Alice in Wonderland (2010)

Tim Burton, that wacky-haired visionary director who has redefined classic stories to both great and dismal effect. Most of the good stuff happened in the start of his career (aka the 1980s). “Beetlejuice,” “Batman,” “Pee-Wee’s Big Adventure”—all brimming with inventive imagination of original and well-established characters. During the ‘90s, Burton started to falter. While creating a lot of fun and reinforcing his distinctive film identity (“Mars Attacks,” “Edward Scissorhands,” “Sleepy Hollow”), the films weren’t the top-notch works we were expecting, maybe just from the box office point-of-view (“Ed Wood,” although not a commercial success, was lauded and is the exception to the Burton of 1990s Rule).

Then came the 21st century… and Burton running on fumes. “Planet of the Apes” was an anti-climatic failure of apocalyptic proportions (although I defend it’s ending, the original novel’s finale as well). “Charlie and the Chocolate Factory,” although a wide-eyed update and more faithful adaptation than the classic Gene Wilder version, grows long in the tooth and doesn’t hold up well in subsequent viewings. However, “Big Fish” is the exception to this decade of Burton as a poignant, charming dedication to fathers everywhere.

This brings us to the new decade of Tim Burton with another adaptation: “Alice in Wonderland.” The second Disney-backed adaptation of the classic Lewis Carroll children’s stories that also provides the visuals in 3D, Burton’s version, while distinctive in style from previous adaptations and an overall fun time, is decidedly stiff. Perhaps Burton, himself, tumbled down a bit too far down the rabbit hole on this one.

The title character, now 19-years-old (Mia Wasikowska), is on the verge of accepting a forced marriage proposal from a vapid lord. Running from that without giving an answer, she follows a white rabbit down the hole, tumbling down, avoiding pianos and bouncing off beds in the process, and landing in the room of locked doors. Shrinking with access to tiniest door that only, say, a rabbit could fit through, Alice walks into Wonderland (only referred to as Underland by the characters) meeting with that White Rabbit (Michael Sheen), Tweedledee and Tweedledum (Matt Lucas and… Matt Lucas), the Dormouse (Barbara Windsor), the Cheshire Cat (Stephen Fry), the Caterpillar (Alan Rickman)—all characters Alice believes to be part of a dream she’s had since childhood.

This leads up to the eventual reunion of Alice with the Mad Hatter (Johnny Depp), who urges Alice she must start to prepare for her destiny: a battle with the Jabberwock (Christopher Lee), the menacing dragon under the control of the noticeable-noggined Red Queen (Helena Bonham Carter), who stole the thrown from her younger, more respectable sister, the White Queen (Anne Hathaway). If Alice defeats the creature, order and non-oppressive rule will return with the crown atop the White Queen’s head. Otherwise, the Red Queen and her right-hand man Stayne, the Knave of Hearts (Crispin Glover) will form a tighter grip on Underland.

What starts as a ho-hum beginning, Burton’s “Alice” brings magic into the second act. Dazzling visuals brings Carroll’s fantasyland to life. Personally, a little less CGI could’ve helped (particularly clunky is Glover’s supplanted head on top of an elongated seven-foot frame) but Burton’s visual imagination knows unseen bounds. Particularly unique is Depp’s portrayal of the Mad Hatter—as unique a character as Depp is as unique an actor.

Depp has pointed out that the insanely bright red-orange hair is from actual hatters’ suffering from mercury poisoning (mercury was commonly used to cure felt fabric), but the stark white face with heavily shadowed eyes is something new to the Alice tale. The actor has really found his stride in recent years, offering audiences vast range and surprises (from Jack Sparrow in “Pirates of the Caribbean” to the underrated work as John Dillinger in last year’s “Public Enemies”), never alienating his fan base—only expanding it. And this, his seventh collaboration with Burton, Depp may have provided another open interpretation of a character unique to his own, thanks to the match-made-in-heaven of this actor-director pairing, although among their past work together, it ranks among the least. But that’s still better than most.

Carter and Hathaway both bring a unique charm to their characters, the former a bit more entertaining than the latter. Carter’s digitally enlarged head does nothing to her impressive skill as overbearing and commanding as a tyrannical ruler. Hathaway, an odd yet satisfactory choice for a Burton film, is a bit subdued, not earning much screen time for such a fine actress as she is. Her airy performance and look remind me a lot of Burton’s former muse and real-life partner Lisa Marie, who was, in flashbacks, Ichabod Crane’s mother in “Sleepy Hollow” (Burton and Carter are now partners, having two children together). Perhaps Burton has found another muse to collaborate on with Depp in the near future.

This brings us to the title character, played with deft innocence by the relative newcomer Wasikowska. Her fair looks compliment Burton’s pale career palette, and her portrayal of Alice decent but not extraordinary. She brings a certain charm to the character that makes her likable and someone to root for. At times, though, she comes off a bit rigid and unwelcoming. Still, Burton’s casting choice was satisfactory.

This brings us to the problems.

First and foremost, the heavy use of CGI. I’ve never found Burton comfortable with effects-heavy films, which is possibly why his version of “Apes” failed. His best work has always been using stop-motion animation (“Beetlejuice and the Burton-produced “The Nightmare Before Christmas”), vibrant production design (“Big Fish” and his “Batman” films) and real props and non-computer effects to create illusions (Using Ray Park as the Headless Horseman in “Sleepy Hollow” instantly comes to mind). But a computer-generated bloodhound searching for Alice? Although the result looked decent, I couldn’t fully buy into it. It would’ve been more interesting to see Burton make an “Alice” adaptation at the start of his career. Talk about trippy teatime.

Second, the end battle of the White Queen’s army versus the Red Queen’s seemed anti-climatic and, like the end fight in “Iron Man,” obligatory instead of dynamic and wholly relevant. It is a sight to see, no doubt, but we all are two steps ahead of Burton every step of the way.

Finally, Burton doesn’t insert his usual certain something that he includes in all of his movies. A special ingredient that, no matter the story being something original of his or a tale & set of characters we already know, his distinctive stamp is always there, separating it from the rest. His version of “Alice” lacks that branding. I can’t put my finger on a name for it; its just no there. I’d know it if I saw it.

“Alice in Wonderland” is a unique, fun perspective on the classic Carroll tales but fails in making it completely fresh.

“You would have to be half-mad to dream me up,” Depp’s Mad Hatter tells Alice.

Indeed, Burton is half-crazed and has been for the majority of his career. But true destiny beckons.

I just hope he’s not late for that very important date.

Photos courtesy of Walt Disney Pictures