子どもが原作を読んだので、第一章から全て集め、ひとつずつ鑑賞。怖いと言いつつ最後まで観られました。
エドマンドもルーシーも大きくなっていて、ストーリー内でもその成長を題材にしつつ進んでいました。良かったのは、カスピアンとエドマンドの関係、ペベンシー兄妹とユースチスとの関係、リーピチープとユースチスの関係が、ストーリーが進むにつれて変わっていくところでしょうか?
冒険の部分では、剣を集めるところが少しゲームっぽい印象で、かつ海蛇はだいぶ迫力がありました。
登場人物たちが欲にかられてしまうシーンは、やや不快な印象で、さて自分だったらどうするかと考えさせられましたが、そういう振り返りを促すところも本作の魅力なのかも知れません。
ナルニア国物語/第3章:アスラン王と魔法の島 [DVD]
¥1,530¥1,530
購入を強化する
フォーマット | 色, ドルビー, 吹き替え, 字幕付き, ワイドスクリーン |
コントリビュータ | ジョージー・ヘンリー, マイケル・アプテッド, ベン・バーンズ, ウィル・ポールター, スキャンダー・ケインズ |
言語 | 英語, 日本語 |
稼働時間 | 1 時間 53 分 |
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商品の説明
最高峰のファンタジー・アドベンチャー
海を舞台に新たな冒険へいざ出航!
誰も知らないナルニアの海へ。
<キャスト&スタッフ>
ルーシー…ジョージー・ヘンリー(宇山玲加)
エドマンド…スキャンダー・ケインズ(畠中 祐)
カスピアン…ベン・バーンズ(尾上菊之助)
ユースチス…ウィル・ポールター(朴 璐美)
監督:マイケル・アプテッド
脚本:クリストファー・マルクス/スティーヴン・マクフィーリー/マイケル・ペトローニ
製作:マーク・ジョンソン/アンドリュー・アダムソン/フィリップ・ステュアー
●字幕翻訳:松浦美奈 ●吹替翻訳:佐藤恵子
<ストーリー>
ペベンシー兄妹のエドマンドとルーシーは、いとこのユースチスとともに船の絵画を見ているうちに、ナルニアの世界へと引き込まれる。気づくと彼らは、懐かしいカスピアン王子やもの言うネズミの騎士、リーピチープたちの乗る帆船に乗船していた。待ち受ける魔法、不思議な生き物や邪悪な影からナルニアを守るため、そして、友であり、ナルニアの保護者でもあるアスランとの再会を果たすため、彼らは海の果てを目指す――。
<ポイント>
●海を舞台に始まる新たな冒険、ついに物語はクライマックスへ!
●全世界75カ国で初登場第1位!
登録情報
- アスペクト比 : 1.78:1
- Is Discontinued By Manufacturer : いいえ
- 言語 : 英語, 日本語
- 製品サイズ : 30 x 10 x 20 cm; 83.16 g
- EAN : 4988142867629
- 監督 : マイケル・アプテッド
- メディア形式 : 色, ドルビー, 吹き替え, 字幕付き, ワイドスクリーン
- 時間 : 1 時間 53 分
- 発売日 : 2011/12/16
- 出演 : ジョージー・ヘンリー, スキャンダー・ケインズ, ベン・バーンズ, ウィル・ポールター
- 字幕: : 日本語, 英語
- 販売元 : 20世紀フォックス・ホーム・エンターテイメント・ジャパン
- ASIN : B005WG7EWE
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 79,805位DVD (の売れ筋ランキングを見るDVD)
- - 737位外国のファンタジー映画
- - 841位外国のアドベンチャー映画
- カスタマーレビュー:
カスタマーレビュー
5つ星のうち4.5
星5つ中の4.5
2,426 件のグローバル評価
評価はどのように計算されますか?
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トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2015年7月10日に日本でレビュー済み
Amazonで購入
「ナルニア国物語」原作のシリーズ7巻の中で、一番好きな巻が映画化されるということで、期待と不安が入り混じった気持ちで見ました。
原作で感じた「暗闇島」のあの圧倒的な恐怖感は、映画では、モンスターパニックに置き換えられていたのに、ちょっとびっくりでした。エドマンドの妄想する海蛇って、あんなグロテスクなの?ナルニアにあんなんおらんやろ〜と…(笑)
しかし、このお話の一番の主役は、やはりなんといっても「朝びらき丸」でしょう。
子どもの頃、原作を読み、何度も何度もポーリン・ベインズの描いた挿絵を見ながら、朝びらき丸に乗っている自分を想像して楽しんだものです。その朝びらき丸が、帆に風を受け、大海原を走っているすがたを見ることができる、それだけで、本作は、私にとっては十分満足できました。
原作ファンとしては、鑑賞中に、「をい!(笑)」とツッコミたくなるところもありはしましたが、まあ、映画としてエンターテイメントとしてみれば、しょうがないかな?と。
で、結局は、エンドロールでの原作ファンサービス(と勝手に思っていますw)とでも申しましょうか、ポーリン・ベインズの挿絵が動いている!!いっそのこと、この絵柄でアニメ化してみてはどうかね?と、エンドロールで感涙でした。
かっこよく大海原を走る朝びらき丸を、生きている間に見ることができて、幸せです。
「銀のいす」は、映画化されないのでしょうか…。今度は、「泥足にが衛門」さんの活躍を劇場でみたいのですが…。
原作で感じた「暗闇島」のあの圧倒的な恐怖感は、映画では、モンスターパニックに置き換えられていたのに、ちょっとびっくりでした。エドマンドの妄想する海蛇って、あんなグロテスクなの?ナルニアにあんなんおらんやろ〜と…(笑)
しかし、このお話の一番の主役は、やはりなんといっても「朝びらき丸」でしょう。
子どもの頃、原作を読み、何度も何度もポーリン・ベインズの描いた挿絵を見ながら、朝びらき丸に乗っている自分を想像して楽しんだものです。その朝びらき丸が、帆に風を受け、大海原を走っているすがたを見ることができる、それだけで、本作は、私にとっては十分満足できました。
原作ファンとしては、鑑賞中に、「をい!(笑)」とツッコミたくなるところもありはしましたが、まあ、映画としてエンターテイメントとしてみれば、しょうがないかな?と。
で、結局は、エンドロールでの原作ファンサービス(と勝手に思っていますw)とでも申しましょうか、ポーリン・ベインズの挿絵が動いている!!いっそのこと、この絵柄でアニメ化してみてはどうかね?と、エンドロールで感涙でした。
かっこよく大海原を走る朝びらき丸を、生きている間に見ることができて、幸せです。
「銀のいす」は、映画化されないのでしょうか…。今度は、「泥足にが衛門」さんの活躍を劇場でみたいのですが…。
2021年3月17日に日本でレビュー済み
Amazonで購入
Amazon DVDコレクションの最新バージョン 販売元 ウォルト・ディズニー・ジャパン版を購入したはずが販売元 20世紀フォックス・ホーム・エンターテイメント・ジャパン版が届いた。翌日使用する予定だった為交換依頼せず視聴…いろいろなバージョンがあり購入前に選択に迷う為、DVDソフトに明るい購買層はともかく素人にもわかりやすい商品説明、表示が欲しい。
商品について問合せるべく電話をしたが、まずカートに商品を入れて下さいとカスタマーセンターの担当者の対応が横柄だった。その操作にも戸惑い、結局急いでいた為、再度問合せずとりあえず最新バージョンを購入した。
他の方のレビューに子供のセリフが多くわかりやすいとあったので、非英語圏の外国人学生に視聴させる目的で購入したが、吹き替えと字幕にギャップがあり、これはまずいと感じた。物語の内容は悪くないと思う。
商品について問合せるべく電話をしたが、まずカートに商品を入れて下さいとカスタマーセンターの担当者の対応が横柄だった。その操作にも戸惑い、結局急いでいた為、再度問合せずとりあえず最新バージョンを購入した。
他の方のレビューに子供のセリフが多くわかりやすいとあったので、非英語圏の外国人学生に視聴させる目的で購入したが、吹き替えと字幕にギャップがあり、これはまずいと感じた。物語の内容は悪くないと思う。
2021年11月5日に日本でレビュー済み
Amazonで購入
It was a movie that cherished the original, and it was as expected. I think the casting is also wonderful.
他の国からのトップレビュー

Martin Turner
5つ星のうち3.0
Not to be confused with the book of the same name
2015年11月15日に英国でレビュー済みAmazonで購入
The Voyage of the Dawn Treader has by far the most spectacular and compelling visuals of any of the Narnia film franchise, but it is by far the furthest from the books in terms of plot and ethos. To me, having seen it in the cinema and three times on the small screen, it grows less watchable each time. It comes across as a film by people who very much wanted to make a spectacular Narnia film, but very much disagreed with what CS Lewis's book was about.
The book Voyage of the Dawn Treader is episodic. Essentially, each chapter is a different island, and each island is a different adventure. What unifies is it the transformation of Eustace, not by a process of moral improvement, but by encountering Aslan face to face, after being turned into a dragon.
The film is about defeating a curse based on a dark island which moves around, swallowing hapless sailors. The dark island is, indeed, one of the adventures of the book, but it is a relatively minor one, though terrifying in itself, as it is the island 'where dreams come true'. In the film, it is introduced right at the beginning, and becomes the purpose of the quest right at the end, with other adventures organised around it. Eustace still gets to meet Aslan, but only after he has 'earned' it, by defending the ship against a sea monster.
It's probably fair to say that the character based adventures of Eustace would have been harder to film, and the episodic style might have been rather bitty, but the result—such as it is—is a film which is disappointing to anyone who knows the book, but not especially memorable to anyone who only watched the film. The Hobbit, film, was widely criticised by people who knew and loved the book, but many others loved it. This film does not have anything particular about it that would make you want to read the books if you hadn't already.
Verdict:
The extraordinary visuals are very creditable, but this ends up being a not-so-good 'Pirates of the Caribbean' for a younger audience, rather than an extraordinary journey at the heart of the Narnia series.
The book Voyage of the Dawn Treader is episodic. Essentially, each chapter is a different island, and each island is a different adventure. What unifies is it the transformation of Eustace, not by a process of moral improvement, but by encountering Aslan face to face, after being turned into a dragon.
The film is about defeating a curse based on a dark island which moves around, swallowing hapless sailors. The dark island is, indeed, one of the adventures of the book, but it is a relatively minor one, though terrifying in itself, as it is the island 'where dreams come true'. In the film, it is introduced right at the beginning, and becomes the purpose of the quest right at the end, with other adventures organised around it. Eustace still gets to meet Aslan, but only after he has 'earned' it, by defending the ship against a sea monster.
It's probably fair to say that the character based adventures of Eustace would have been harder to film, and the episodic style might have been rather bitty, but the result—such as it is—is a film which is disappointing to anyone who knows the book, but not especially memorable to anyone who only watched the film. The Hobbit, film, was widely criticised by people who knew and loved the book, but many others loved it. This film does not have anything particular about it that would make you want to read the books if you hadn't already.
Verdict:
The extraordinary visuals are very creditable, but this ends up being a not-so-good 'Pirates of the Caribbean' for a younger audience, rather than an extraordinary journey at the heart of the Narnia series.

Throda tzen
5つ星のうち5.0
“Stop it or I’ll tell mother!” [Eustace] [2 disc version]
2016年2月22日に英国でレビュー済みAmazonで購入
In this 2010 high fantasy, set 3 years after the second movie, ‘Prince Caspian’, Lucy and Edmund Pevensie are staying with their irritating bookworm cousin Eustace are whisked away to Narnia and rescued by Caspian, who captains the Dawn Treader. Together they voyage to rescue the seven Lords of Narnia who fled from his uncle Miraz.
Chronologically this is the third Narnia story published, but fifth in the Narnia timeline, but that’s mostly irrelevant as it’s basically a stand alone, but it does help to have seen the others otherwise you may not get some of the character interplay, but it’s not essential.
Shedding the Nickelodian ham acting of ‘PC’ this is convincingly acted from the start. Beautiful scenery, dazzling visual effects and an atmospheric soundtrack, this doesn’t take itself as serious as it’s predecessor and is far more fun with some great comedy moments, while the annoying and irksome Eustace keeps you firmly grounded and provides most of the wry humour.
The first disc opens to play, set up [English, Swedish, Norwegian, commentary and subtitles as languages with Danish and English hard of hearing], scenes and extras [deleted scenes, commentary and 3 music videos]. The second disc is brimming with extras.
Children of all ages will be enthralled by this, even sceptical teens. This isn’t as ‘dark’ an atmosphere as ‘PC’ but does posses an eerie supernatural edge with violent storms, sea monsters, dragons and many other weird and comical creatures to keep you entertained. A brilliant and wonderful fantasy for all the family [PG of course!] –even if the younger ones might hide behind the sofa!
Chronologically this is the third Narnia story published, but fifth in the Narnia timeline, but that’s mostly irrelevant as it’s basically a stand alone, but it does help to have seen the others otherwise you may not get some of the character interplay, but it’s not essential.
Shedding the Nickelodian ham acting of ‘PC’ this is convincingly acted from the start. Beautiful scenery, dazzling visual effects and an atmospheric soundtrack, this doesn’t take itself as serious as it’s predecessor and is far more fun with some great comedy moments, while the annoying and irksome Eustace keeps you firmly grounded and provides most of the wry humour.
The first disc opens to play, set up [English, Swedish, Norwegian, commentary and subtitles as languages with Danish and English hard of hearing], scenes and extras [deleted scenes, commentary and 3 music videos]. The second disc is brimming with extras.
Children of all ages will be enthralled by this, even sceptical teens. This isn’t as ‘dark’ an atmosphere as ‘PC’ but does posses an eerie supernatural edge with violent storms, sea monsters, dragons and many other weird and comical creatures to keep you entertained. A brilliant and wonderful fantasy for all the family [PG of course!] –even if the younger ones might hide behind the sofa!

Mooncarrot the Hare
5つ星のうち5.0
Goodbye Lucy and Edmund, until the end of time.
2011年5月21日に英国でレビュー済みAmazonで購入
The Voyage of the Dawn Treader is by far and away the best of the three Chronicles of Narnia films.
The artistry is superb and a number of scenes from the book have been imaginatively visualised to the viewer's great pleasure. Coriakin's island of the Dufflepuds and his mansion with the evening sunlight streaming through the hallway merit a special mention for evoking a haunting atmosphere. The soundtrack has memorable moments. In particular the score for the scene where Aslan `undragons' Eustace is both grave and moving; and conveys, in a way words never could, the majestic pity in the grace of this act of charity of the King of all Narnian Kings. Will Poulter is worth watching for his performance as the boy with the almost-deserved name. And there's the cameo role for Douglas Gresham (who is also the voice of the newsreader in the first film).
However, all true Narnians will be sad that this is very likely the last of the big screen versions of these tales. This can be seen in the fact that the scriptwriters and producers have done a very clever job of incorporating significant stylistic elements from the other books into this film without altering the story too much.
Narrowhaven, deserted in the evening light, is Charn under its red sun. Bells announce the arrival of danger, as the ringing of one does in The Magician's Nephew . The hall of the governor is modelled on Charn's hall of images. The `snakes' of green mist do the service of representing the green snake that kills Rilian's mother and, in human form, abducts him, in The Silver Chair (the mist `abducts' the Narrowhaveners). Eustace slashing with the sword at the enveloping `snakes' of green mist is Rillian fighting the Green witch-turned-serpent (and this scene serves as Eustace's reappearance to save Narnia, which occurs in The Silver Chair).
The Green witch herself appears in the form of Tilda Swinton's green-tinted White witch. She dies when Edmund kills the sea serpent (a snake), in the same manner as the Green witch when Rillian attacks her with his sword. Ramandu's daughter is their guide, doing the service of Puddleglum who is the children's guide in The Silver Chair. She descends from the sky like the stars in The Last Battle. Lucy speaking the spell beautiful, and then waking, is Jill Pole in the castle of the giants when Aslan makes her see clearly, in a dream during a rainy night (there is a storm at sea), what she see ought to have seen (and Jill is given her own inclusion at the end of the film).
The Calormenes and their defeat at the fight at Anvard get a mention in Caspian's summation of the state of Narnia. Gale is reminiscent of Aravis from The Horse and his Boy, who likewise leaves home for an adventure. Susan's liking for lipstick is given a graphic representation - and a reversal when she wants to go back to Narnia (it should have been because she is 'once a queen in Narnia, always a queen'). And the flooding of the bedroom, and by implication, Earth, at the beginning of the film is the flooding of Narnia in The Last Battle; both are the same apocalyptic image.
So there we have it: five books in one film.
If there should be a major criticism of the film it would have to be about its underlying ethos. Everyone knows that Lewis was a Christian and his stories are `about God'. Yet the alterations in the story that have been made to give the film a necessary flow of tension and relief suggest something else.
Dark Island is described as a place of `pure evil'. It sits opposite Ramandu's Island, where Aslan's Table is located. This implies the existence of two equal and opposite powers competing for control of the world. This is dualism, something Lewis argued against. For Christian cinema-goers, the idea that darkness is in itself evil or is the symbol of evil is certainly not scriptural.
The seven swords of Aslan (invented for this film, but perhaps inspired by the tree of protection that Aslan once plants) have to be aligned to release `healing' energy and put the world right. This is a typical motif of a philosophy called monism. Its religious derivative, pantheism, is something Lewis wrote strongly against. However if the seven swords are intended to be representative of the seven novels then that would be an appropriate tribute.
There is another problem with the addition of the seven swords. Coriakin tells the travellers that they must lay the seven swords on Aslan's table on Ramandu's Island in order to destroy evil. He sent the six lords to do just that. However at that point in the film one sword has already been left behind on the Lone Islands and another on Goldwater Island. So the lords could never have fulfilled their mission. This illustrates the problem of scriptwriters trying to change and complicate the original plot of a book. What was obviously necessary for the film version was to make a visible and central evil opponent. This has been done by orchestrating the sea serpent and Dark island into a crescendo. The book lacks this as it is simply a journey (an illustration of the journey of faith).
This inconsistency with the seven swords could never have been passed off in a book. This is because the reader has to constantly use his or her imagination as they read. That it can pass unobserved in a film shows how much the medium of film hoovers out the audience's imagination.
Then there is confusion about where temptation comes from exactly. Does it come from the 'darkness within', as Coriakin says? Or does it come from outside, as Lucy says to Edmund and Caspian by the underground pool that turns everything to gold? The Gospel view of the source of temptation is the human heart (a person's conscience, will and affections). The book, illustrating the journey of faith, was in a strict sense about resisting temptation. The idea that there is light and dark within each person, and they only have to turn to the light, is an idea that begs the question that Lewis asked: What makes light so attractive? Why turn to the light when the dark can get you what you want equally well (as the pantheist Nikabrik turns with alacrity from Aslan to the servants of the White witch in the story of Prince Caspian)? The attraction to the light must come from without.
After being `undragoned', Eustace says, "It wasn't all bad being a dragon. I think I was a better dragon than a boy". Why, then, be `undragoned' at all? His speech implies that a dragon is someone who has good and bad inside them, and all that is required is to turn them inside out like an old sock for them to be as right as rain. Whatever this idea is, it is not the Christian theology that Lewis wrote about. The spell that Lucy recites to make the unseen seen equates psychology, psychiatry and theology as acceptable means of making things visible. What can `enquiring within', the practice of the first two of these three things, reveal to you if out of the human heart come evil thoughts?
The scene where Lucy uses the spell on board the ship to make herself beautiful has been illustrated in a striking way in this film. The change from the stormy weather to the complete calm of a sunlit morning is very evocative of Lucy's change of mood from disturbance to resolute action. But is it what Lewis really intended? Lucy does not 'doubt her value', a morally neutral act, but rather commits the sin of jealousy. Nor does her action in the book wish herself away. In the book Lucy becomes a Helen of Troy figure; the face that launched a thousand ships, and a war.
All this may seem to weigh heavily against any possible enjoyment of the film. However, I think we can use one of Lewis' own metaphors here. All these things objected to above can be regarded as the wasps that buzz around while you are having a picnic in a beautiful part of the countryside. You needn't let them stop you having the picnic or enjoying the view.
All true Narnians who will miss Lucy and Edmund until the end of time can certainly enjoy this film until that time when time does indeed end.
The artistry is superb and a number of scenes from the book have been imaginatively visualised to the viewer's great pleasure. Coriakin's island of the Dufflepuds and his mansion with the evening sunlight streaming through the hallway merit a special mention for evoking a haunting atmosphere. The soundtrack has memorable moments. In particular the score for the scene where Aslan `undragons' Eustace is both grave and moving; and conveys, in a way words never could, the majestic pity in the grace of this act of charity of the King of all Narnian Kings. Will Poulter is worth watching for his performance as the boy with the almost-deserved name. And there's the cameo role for Douglas Gresham (who is also the voice of the newsreader in the first film).
However, all true Narnians will be sad that this is very likely the last of the big screen versions of these tales. This can be seen in the fact that the scriptwriters and producers have done a very clever job of incorporating significant stylistic elements from the other books into this film without altering the story too much.
Narrowhaven, deserted in the evening light, is Charn under its red sun. Bells announce the arrival of danger, as the ringing of one does in The Magician's Nephew . The hall of the governor is modelled on Charn's hall of images. The `snakes' of green mist do the service of representing the green snake that kills Rilian's mother and, in human form, abducts him, in The Silver Chair (the mist `abducts' the Narrowhaveners). Eustace slashing with the sword at the enveloping `snakes' of green mist is Rillian fighting the Green witch-turned-serpent (and this scene serves as Eustace's reappearance to save Narnia, which occurs in The Silver Chair).
The Green witch herself appears in the form of Tilda Swinton's green-tinted White witch. She dies when Edmund kills the sea serpent (a snake), in the same manner as the Green witch when Rillian attacks her with his sword. Ramandu's daughter is their guide, doing the service of Puddleglum who is the children's guide in The Silver Chair. She descends from the sky like the stars in The Last Battle. Lucy speaking the spell beautiful, and then waking, is Jill Pole in the castle of the giants when Aslan makes her see clearly, in a dream during a rainy night (there is a storm at sea), what she see ought to have seen (and Jill is given her own inclusion at the end of the film).
The Calormenes and their defeat at the fight at Anvard get a mention in Caspian's summation of the state of Narnia. Gale is reminiscent of Aravis from The Horse and his Boy, who likewise leaves home for an adventure. Susan's liking for lipstick is given a graphic representation - and a reversal when she wants to go back to Narnia (it should have been because she is 'once a queen in Narnia, always a queen'). And the flooding of the bedroom, and by implication, Earth, at the beginning of the film is the flooding of Narnia in The Last Battle; both are the same apocalyptic image.
So there we have it: five books in one film.
If there should be a major criticism of the film it would have to be about its underlying ethos. Everyone knows that Lewis was a Christian and his stories are `about God'. Yet the alterations in the story that have been made to give the film a necessary flow of tension and relief suggest something else.
Dark Island is described as a place of `pure evil'. It sits opposite Ramandu's Island, where Aslan's Table is located. This implies the existence of two equal and opposite powers competing for control of the world. This is dualism, something Lewis argued against. For Christian cinema-goers, the idea that darkness is in itself evil or is the symbol of evil is certainly not scriptural.
The seven swords of Aslan (invented for this film, but perhaps inspired by the tree of protection that Aslan once plants) have to be aligned to release `healing' energy and put the world right. This is a typical motif of a philosophy called monism. Its religious derivative, pantheism, is something Lewis wrote strongly against. However if the seven swords are intended to be representative of the seven novels then that would be an appropriate tribute.
There is another problem with the addition of the seven swords. Coriakin tells the travellers that they must lay the seven swords on Aslan's table on Ramandu's Island in order to destroy evil. He sent the six lords to do just that. However at that point in the film one sword has already been left behind on the Lone Islands and another on Goldwater Island. So the lords could never have fulfilled their mission. This illustrates the problem of scriptwriters trying to change and complicate the original plot of a book. What was obviously necessary for the film version was to make a visible and central evil opponent. This has been done by orchestrating the sea serpent and Dark island into a crescendo. The book lacks this as it is simply a journey (an illustration of the journey of faith).
This inconsistency with the seven swords could never have been passed off in a book. This is because the reader has to constantly use his or her imagination as they read. That it can pass unobserved in a film shows how much the medium of film hoovers out the audience's imagination.
Then there is confusion about where temptation comes from exactly. Does it come from the 'darkness within', as Coriakin says? Or does it come from outside, as Lucy says to Edmund and Caspian by the underground pool that turns everything to gold? The Gospel view of the source of temptation is the human heart (a person's conscience, will and affections). The book, illustrating the journey of faith, was in a strict sense about resisting temptation. The idea that there is light and dark within each person, and they only have to turn to the light, is an idea that begs the question that Lewis asked: What makes light so attractive? Why turn to the light when the dark can get you what you want equally well (as the pantheist Nikabrik turns with alacrity from Aslan to the servants of the White witch in the story of Prince Caspian)? The attraction to the light must come from without.
After being `undragoned', Eustace says, "It wasn't all bad being a dragon. I think I was a better dragon than a boy". Why, then, be `undragoned' at all? His speech implies that a dragon is someone who has good and bad inside them, and all that is required is to turn them inside out like an old sock for them to be as right as rain. Whatever this idea is, it is not the Christian theology that Lewis wrote about. The spell that Lucy recites to make the unseen seen equates psychology, psychiatry and theology as acceptable means of making things visible. What can `enquiring within', the practice of the first two of these three things, reveal to you if out of the human heart come evil thoughts?
The scene where Lucy uses the spell on board the ship to make herself beautiful has been illustrated in a striking way in this film. The change from the stormy weather to the complete calm of a sunlit morning is very evocative of Lucy's change of mood from disturbance to resolute action. But is it what Lewis really intended? Lucy does not 'doubt her value', a morally neutral act, but rather commits the sin of jealousy. Nor does her action in the book wish herself away. In the book Lucy becomes a Helen of Troy figure; the face that launched a thousand ships, and a war.
All this may seem to weigh heavily against any possible enjoyment of the film. However, I think we can use one of Lewis' own metaphors here. All these things objected to above can be regarded as the wasps that buzz around while you are having a picnic in a beautiful part of the countryside. You needn't let them stop you having the picnic or enjoying the view.
All true Narnians who will miss Lucy and Edmund until the end of time can certainly enjoy this film until that time when time does indeed end.

Ken D
5つ星のうち5.0
A movie for all.....
2016年7月10日に英国でレビュー済みAmazonで購入
Great DVD, the third and the last one that was made from the C.S. Lewis collection. It may not be the best of the three film but it is still a great family movie for all to watch from Primary School Age til 100+. It's the type of family movie that will keep the whole family quiet until the final credits role. I can't remember what I paid at the time but at a much higher cost than £3 I though it was good value then. Buy this DVD (for £3) and you have exceptionally good value for your money.

Booklover
5つ星のうち5.0
Chronicles of Narnia - Voyage of the Dawn Treader
2011年6月15日に英国でレビュー済みAmazonで購入
Regardless of what age you are if you grew up with the Chronicles of Narnia you will enjoy this film adaptation of the book. The books of course will always contain more detail but the film still does it justice with it's rather fetching special effects. The young man cast as Eustace is well worth seeing as he really brings to life the obnoxious little toad that is portrayed in the original books. The only downside for myself was the loss of Ben Barnes accent in the new film - personally I think they should have kept it (ok so I found it a bit of a turn-on!)- but young or old alike it's a true family film which everyone will enjoy.