Down the rabbit hole to a darker ‘Wonderland’ with director Tim Burton

Tim Burton’s “Alice in Wonderland” is not the Disney cartoon of your childhood. The colorful pastels are traded in for the bright, yet somehow still dark colors of Burton’s palette. But don’t despair—despite the changes and the a voice, there are still some winks and nods to the old favorite.

Opening May 5, Burton’s interpretation is an interesting mix of Lewis Carroll’s beloved books “Alice in Wonderland” and “Through the Looking Glass,” borrowing characters from both and sometimes blending two or more fantastical elements. Burton’s Alice is close to turning 20 years old, the age that officially ends childhood and she, naturally, resists the idea.

On the precipice of adulthood, Alice comes to discover who she is and what she wants. This is a common theme for Disney—audiences have seen it many times and yet, perhaps because Alice is of the same age, it speaks particularly well to the college demographic. It’s not uncommon for students to find themselves on the verge of graduation and wishing something would just happen.

Wonderland (in Burton’s version called “Underland”) has its own big problem—the Red Queen played by the wonderful Helena Bonham Carter. She rules Wonderland with that large head of hers and all the vulnerability of a child. Her performance strikes at a universal truth: all bullies just want to be loved.

Burton favorite Johnny Depp as the Mad Hatter was, of course, unforgettable. He has finally shed his “Pirates of the Caribbean” accent, to the relief of audiences worldwide. Depp adds more depth to the Hatter than previously seen in the cartoon, more emotion and range than just being crazy.

Mia Wasikowska, who stars as Alice, was a good choice on Burton’s part. She has a subtle style and said much not only with her dialogue, but with her eyes, which for the majority of the film had a far-away yet focused look to them.

Amidst all these intriguing performances, Anne Hathaway was less-than-stellar as the White Queen. Her silly mannerisms were those of a poor imitation of Glinda from the “Wizard of Oz”.
These drawbacks are ultimately minor in comparison to the beautiful art direction of the film. The highly stylized Wonderland is so familiar yet so delightfully unfamiliar in the off-key manner that we’ve come to love in Tim Burton films.

“Alice in Wonderland,” while it won’t knock the socks off, will speak to Burton aficionados and the general public alike—especially in IMAX 3D.