’t Mr. Burton’s strength, “Alice in Wonderland” probably seemed a good fit for him, and there are moments when his transparent delight in the material lifts the movie and even carries it forward. His Wonderland (here, Underland) isn’t inviting or attractive. The colors are often bilious, though the palette also turns gunmetal gray, bringing to mind “Sweeney Todd.” There’s a suggestively nightmarish aspect to Alice’s journey, as when she steps on some severed heads in the Red Queen’s moat as if they were stones. The queen herself is a horror: Bette Davis as Elizabeth I and reconfigured as a bobble-head doll. Ms. Bonham Carter makes you hear the petulant child in her barbarism and the wounded woman too. She rocks the house and the movie.
And she does, even though the character is a harridan cliché who, smitten with her knave (Crispin Glover) and clutching her power, rules with a boom. (“Off with his head!”) She eventually dukes it out with her rival and sister, the White Queen (Anne Hathaway, gliding like an ice dancer), who enlists Alice’s help. There’s more, including computer-generated flowers, assorted 3-D projectiles and the usual British actors earning their pay, like the “Harry Potter” alumni Timothy Spall, Alan Rickman and Imelda Staunton. Mr. Burton lavishes his attention on the little things in “Wonderland” — the perfectly drawn red heart painted on the center of the Red Queen’s mouth, for instance — perhaps because nothing else claims his attention. He’s very bad with the awkward action scenes, maybe because he’s embarrassed that they even exist.
Mr. Depp’s strenuously flamboyant turn embodies the best and worst of Mr. Burton’s filmmaking tendencies even as the actor brings his own brand of cinematic crazy to the tea party. With his Kabuki-white face, the character seems to have been calculated to invoke Heath Ledger’s Joker, though at his amusing best the Hatter brings to mind a strung-out Carrot Top. But Mr. Depp doesn’t have much to do, which he proves as he wildly flirts with the camera. The only time the character hooks you is in the shivery moment when his gaze turns predatory as he looks at Alice, who, every inch a Tim Burton Goth Girl, from her corpselike pallor to her enervated presence, presents a more convincing vision of death than of sex.
That queasy, potentially rich and frightening moment expectedly fades as fast as the Cheshire Cat (Stephen Fry), which doesn’t leave you with much else to hold onto, Alice included. Mr. Burton’s heroine is a wan figure to hang an entire world on, and Ms. Wasikowska, who’s a livelier, truer presence in the forthcoming “The Kids Are All Right,” barely registers among Mr. Burton’s clanging and the computer-generated galumphing. This isn’t an impossible story to translate to the screen, as the Czech filmmaker Jan Svankmajer showed with “Alice” (1988), where the divide between reality and fantasy blurs as it does in dreams. It’s just hard to know why Mr. Burton, who doesn’t seem much interested in Alice, bothered.
“Alice in Wonderland” is rated PG (Parental guidance suggested). It is a surprise (or not) that this movie, with its severed heads and Jabberwocky battle, is not rated PG-13, which serves as a warning for parents.
ALICE IN WONDERLAND
Directed by Tim Burton; written by Linda Woolverton, based on “Alice’s Adventures in Wonderland” and “Through the Looking-Glass” by Lewis Carroll; director of photography, Dariusz Wolski; edited by Chris Lebenzon; music by Danny Elfman; costumes by Colleen Atwood; senior visual effects supervisor, Ken Ralston; makeup design by Valli O’Reilly; produced by Richard D. Zanuck, Joe Roth, Suzanne Todd and Jennifer Todd; released by Walt Disney Pictures. Running time: 1 hour 48 minutes.
WITH: Johnny Depp (Mad Hatter), Mia Wasikowska (Alice Kingsleigh), Anne Hathaway (White Queen), Helena Bonham Carter (Red Queen), Crispin Glover (Stayne-Knave of Hearts), Matt Lucas (Tweedledee and Tweedledum), Alan Rickman (Absolem the Caterpillar), Timothy Spall (Bayard the Bloodhound) and Imelda Staunton (Tall Flower Faces).
WITH THE VOICES OF: Michael Sheen (White Rabbit), Stephen Fry (Cheshire Cat), Barbara Windsor (Dormouse), Christopher Lee (Jabberwocky), Michael Gough (Dodo) and Paul Whitehouse (March Hare).
John Tenniel---189 years ago
"Alice in Wonderland"--two reviews
Wonderland...an essay by Gerrick D. Kennedy
AS Byatt on Alice, Carroll, and Burton
Burton's "Alice"
"Alice in Wonderland"...Tim Burton style
Tim Burton's "Alice in Wonderland"
- Missed It...charles Lutwidge Dodgson's Birthday
Probably the most beloved child literature author was born on January 27th,1832. Adults enjoy his literature too. Above is a snap of a stage production of Alice in Wonderland taken by Victorian society photographer Alexander Bassano in 1900 at the Vaudeville...
- Alice Through The Years
Alice Liddell Now that the Tim Burton's Alice in Wonderland has come and almost gone, here are some of those who portrayed Alice [Time]. "Through the Looking Glass: The Many Alices of Wonderland" by Allie Townsend March 5th, 2010 Time Wonderland?...
- "alice In Wonderland"--two Reviews
Here are two reviews from two giants in the film industry: The Hollywood Reporter and Variety. "Alice in Wonderland -- Film Review" by Michael Rechtshaffen, February 25th, 2010 The Hollywood Reporter Bottom Line: Truly, madly wonderful. Not that there...
- Wonderland...an Essay By Gerrick D. Kennedy
"Philosophy prof uses 'Wonderland' to answer the big questions" by Gerrick D. Kennedy February 27th, 2010 The Los Angeles Times Are you ready for a trip down the rabbit hole? Tim Burton, Johnny Depp and Disney are adding a strange new chapter...
- Burton's "alice"
Lewis Carroll's Alice In Wonderland is not a normal narrative or a simple story and I will be pleased to see how Burton "fills in the gaps". "'Wonderland' looks curiouser, but Burton fills gaps in story" by Susan Wloszczyna Februrary 26th,...