La bussola d'oro

For some strange reason, a theater in the middle of the cornfield in Indiana had a sneak preview of the Golden Compass, and being a fan of the books I decided to take advantage of it. I wasn't sure what I was getting into, as there seems to be a rather large glut of Harry Potter and Lord of the Rings wannabes crowding theaters now and in the near future. This version of the Golden Compass beautifully brings the books to life and was very pleasing to watch with rather nice visuals. The acting is quite good, especially from the young lead, and the animation makes one wonder what they can't do with computers these days. The only true complaint I have about this movie is that it is difficult to understand and follow if one is not familiar with the books. Some scenes at the beginning seems disconnected, but after the halfway point the story comes together. The Golden Compass series is rather dark in its nature, and I'm glad that the movie didn't pull any punches with the supernatural combat (which is awesome, specifically when the witches and bears do battle). Some liberty is taken with the story as expected, and many church references are renamed, but the quality of the story never suffers. I recommend the movie and I look forward to seeing the rest of the trilogy completed.

Literary adaptations are always a testy business, with filmmakers consistently trying to appease fans of the original work while still making sufficient changes to make the material work as a film. With this in mind, as well as the inevitable uproar from various religious sects, The Golden Compass, adapted from the first book in Philip Pullman's 'His Dark Materials' trilogy was hardly an easy sell, and by no means a sure bid for box office success. Despite all of the negative factors against it, the film, while not the timeless fantasy epic it would like to be, proves a decent adaptation of Pullman's work and a sufficiently entertaining piece of escapism to boot.

Despite initial skepticism, director Chris Weitz of American Pie infamy demonstrates sufficient care and interest in his subject matter to bring the novel to life in a suitably quality fashion. Despite the occasional moment of flashy cinematography or special effects giving the impression of a child experimenting with his film-making toys, Weitz demonstrates a firm and steady grip on his film, keeping the tone light for a younger audience while retaining the occasional darker moment from the book to keep fans satisfied. Weitz's screenplay, while nowhere near as disappointing as it could have been, falls prey to the typical film fantasy pitfall of consistently struggling to force-feed as much information to the audience as possible as quickly and in as simplistic a fashion as possible, leading to a somewhat rushed narrative and an irritating lack of character development or exposition. Fans of the source material will likely grumble due to the occasional creative change, some more noticeable than others, while those unfamiliar with Pullman's books may be lost in a flurry of confusion, bombarded with a constant array of new names, faces and theoretical concepts. However, despite a disappointingly simplistic tone, the sheer enjoyment factor of the novel is not lost, and such is the film's primary strength: entertainment, if at the cost of profundity.

The special effects are for the most part top notch - the shapeshifting daemon effects are impressively integrated, the armoured bear fight is without question the pure, unfiltered exhilarating spectacle of the year, and the final mass battle sequence is similarly thrilling. The film's sets, costumes and props are spellbinding, easily giving the viewer the sense of being immersed in an imaginative alternate world with all of the visual splendour befitting such a fantasy epic. However, the film's musical score is a painful rehash of far too many clichéd epic film scores of late - far too overdone to be in the least emotionally affecting.

The stellar cast prove to be the film's high point, each inhabiting their roles with a comfort suggesting they had been born to play their respective parts. Newcomer Dakota Blue Richards is a revelation, surpassing the wooden efforts of most other child actors and carrying her lead role with ease, holding her own alongside her incredibly accomplished adult co-stars. Nicole Kidman is sheer perfection as the malevolent yet hypnotic Mrs. Coulter, effortlessly walking away with the show - every moment on screen, every glance, every movement is entirely in character, so fully does Kidman make the role her own. Daniel Craig proves a very fitting choice as scientific explorer Lord Asriel, making good use of his far too fleeting screen time, though one can't help but wish his character had a slight bit more of an edge to him.

Sam Elliot gives his strongest performance in years, instilling sardonic aeronaut Lee Scoresby with an offbeat charisma and sly humour wonderfully fitting the role and Eva Green is an ethereal and captivating presence as mysterious witch Serafina Pekkala. The somberous tones of Ian McKellan prove ideal in breathing life and soul into armoured bear Iorek Byrnison, and young Freddie Highmore is well cast as the voice of Lyra's daemon, Pantalaimon. Derek Jacobi and Simon McBurney give strong, if one dimensional performances as heads of the ominous Magesterium organization, as does Christopher Lee, whose 'blink-and-you-miss- him' role appears to be nothing less than a blatant cash in on The Lord of the Rings, but who delivers his one line well at any rate.

While fans of the novels may lament the watering down of the philosophical undertones of Pullman's novel, and the film being directed towards a younger audience, on the whole, despite the inescapable criticisms, as a sprawling piece of fantasy escapism, immersing the viewer in a world of armoured bears, daemons and witches, the film is a rousing success. It's just a shame to see such a strong premise fraught with such an overbearing air of caution and safety to please the lower common denominator, and one can't help but wish the producers had been slightly more daring, and captured a trace more of Pullman's nervy grit and spark to make the film a slightly less generic Hollywood blockbuster, and more satisfying overall. The film certainly isn't the 'next Lord of the Rings' which New Line certainly seems to intend for it to become, but an enjoyable and sufficiently impressive effort to warrant the next installment in the series, The Subtle Knife being made.

-7.5/10

It says something when you almost enjoy but then have to consult Wikipedia halfway through in order to remind yourself what is going on . It was via Wikipedia that I found out a very interesting fact and that is that original novelist Philip Pullman wrote his book with a heavy anti religious tone and this almost started to make sense almost and I do emphasise almost . One can almost imagine the ruling elite of this parallel universe called the Magisterium is a metaphor for the Vatican . Did I mention almost ? Good because there's to be two things fighting against each other in this movie from a narrative point of view and I'm talking about the good guys versus the bad guys . What I mean is that despite rejecting the religious nonsense seen in the world every person reading this lives in this alternative universe is equally guilty of spiritual poppycock . All religions come under metaphysics and while not all nonsense is metaphysical just about all metaphysics is nonsense in itself . We all know someone like this is real life where someone is well educated , perhaps holding a degree in the fields of science only to let them themselves down by stating they believe in Karma or a belief that string theory suggests there's an afterlife . It's the same with THE GOLDEN COMPASS that might have rejected the existence of Abrahamic God but is happy to have other metaphysical stuff to drive the story

In other words it seems like a film that is in conflict with itself as to the subtext almost as though stuff has been added to as not to alienate the believer which seems to suggest a moral cowardice of sorts . If there's stuff been added then one also gets the instinct that a lot has been take out of the film at an editing level . Characters come and go in a haphazard manner such as Daniel Craig's Lord Asriel who disappears and you keep expecting him to make a reappearance which he doesn't really . Likewise the Magisteruim's high council who you feel are just there to give some well respected actors a brief cameo to prop up the box office . There's also a much need for exposition which is a short coming . I'm left pretty clueless as to what the significance of Dust is and other plot points . I can understand that this might have been explained more if the series had gone ahead in a planned trilogy but the poor box office showing meant that idea was scrapped which is something of a pity because for what it is a - a dark fairy tale - it works very well on a visual level with some very good performances . But that said the disjointed manner of the storytelling dooms the film to a large degree

Some great scenes, some fascinating artwork, and, although in rather short supply, some enchanting acting performances such as from Eva Green who portrayed a witch, or from Sam Elliot who was superb, or from young Dakota Blue Richards who was indeed good, and Nicole Kidman, who always is impressive though this time maybe was not at her best.

I enjoyed the film, yes, but... something was missing and I just can not put my finger on it. The film seems to rush through the story, not flow with the story. The end comes to soon, and yet no conclusions are drawn so that a sequel will obviously follow. However, whether I would bother watching it when it does come, I really am not sure.

A nice little film... but by no means brilliant.

I am among those who have not read the book and I found it to be initially confusing and boring but the film picks up after Lyra is taken into Mrs. Coultier's lavish house. The pace picks up but it may seem a little too rushed. The ending was sort of continuous, requiring a sequel. I would have liked to see the second movie but unfortunately, there is a rumour that it may not happen which is quite a pity because I thought 'The Golden Compass' was going somewhere. It is not the best movie of its kind but I thought it was not so bad either. The special effects are good. The characters are lively. I loved the daemons. It's got quite a stellar cast but only Nicole Kidman gets enough screen time to be noticed. Gorgeous, glamorous and deceitful, could not picture anyone else for the part of Mrs. Coultier. (I am almost sure that the rest were promised a lengthier role in the sequels). Daniel Craig only has about 15 minutes but he makes the best of it. Sam Elliot is funny. Dakota Blue Richards is a confident young actress and she carries off Lyra well. Overall I enjoyed the world that was created in this movie and the characters. Too bad that it's left incomplete.