Adapting a classic book to the film world will always generate conversation about the merits of the translation and how well the filmmakers did in doing so. What most fans of a book do not know or possibly think about is that they are two different mediums, each with its own rules to succeeding. Someone like C.S. Lewis, who writes in thick brush strokes, allows a film translation easily, I believe, for the filmmakers who can improvise certain elements Lewis just hints at. After reading the book, then seeing the movie, “the Lion, the Witch, and the Wardrobe” was a really good adaptation and a fun fantasy movie. “Prince Caspian” as it is, is a bit of a bore, an average attempt at its translation.

For those who have not read the book but seen the first movie, this one begins with the four children, now a bit older, still struggling to adapt in the real life, after their glorious reign in Narnia. Suddenly, they’re whisked away to what appears to be Narnia, except something is different. As they go about they discover that this place is in fact Narnia, but centuries older, and unfortunately, the old Narnia is long gone. King Miraz now reigns and almost all of Narnia’s creatures are gone or in seclusion. The children learn that King Miraz has seized the throne and has planned an attack on Narnians and Narnia’s true king, Prince Caspian.

One of “Prince Caspian’s” flaws is the lack of character development on Prince Caspian. In the book, there was this chapter on him, his back story, and how he became a believer of Old Narnia and Aslan. Here, he’s whiney and unsure and you never get the feeling like he’ll become a good leader. He really has no arc; it’s Peter who makes him the rightful King, a gesture that further strengthens Peter’s character but undermines Caspian. In the book, Caspian is taught about old Narnia from his teacher, Doctor Cornelius. Here we get the sense of old Narnia’s last chance at a revival, the purpose of Caspian and his mission, but in the film this is completely wiped away, as Cornelius is barely in the film and no back story on Caspian like I’ve mentioned.

Ben Barnes does a good job with such a shallow character that’s poorly written. Some have said “Prince Caspian” is one of the weaker Narnia novels, but if it is or isn’t, this is no fault of Lewis, but of Adamson’s direction and screenwriting for the film adaptation. Where characterization should have been, added fights sequences come about. Now, this is visually spectacular with all sorts of beasties going at it. Adamson coming from the animation world delivers some thrilling fights, but the film’s added darkness and lack of characterization does a disservice to these sequences. Certainly the plight of the Narnians is somber and dark, but one of the reasons “Lion, Witch, and the Wardrobe” worked was that it feels different than recent fantasy films. Here, I kept getting the sense that this was a mirror version of “Two Towers” from the “Lord of the Rings”.

Such a proclaim about “Prince Caspian” isn’t unwarranted, as Lewis and Tolkien were friends and often discussed literature with one another, but does the film have to be so closely resembling the Oscar-winning trilogy? The look of the film feels recycled and so does the basic premise of war. Adamson adds a level of violence that challenges the MPAA’s decision on its PG rating; so much so, I am puzzled by Disney’s feelings on this. They let it go, obviously. I feel here the darkness and senseless violence hinder this particular franchise. The first film had magic, great characters, and Lewis’ message was there to be had for those listening. In “Prince Caspian” is almost drowned out by the film’s uneven tone and balance. It’s a slow start that hurries to action, only to pause for an uninteresting romantic tangent.

Not all is lost though, as WETA and KNB Effects do a marvelous job on CG and creature make-up. One such example is the seduction of Caspian in order to have the White Witch set free. The creatures are menacing, the effects marvelous, and her brief appearance is a highlight, recreating that magic seemingly lost here in “Prince Caspian”. The score is also thunderous and eventful.

Despite my apparent disappointment with “Prince Caspian”, something tells me that this might require a second viewing to gather a more thorough look at it. With “Voyage of the Dawn Treader” in a few years, I hope for a directorial change, if only to get fresh eyes to the subject matter. No offense to Adamson, he does direct the heck out of the picture, but I think a fresh approach would be welcomed. There are elements at the end here that could lead to a more developed Prince Caspian, something I’m eager to see, considering he is so one-dimensional here. “Prince Caspian” didn’t sink this franchise’s ship-there are a lot of good moments-but it has set it in idle.