alice in wonderland movie review essay

Alice in Wonderland (2010 film)

By tim burton.

• Alice in Wonderland (2010 film) Summary

The film begins with a young Alice waking in the middle of the night to tell her father that she is having a nightmare. He interrupts a business meeting about foreign trade routes to tuck her back into bed, where he tells her that she is mad, but that "all the best people are."

The film then jumps 13 years into the future. Alice is almost 20 and is arriving at a garden party with her mother; her father has died. There, Hamish , the son of a business associate of Alice's father, proposes to Alice, in front of all the guests. Alice tells everyone that she needs a moment and begins to follow a white rabbit that is wearing a waistcoat to a tree nearby. Alice falls through the rabbit's rabbit-hole and finds herself in a strange room, too big to fit through the exit door. She finds a bottle that is labeled with a tag "drink me"; she does so, and becomes very small. She then eats a cake that causes her to become large. Eventually, she manages to find the key and get to the right size to go through the tiny door. Opening the door, Alice emerges into a strange landscape, where she is greeted by the White Rabbit, the dormouse, a Dodo Bird and Tweedledum and Tweedledee. They lead her to Absolem, a wise caterpillar, as they believe she could be the Alice they are looking for to restore power to the White Queen , but Absolem doesn't believe she is the one in his prophecy.

Believing she is in a dream, Alice attempts to wake up, but to no avail. Soon after, the Bandersnatch, led by the Knave of Hearts, begins to chase them all down. Tweedledee and Tweedledum are plucked from the ground by the Jubjub bird and taken to the castle of the Red Queen , the reigning tyrant. There the Red Queen learns of the prophecy of Alice defeating her Jabberwocky.

Alice, now alone, meets the Cheshire Cat, who leads her to a tea party with the Mad Hatter , the March Hare, and the dormouse. When they hear the Knave of Hearts coming in search of Alice, the Mad Hatter shrinks Alice and stuffs her in a teapot. The Knave threatens everyone with death if they are hiding her, as his bloodhound, the enslaved Bayard sniffs out Alice. The Hatter urges Bayard to lead the Knave astray, which he does.

With Bayard's help, Alice eventually arrives at the Red Queen's castle. There, she eats a bit of cake and grows much larger. The Red Queen doesn't know who she is and welcomes her into her palace, impressed by her size. There Alice discovers that the vorpal sword, the weapon with which she is meant to slay the Jabberwocky, is locked in the den of the Bandersnatch. When the Knave of Hearts tries to seduce Alice, the Red Queen becomes enraged with jealousy and orders for Alice to be beheaded, but Alice is able to escape and retrieve the vorpal sword with the help of the Bandersnatch, whose trust she has earned. She rides the Bandersnatch to the White Queen's castle.

At the White Queen's castle, Alice learns that she has been to Wonderland before as a child. She hasn't been dreaming any of this, and she suddenly is flooded with memories of Wonderland. She realizes now that this is very real and her destiny is to kill the Jabberwocky. Absolem tells Alice that the vorpal sword knows what it wants, all she has to do is hold on to it. The armies of the Red and White Queens meet on the battlefield for a final showdown and the Jabberwocky is released. Alice must finally face the beast in order to save the kingdom from destruction by the Red Queen and return sovereignty to the benevolent White Queen. Alice does battle with the Jabberwocky and is able to cut its head off.

The White Queen banishes the Red Queen and the Knave of Hearts. When the Knave attempts to kill the Red Queen the Mad Hatter stops him. The White Queen then gives Alice a vial of the Jabberwocky's blood which she is told will grant whatever she wishes. Alice wishes to go back to her life in England.

When she returns to the garden party, Alice declines Hamish's proposal, and decides to expand her father's shipping and trade route with his business partner. She is last seen on a ship heading to China, where Absolem, now a butterfly, lands on her shoulder.

Alice in Wonderland (2010 film) Questions and Answers

The Question and Answer section for Alice in Wonderland (2010 film) is a great resource to ask questions, find answers, and discuss the novel.

Study Guide for Alice in Wonderland (2010 film)

Alice in Wonderland (2010 film) study guide contains a biography of Tim Burton, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About Alice in Wonderland (2010 film)
• Character List
• Director's Influence

Wikipedia Entries for Alice in Wonderland (2010 film)

• Introduction

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Alice in wonderland: film review.

Not that there was any doubt that, when it came to restaging the Lewis Carroll classic for a 21st century sensibility, Tim Burton would be the man for the job.

By THR Staff

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Not that there was any doubt that, when it came to restaging the 1865 Lewis Carroll classic for a 21st century sensibility, Tim Burton would be the man for the job.

But even the filmmaker’s trademark winsomely outlandish style doesn’t prepare you for the thoroughly enjoyable spectacle that is his “ Alice in Wonderland .”

The Bottom Line  Truly, madly wonderful.

A fantastical romp that proves every bit as transporting as that movie about the blue people of Pandora, his “Alice” is more than just a gorgeous 3D sight to behold.

Armed with a smartly reshaped but still reverential script by Linda Woolverton (“Beauty and the Beast,” “The Lion King”), Burton has delivered a subversively witty, brilliantly cast, whimsically appointed dazzler that also manages to hit all the emotionally satisfying marks.

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Disney won’t have to consume any little cakes in glass boxes in order for the resulting worldwide boxoffice to reach colossal heights.

That’s a given for this PG-rated (blame it on that smoking caterpillar) release, which also should emerge as an early, cross-category Oscar contender.

No longer a wide-eyed child, Alice Kingsleigh (a pitch-perfect Mia Wasikowska ) is now an easily distracted 19-year-old who seems hopelessly out of sync with her muted Victorian surroundings.

Dodging a garden-party marriage proposal from the dorky son of a lord and lady, Alice instead opts to take off after a pocket watch-clutching rabbit (voiced by Michael Sheen), giving those 3D glasses their first major workout as she plunges deeper and deeper into Underland.

Although she doesn’t realize it, Alice has been down this particular rabbit hole before, when she was a much younger, more spirited girl.

But before she’s able to get back in touch with her “muchness,” she’ll bond with a mercury-poisoned Mad Hatter (Johnny Depp, in another blissfully out-there tragicomic performance) and butt heads with the tyrannical Iracebeth (a never-better Helena Bonham Carter , who is an absolute scream of a Red Queen).

Whether they were required to spend quality time in front of a greenscreen or were totally CGI creations, all the usual suspects, from the rotund Tweedledee and Tweedledum (Matt Lucas times two) to the disembodied Cheshire Cat (Stephen Fry) to the fearsome Jabberwocky (the great Christopher Lee), are present and brilliantly accounted for in collaboration with special effects master Ken Ralston.

Although Carroll purists might pooh-pooh some of the script’s more radical alterations, like bringing Alice up to legal age, the shift helps hit home the film’s welcome message of female empowerment.

Ultimately, it’s the visual landscape that makes Alice’s newest adventure so wondrous, as technology has finally been able to catch up with Burton’s endlessly fertile imagination.

Also taking their cues from John Tenniel’s original illustrations, Robert Stromberg’s fanciful production design and costume designer Colleen Atwood’s ever-inspired wardrobe selection help make it quite the trippy trip.  

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Alice in Wonderland Movie Review Example

If I could write my essay about anything in the world, I would probably go for a movie review. Ideally, a screen adaptation of a beloved classic. Yet that’s me – you do you. Just look at the magic that can happen if you are really into your topic!

For Those Who Wonder if “Alice in Wonderland” is Worth Watching

Tim Burton’s“Alice in Wonderland” was probably the most anticipated movie of the year 2010. But is it any good? First of all, I should probably mention that hardcore Lewis Carroll fans may find very disappointing. The movie is merely based on the book. It features most of the same characters and a couple of the same locations, but the story is completely different. Alice is no longer a little girl, but an unconventional young woman who has the same dream of finding herself in Wonderland every night, until one day it happens in real life. Her arrival was expected. Alice is supposed to save the inhabitants from the evil Red Queen and get the reign back to her kind sister, the White Queen . She knows nothing about it, but she is meant to be the knight in shining armor, both figuratively and literally speaking.

So, as you can see, the original story was turned into a completely commonplace fairytale about struggle between good and evil. All the characters were made into the same types we can see in every other Disney movie: the villain, cruel and irritable ( the Red Queen ); the kind and creative outsider ( the Mad Hatter ); the fearless hero unaware of his/her own might ( Alice ); the sage ( the Caterpillar ), etc.

However, there are some good parts. First and foremost, the visual effects are incredible. Every creature and every landscape is beautifully designed making the movie a real eye candy.

Secondly, two of the main parts are played by Helena Bonham Carter and Johnny Depp . Despite the fact that their characters are very plain and trite, these brilliant actors still bring great performances .

So, what would be my final verdict?...

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The Ten Best Alice in Wonderland Films

This year marks the 110th anniversary of Lewis Carroll’s death, and though it might sound a bit macabre, this may nevertheless be a good celebratory occasion to review the best Alice in Wonderland film adaptations.

Perhaps more fascinating than Alice in Wonderland itself is the mind from which the story sprang. Contrastive to his work, Carroll, or Charles Lutwidge Dodgson (1832-1898), was said to be a rather dry and stiff man. As a mathematician and logician at Christ Church Oxford, he was orderly and meticulous, maybe what would now be characterized as bordering on OCD. But more than adhering to rules and order, he loved to break them, twist them, and turn them around completely until he arrived at the insane world that is Wonderland. Yet, saying that Wonderland is only a trippy celebration of chaos and disorder would be wrong. Alice in Wonderland very cleverly challenges the taken-for-granted logic of the adult world by using a child as a heroine who questions and doubts everything. In this, Carroll brilliantly captures a child responding to a world that has rules and logic that she, other than adults, does not yet fully understand and accept as ‘normal’.

Carroll loved the world of children and had a lot of friendships with them. But one child seemed to incite something in him that no other children had before. Alice Liddell, the daughter of the Dean of Christ Church, was the inspiration for Alice in Wonderland . Like Alice, she was pushy, imperious, and liked to boss everyone around, often shaking the fringe out of her face with a self-important expression. On the very warm and sunny afternoon of July 4th 1862, Carroll and his friend Robinson Duckworth took Alice and her sisters Lorena and Edith up the river Thames to Godstow. Over and over, Alice had pleaded Carroll to tell him a story and now, backed up by her sisters, she asked him again. And so, somewhat unwillingly, Carroll began the story that would make him one of the most-read children’s authors of all time.

Alice in Wonderland is an incredibly rich and versatile literary work so the options in making a filmic adaptation are endless. In this review, I have tried to avoid addressing the elephant in the room in the shape of classics and blockbusters such as Disney’s Alice in Wonderland (1951) and Alice’s adult revisits to Wonderland in Tim Burton’s Alice in Wonderland (2010) and Into the Looking Glass (2016), with the desire to shine some light on more obscure and forgotten but nevertheless marvelous Alice adaptations. There is nothing snobbish behind this: I have enjoyed the Disney classic and both of Burton’s films tremendously but sometimes it is more interesting to move away from the Queen of Hearts and study the soldiers silently painting the roses instead.

As for the list itself, because I found that the films are, in their own terms, each so unique and different, it felt wrong to bring any hierarchical order to the list. So I decided to take the King of Hearts advice, and to “begin at the beginning and go on till you come to the end: then stop.” As such, the films are listed in chronological order by the year of their release and are provided with a Queen-of-Hearts-ranking.

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This is great! I’ll admit I’ve only watched the Disney adaptation and Tim Burton’s takes on Alice in Wonderland, but I’m so excited to watch these now! I’m bookmarking this for sure.

Great choices all. Also of note is the William Sterling one from 1972. Very trippy!

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Alice in Wonderland

Review by brian eggert march 5, 2010.

Tim Burton’s Alice in Wonderland had the same potential that his adaptation of Charlie and the Chocolate Factory had, and just like that film, this one proves to be a complete disaster. The (commercially) morbid director is again helming an adaptation of yet another classic fairy tale, inscribing his own now-cliché visual style into the already unusual imagery of the story. Here the iconography of Lewis Carroll’s literary universe—even that of the classic animated version by Walt Disney Company—is mutated for a more audience-friendly if distorted tale, seemingly twisted in every detail yet accessible enough to deserve a PG rating.

In this version, the audience feels one step ahead of its hapless heroine Alice, here played by newcomer Mia Wasikowska. The character, now in her twenties, abandons her fiancé at the altar and returns to Wonderland as she did when she was a child. Except, Alice doesn’t quite remember her experience from childhood. Why? Because she thinks it was all just a nasty dream. The wacky characters in Wonderland all remember her, however; they’ve been waiting for her to return to Wonderland, because who else could stop the despotic Red Queen (Helena Bonham Carter) and her dreaded, dragon-like Jabberwocky (voice of Christopher Lee)? The result feels something like Steven Spielberg’s Peter Pan tale Hook —it isn’t exactly a reboot, it’s not exactly a sequel, and yet it’s a little bit of both.

Through the course of the film, Alice is befriended by a cavalcade of bizarre characters, all made slightly more freakish by Burton’s art direction. Take Alice’s cohort in this adventure, the Mad Hatter (Johnny Depp), who proves much saner than his name lets on after he recounts the dramatic exploits of his past. He looks as though he fell into a vat of melted crayons, preteen-girl makeup, and glitter. Or there’s Anne Hathaway as the ghostly White Queen, who looks a little too much like Burton’s former girlfriend Lisa Marie to ignore. Other characters are computerized creations voiced by notable actors: Alan Rickman is Absolem the Caterpillar; Michael Sheen is the White Rabbit; Stephen Fry is the charming Cheshire Cat. All the actors are underutilized, their talent forgone for special effects.

Even those unfamiliar with Carroll’s text will realize the movie gets it so incredibly wrong. Alice’s Adventures in Wonderland and Through the Looking Glass were episodic pieces of literature that were more exercises in word-turned-upside-down imagery, baffling logic, and nonsensical plays on words. What they were not was action-packed adventures. You won’t find the Mad Hatter in a swashbuckling swordfight or Alice clad in armor to fight a Jabberwocky. The same cannot be said for Burton’s film, written by Linda Woolverton. Burton seems to think he’s making a fantasy epic on par with The Lord of the Rings , particularly when the third act rolls around. And like all fantasies, there’s a lesson to be learned. The lesson Alice learns is that she wants to become a take-charge businesswoman, which for some of us will feel like a step backwards (particularly those of us familiar with Brazil ).

Visually, the very cartoonish world is annoyingly and predictably Burton-esque, a look that outstayed its welcome back on The Corpse Bride , if not earlier. Ever since Burton’s name became a veritable brand at Hot Topic, with each new film his visual style seems less and less creative. Colors are muted and decrepit in tone, as if rotten and infected. Plants are contorted trees and warped. Everything looks undead, as though Wonderland was coming back to life after a nuclear holocaust. Characters are less absurd than they are just weird looking. These flourishes might have worked on Beetlejuice and Sleepy Hollow , but they feel overly implemented here.

The computer animation gives it all an ersatz edge. We never really believe the interactions between characters because most of them have been deformed by CGI. The Red Queen’s elongated, heart-shaped head; Tweedledee and Tweedledum as living versions of Mr. Potato Head;  the very appearance of the ever-creepy Crispin Glover as the Knave of Hearts.  What’s more, no one really looks as though they’re standing next to anyone else, and it’s rather distracting. And as for the 3-D projection, per usual the gimmick adds nothing to the movie. In fact, in this case, it probably does more damage than good, since having to wear goofy glasses that darken the already dark picture won’t likely enhance the experience in any way. If you see the movie, see it in 2-D and maybe you’ll appreciate the visuals. Or not.

Nothing about Burton’s version of Carroll’s world feels right, including the performances. Somewhere along the line Burton and Company thought it would be a good idea to give the Mad Hatter a past. Instead of just being a jumbled madman, apparently, he’s a noble hero who’s had a tragic history. Sound familiar? Typical Burton. Depp gives the role an unfocused energy, presenting the Hatter with alternating accents: one lispy, the other Scottish. It’s as if Burton backed the actor’s every instinctual whim and nuance without consideration of his movie. The character proves the completion of his uselessness when Depp begins dancing to a disco-pop beat in the final scenes. It’s possibly the worst performance (and role) in Depp’s career. Wasikowska isn’t much better, but she’s just playing it straight in a crowd of wackos. Bonham Carter’s Red Queen is entertaining, then again wasn’t she called “The Queen of Hearts” in the books? Frankly, the best performance comes from Stephen Fry’s voice as the Chesire Cat.

This version of Alice in Wonderland is what should have come after a more faithful Burton adaptation of Lewis Carroll’s book. The pointedly Burtonized world bears no resemblance to the source material, and we can’t imagine how it’s supposed to relate. It’s awkward on the level of Return to Oz or Superman Returns , in that the movie is sort of a sequel and yet it disregards everything that came before it. It plays like typical Burton family fare and lacks that macabre, R-rated edge that gives the director’s best work—like Ed Wood , Sleepy Hollow , and Sweeny Todd —its dynamic. Imagine Burton’s version of this tale in R-rated form, how well it might’ve worked had he been able to really let loose on the material. Instead, the outcome is loud and excessive and just plain awful, reminding us that there’s more to filmmaking than art design alone.

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Alice in Wonderland Reviews

A shallow, stunted spectacle that does surprisingly little with its rich source. Instead, it is Tim Burton’s successful stab at inoffensive, unchallenging children’s entertainment.

Full Review | Original Score: 3/5 | May 7, 2024

The outcome is loud and excessive and just plain awful, reminding us that there’s more to filmmaking than art design alone.

Full Review | Original Score: 1/4 | Aug 22, 2023

It’s a whole lot of noise thrown together with loose hands into not much of anything.

Full Review | May 27, 2023

For almost two hours we become prisoners in a land of menacing delight. [Full review in Spanish]

Full Review | Aug 8, 2022

The movie badgers rather than charms, but it's rescued by Helena Bonham Carter's brisk performance as the Red Queen.

Full Review | Jul 26, 2021

Disney's is kind of a tepid liberal feminism, but that's far more badass and entertaining than no feminism at all.

Full Review | Dec 23, 2020

The character designs are all underwhelming (except for the Red Queen), the sets are grand but hardly original, and the costumes are fashionably interesting but random.

Full Review | Original Score: 3/10 | Nov 29, 2020

Depp is nothing short of astounding as this mad in the best of ways Mad Hatter.

Full Review | Original Score: 3.5/4.0 | Sep 1, 2020

Director Tim Burton's effort here is a mild disappointment.

Full Review | Original Score: 2.5/5 | Jun 6, 2020

Take your own trip down the rabbit hole and don't be late because you've got a very important date with Disney's ALICE IN WONDERLAND.

Full Review | Nov 6, 2019

But Depp's performance is richer and more coherent than the film itself-a rather laborious narrative that careens through a string of set pieces without transporting us.

Full Review | Jul 23, 2019

This joyless adaptation of a beloved story comes up short in almost every way.

Full Review | Original Score: 2/4 | Jun 7, 2019

Despite some intriguing visual aspects, "Alice" proves to be quite dull, unable to overcome an internal battle with the film's overall tone.

Full Review | Original Score: C | May 10, 2019

It's seriously beautiful at intervals that command attention. There's a war theme in it that's pursued with surprising gravity.

Full Review | Oct 26, 2018

If Burton and other filmmakers want to empower girls, perhaps, just once, they might show them how characteristics other than physical strength and agility are valuable.

Full Review | Oct 4, 2018

It's horribly generic. This is a Disney film and it feels like a Disney film, whereas I'd hoped it would feel like a Tim Burton film.

Full Review | Aug 30, 2018

Alice in Wonderland is one of those tragic movies whose frame story is actually more interesting than the story itself.

Full Review | May 23, 2018

No amount of production design can make up for directorial laziness. This Alice in Wonderland would be better if it were shot in black-and-white on VHS tape with actors in furry mascot costumes.

Full Review | Apr 30, 2018

The magic of this version of Alice in Wonderland is undoubtedly, in the Burton touch... [Full review in Spanish]

Full Review | Original Score: 4/5 | Mar 15, 2018

Though visually stunning, Alice In Wonderland is more funny than anything else (thanks mostly to Depp's Mad Hatter).

Full Review | Original Score: B | Sep 11, 2017

A Summary and Analysis of Lewis Carroll’s Alice’s Adventures in Wonderland

By Dr Oliver Tearle (Loughborough University)

There is a famous anecdote about Lewis Carroll and Queen Victoria: Victoria enjoyed Alice’s Adventures in Wonderland (1865) so much that she requested a first edition of Carroll’s next book. Carroll duly sent her a copy of the next book he published – a mathematical work with the exciting title An Elementary Treatise on Determinants .

Unfortunately, like most good anecdotes, this one isn’t true, but such a story does highlight the oddness of Carroll’s double life. Carroll, despite the radical nature of his nonsense fiction, was a conservative mathematician and don at the University of Oxford, real name Charles Dodgson.

But what does this novel, one of the most popular Victorian books for children, mean? Before we analyse Alice’s Adventures in Wonderland , it might be worth recapping the novel’s plot.

Alice’s Adventures in Wonderland : summary

The novel begins with a young girl named Alice, who is bored with a book she is reading outside, following a smartly-dressed rabbit down a rabbit hole. She falls a long way until she finds herself in a room full of locked doors. However, she finds a key, but it’s for a door that’s too small for her.

However, there is a bottle labelled ‘DRINK ME’ on a table, so she drinks down its contents and promptly shrinks. But now she’s too small to reach the key on the table! She eats a cake labelled ‘EAT ME’, and she now grows to be too big – much bigger than her usual size. She begins to cry.

After shrinking back to her usual size, Alice starts to swim on the tide of her own tears, meeting a range of other animals including a mouse and a dodo. The latter declares there should be a Caucus-Race: everyone runs around in a circle but nobody wins. When Alice starts to talk about her cat back home, she inadvertently frightens all of the animals away.

The White Rabbit orders Alice to go into the house and find the gloves belonging to a duchess. Alice finds another potion in the house, which makes her grow large again when she drinks it. When animals hurl stones at her, these turn into cakes and she eats them, returning to her normal size.

Alice meets a blue caterpillar sitting on a mushroom and smoking a hookah pipe. The caterpillar tells Alice that one side of the mushroom will make her taller, while the other side will make her shorter. She breaks off two pieces from the mushroom and eats them. Sure enough, one side shrinks her again, while the other side makes me grow into a giant.

Alice sees a fish, working as a footman, delivering an invitation for the Duchess who lives at the house; he hands the letter to a frog who is working as the Duchess’ footman. Alice goes inside the house again. The Cheshire Cat appears in a tree, directing her to the March Hare’s house. He disappears but his grin remains when the rest of him has gone.

Alice attends the Mad Hatter’s tea party, along with the Marsh Hare and Dormouse. They throw lots of riddles at her until she becomes fed up with them and leaves. She finds herself in a garden in which playing cards are busy painting flowers.

Alice meets the King and Queen, the latter of whom orders her to play a game of croquet in which live flamingos are used instead of croquet mallets (and hedgehogs are deployed as balls!).

The Duchess, who owns the Cheshire Cat, turns up just as the Queen is trying to have the Cheshire Cat beheaded. A Gryphon takes Alice to meet the Mock Turtle, who tells Alice he used to be a real turtle and is now sad because he was mocked when young. The Mock Turtle and the Gryphon then dance to the Lobster Quadrille.

The Queen of Hearts demands Alice’s head be removed: ‘Off with her head!’ But when Alice stands up to her, the Queen falls silent. Alice attends a trial at which the Knave of Hearts is accused of stealing the Queen’s tarts. Alice realises she is starting to grow bigger.

She is summoned as a witness at the trial, but she has grown so big now that she accidentally knocks over the jury box containing the animals on the jury.

The Queen accuses Alice of stealing the tarts and once more demands her head. Alice stands up to them, and as the playing cards advance on her, she is wakened from her dream, and finds her sister shaking her: the playing cards have become leaves that have fallen on her. She is back in the real world.

Alice’s Adventures in Wonderland : analysis

‘Lewis Carroll’ was really a man named Charles Lutwidge Dodgson, a mathematician at Christ Church, Oxford. As such, he led something of a double life: to the readers of his Alice books he was Lewis Carroll, while to the world of mathematics and to his colleagues at the University of Oxford he was (Reverend) Charles Lutwidge Dodgson, a man who formed his pen name by reversing his first two names (‘Charles Lutwidge’ became ‘Lewis Carroll’).

Alice’s Adventures in Wonderland began life on 4 July 1862, when Charles Dodgson accompanied the Liddell children – one of whom was named Alice – on a boat journey, and told them the story that formed the basis of Alice’s Adventures in Wonderland , which appeared three years later.

Although its working title was Alice’s Adventures Underground , it was published with the more enchanting title which captures the magic, illogic, and nonsense which characterise the world ‘down the rabbit-hole’ in which Alice finds herself.

Carroll’s was by no means the first portal fantasy novel of this kind: two years earlier, in 1863, Charles Kingsley’s The Water-Babies had appeared. The book tells the story of the boy chimney-sweep, Tom, who goes beneath the water and becomes a ‘water-baby’.

In many ways the tale of a child slipping underwater into an alternate world of fantasy, where the Victorian world is curiously inverted, foreshadows Alice’s Adventures in Wonderland , although Carroll came up with his story independently, before Kingsley’s novel was published. (Curiously, the phrases ‘mad as a March-hare’ and ‘grinning like a Cheshire cat’, by the by, both appear in The Water-Babies .)

But for all of their passing similarities, the chief difference between Carroll’s novel and Kingsley’s – and, indeed, between Alice’s Adventures in Wonderland and 99% of the children’s fiction produced at the time – is that Carroll refused to use his story to offer his young readers a moral.

You can see the moral message of a Victorian children’s story coming a mile off, but Carroll not only avoids such heavy-handed moralising, but actively criticises the very idea:

She had quite forgotten the Duchess by this time, and was a little startled when she heard her voice close to her ear. ‘You’re thinking about something, my dear, and that makes you forget to talk. I can’t tell you just now what the moral of that is, but I shall remember it in a bit.’

‘Perhaps it hasn’t one,’ Alice ventured to remark.

‘Tut, tut, child!’ said the Duchess. ‘Everything’s got a moral, if only you can find it.’ And she squeezed herself up closer to Alice’s side as she spoke.

This exchange, from ‘The Mock Turtle’s Story’ (Chapter 9), pit the mainstream Victorian attitude held by adults against the rebellious innocence of the child, with the censorious morality of the adult (‘Tut, tut, child!’) immediately closing down the child’s instinct to speculate, question, and retain an open mind (‘Perhaps it hasn’t one’).

So much for the moral meaning of Carroll’s novel. But does that mean that the glorious nonsense of the book, the subversion and inversion of the reality of the world, the fantastical creatures and episodes, are just that: ‘nonsense’, not meant to mean anything beyond themselves?

Critics have been tempted to analyse the novel through a Freudian or psychoanalytic lens: the novel is about a child’s awareness of itself in the world, discovering its own body and its place in that world.

In finding herself in a completely mad world – full of tyrannical queens and mad hatters – Alice must learn to assert herself (something she does decisively at the end, when confronting the Queen of Hearts) and also, quite literally, keep her head about her while all about her are losing theirs (and often blaming it on her).

Or, even if we drop the Freudian label, we might view the novel as an exploration of a child’s journey through the world, making sense of everything and realising that sometimes grown-ups – those authority figures the child is told to obey because they are older and wiser than she is – are the stupidest people in the room.

For all that, should we analyse Alice’s Adventures in Wonderland as a scathing satire on radical new ideas in nineteenth-century mathematics, ideas for which Carroll/Dodgson had little time? Melanie Bayley thinks so, and published an article in the New Scientist in 2009 in which she set out her thesis. You can read Bayley’s article here .

If you enjoyed this analysis of Alice’s Adventures in Wonderland , you might also like our summary and analysis of the book’s sequel, Through the Looking-Glass .

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• Poem: “All in the golden afternoon”
• Chapter 1: Down the Rabbit-Hole
• Chapter 2: The Pool of Tears
• Chapter 3: A Caucus-Race and a long Tale
• Chapter 4: The Rabbit sends in a little Bill
• Chapter 5: Advice from a Caterpillar
• Chapter 6: Pig and Pepper
• Chapter 7: A Mad Tea-Party
• Chapter 8: The Queen’s Croquet-Ground
• Chapter 9: The Mock Turtle’s Story
• Chapter 10: The Lobster Quadrille
• Chapter 11: Who stole the Tarts?
• Chapter 12: Alice’s Evidence
• An Easter Greeting to every child who loves Alice
• Christmas Greetings
• Dramatis Personae and chessboard
• Poem: “Child of the pure unclouded brow”
• Chapter 1: Looking-Glass House
• Chapter 2: The Garden of Live Flowers
• Chapter 3: Looking-Glass Insects
• Chapter 4: Tweedledum and Tweedledee
• Chapter 5: Wool and Water
• Chapter 6: Humpty Dumpty
• Chapter 7: The Lion and the Unicorn
• Chapter 8: “It’s my own Invention”
• Chapter 9: Queen Alice
• Chapter 10: Shaking
• Chapter 11: Waking
• Chapter 12: Which dreamed it?
• Poem: “A boat beneath a sunny sky”
• To All Child-Readers of “Alice’s Adventures in Wonderland”
• Preface to Alice’s Adventures Under Ground
• Alice’s Adventures Under Ground – Chapter 1
• Alice’s Adventures Under Ground – Chapter 2
• Alice’s Adventures Under Ground – Chapter 3
• Alice’s Adventures Under Ground – Chapter 4
• The Nursery ‘Alice’ – Preface
• Chapter 1: The White Rabbit
• Chapter 2: How Alice grew tall
• Chapter 3: The Pool of Tears
• Chapter 4: The Caucus-Race
• Chapter 5: Bill, the Lizard
• Chapter 6: the dear little Puppy
• Chapter 7: The Blue Caterpillar
• Chapter 8: The Pig-Baby
• Chapter 9: The Cheshire-Cat
• Chapter 10: The Mad Tea-Party
• Chapter 11: The Queen’s Garden
• Chapter 12: The Lobster-Quadrille
• Chapter 13: Who stole the tarts?
• Chapter 14: The Shower of Cards
• The lost chapter: a Wasp in a Wig
• Alice’s Adventures in Wonderland summary
• Through the Looking-Glass summary
• Disney movie script
• Alice’s Adventures in Wonderland
• Through the Looking-Glass
• Alice’s Adventures Under Ground
• Nursery Alice
• Disney’s Alice in Wonderland
• Lewis Carroll, Alice Liddell and John Tenniel
• Caterpillar
• Cheshire Cat
• Queen of Hearts
• Tweedledum and Tweedledee
• Tulgey Wood inhabitants
• Walrus and Carpenter
• White Rabbit
• About the book “Alice’s Adventures in Wonderland”
• About the book “Through the Looking-Glass and what Alice found there”
• About John Tenniel’s illustrations
• About Lewis Carroll
• About Alice Liddell
• About Disney’s “Alice in Wonderland” 1951 cartoon movie
• Alice in Wonderland trivia
• Alice on the Stage
• Story origins
• Picture origins
• Jabberwocky

Themes and motifs

• Conflict and resolution, protagonists and antagonists
• Science-Fiction and Fantasy Books by Lewis Carroll
• An Analysis of Alice’s Adventures in Wonderland
• To stop a Bandersnatch
• “Lewis Carroll”: A Myth in the Making
• The Man Who Loved Little Girls
• The Liddell Riddle
• The Duck and the Dodo: References in the Alice books to friends and family
• The influence of Lewis Carroll’s life on his work
• Tenniel’s illustrations for Alice’s Adventures in Wonderland and Through the Looking-Glass
• The Jabberwocky
• Drug influences in the books
• The truth about “Alice”
• Lewis Carroll and the Search for Non-Being
• Alice’s adventures in algebra: Wonderland solved
• Diluted and ineffectual violence in the ‘Alice’ books
• How little girls are like serpents, or, food and power in Lewis Carroll’s Alice books
• A short list of other possible explanations
• Frequently Asked Questions (FAQ)

Alice’s Adventures in Wonderland

T he most obvious theme that can be found in Alice’s Adventures in Wonderland is the theme of growing up.

Lewis Carroll adored the unprejudiced and innocent way young children approach the world. With Alice’s Adventures in Wonderland, he wanted to describe how a child sees our adult world, including all of the (in the eyes of a child silly and arbitrary) rules and social etiquette we created for ourselves, as well as the ego’s and bad habits we have developed during our lives.

Alice’s Adventures in Wonderland represents the child’s struggle to survive in the confusing world of adults. To understand our adult world, Alice has to overcome the open-mindedness that is characteristic for children.

Apparently, adults need rules to live by. But most people adhere to those rules blindly now, without asking themselves ‘why’. This leads to the incomprehensible, and sometimes arbitrary behavior that Alice experiences in Wonderland.

When entering Wonderland, Alice encounters a way of living and reasoning that is quite different from her own. A Duchess who is determined to find a moral in everything. Trials that seem to be very unjust. But during the journey through Wonderland, Alice learns to understand the adult world somewhat more. In fact, she is growing up. This is also represented by her physical changes during the story, the growing and shrinking.

More and more she starts to understand the creatures that live in Wonderland. From the Cheshire Cat she learns that ‘everyone is mad here’. She learns to cope with the crazy Wonderland rules, and during the story she gets better in managing the situation. She tells the Queen of Hearts that her order is ‘nonsense’ and prevents her own beheading. In the end Alice has adapted and lost most of her vivid imagination that comes with childhood. She realizes what the creatures in Wonderland really are ‘nothing but a pack of cards’. At this point, she has matured too much to stay in Wonderland, the world of the children, and wakes up into the ‘real’ world, the world of adults.

Related to the theme of ‘growing up’, is the motif of ‘identity’.

In Wonderland, Alice struggles with the importance and instability of personal identity. She is constantly ordered to identify herself by the creatures she meets, but she herself has doubts about her identity as well.

After falling through the Rabbit hole, Alice tests her knowledge to determine whether she has become another girl. Later on, the White Rabbit mistakes her for his maid Mary Ann. When the Caterpillar asks her who she is, she is unable to answer, as she feels that she has changed several times since that morning.

Among other things, this doubt about her identity is nourished by her physical appearance. Alice grows and shrinks several times, which she finds “very confusing”. The Pigeon mistakes her for a serpent, not only because she admits eating eggs, but also because of her long neck. The Cheshire Cat questions another aspect of Alice’s identity. He is not questioning her name or species, he is questioning her sanity. As she has entered Wonderland, she must be mad, he states.

However, it is not only Alice’s identity that is unstable. Some creatures in Wonderland have unstable identities as well. For example, the Duchess’ baby turns into a pig and the members of the jury have to write down their names, or they will forget them.

Alice’s motif for entering and intersecting Wonderland is simply curiosity: she sees a White Rabbit and decides to follow him because he has a watch and is wearing a waistcoat.

Through the Looking-Glass and what Alice found there

Being grown up.

When Carroll wrote Through the Looking-Glass, the real Alice had already become a grown woman. In the introductory poem, he recalls the glorious days of her childhood, and we notice his sadness because his favorite child-friend has grown up, got married, and does not contact him anymore.

In the first book, Alice was very bewildered by the crazy adult world. In Through the Looking-Glass, however, we see that Alice has grown up, as well as the real Alice has, and that she is more confident with herself when associating with the Wonderland characters. While she was being lectured and ordered about in the first story, she now teaches some of the Wonderland characters a lesson and even mothers them, like she does with the clumsy White Knight.

Learning to achieve a higher social position

However, there are still things to learn. Alice’s wish (and motive) in Through the Looking-Glass is becoming a queen. To achieve this, she has to adhere to the rules of a chess game. She has to reach the final square, and can interact only with creatures that are on a square directly next to hers.

She also has to learn more about the way things are. For example, the flowers tell her that they are lower in social rank than she is (“it isn’t manners for us to begin, you know”), she learns about the tragic lives of the lower class (Bread-and-Butterflies always die because of a food shortage), and Tweedledee and Tweedledum teach her some more social skills.

In fact, Alice is trying to reach a higher social position, and she has to master certain rules of behavior that come with this social order.

In the sequel, the concept of identity is touched upon again. Although Alice is more sure of herself, her identity is again questioned. When she enters the wood, she promptly forgets her own name. The fawn does not even recognize her as a human being.

But this time the question of identity is lifted to an even higher level: Tweedledee and Tweedledum show Alice the sleeping Red King and tell her that she is not a real person; she only exists in his dream. At first Alice does not want to believe that she ceases to exist when the King wakes up. But at the end of the book, the matter is still not resolved:

“Now, Kitty, let’s consider who it was that dreamed it all. […] You see, Kitty, it must have been either me or the Red King. He was part of my dream, of course — but then I was part of his dream, too! Was it the Red King, Kitty? […] Oh, Kitty, do help to settle it! I’m sure your paw can wait!’ But the provoking kitten only began on the other paw, and pretended it hadn’t heard the question. Which do you think it was?”

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Alice In Wonderland Movie Review Film Studies Essay

Published Date: 23 Mar 2015

Disclaimer: This essay has been written and submitted by students and is not an example of our work. Please click this link to view samples of our professional work witten by our professional essay writers . Any opinions, findings, conclusions or recommendations expressed in this material are those of the authors and do not necessarily reflect the views of EssayCompany.

The film I choose to write a critical review of is Alice in Wonderland (2010). The genres of the film have aspects that are adventure, action, adventure, comedy, fantasy, animation, kids, science fiction and family. The original novel written in 1865 by the English author Charles Lutwidge Dodgson with the pseudonym Lewis Carroll consisted of a progression of haphazard dealings and character connections. It was enjoyable to see the characters in the movie were able to work together to achieve an exceptional outcome. Alice in the original novel wanders around a dreamland that deals with her own apprehensions and her vague expectation that events will not be all pleasant and trouble-free. All of these captivating characters, landscapes and experiences spread out in a dream language. Given this is the essence of the original this, it should be an easy undertaking to produce a movie that really leaves a lasting impression .The overall result of the film is not impressive beyond what would be expected from this style of work but and it is a fun atmosphere. Where the film succeeds, it does succeed very well, all to the consistency of Tim Burton's imaginative and creative visuals.

"Each genre has a thematic and stylistic territory, and sometimes the style of one genre spills into the thematic territory of another. This sort of innovation is not the kind that is normally recognized as the work of a genius, but is considered merely "clever". Yet it is the kind of innovation and playing with boundaries that keeps audiences coming to genre movies." (University, Unit 1: The Usefulness of Genre)

Alice in Wonderland (2010) is not a retelling, reworking or a remaking of the original children's classic novels by Lewis Carroll but is a version that is a sequel to the original. It is not even the 1951 Disney adaptation. If the viewer is expecting a pure and complete adaptation, then there may be some disappoint. Instead, Tim Burton re-imagines the esteemed and treasured story in the genuine good judgment of recreation. This is by giving Alice an added and established background, in addition to a romantic subplot involving Alice and the Mad Hatter. There is also much more focus on the conflict concerning good and evil. It is the classic tale of good against evil and the stunning and dramatic final battle of good versus evil that ensues. Alice is to slay a monster that has been predicted by the scroll. Tim Burton's, Alice in Wonderland more than does the classic tale justice.

Danny Elfman composes the wonderful music is very nice but ultimately completely unforgettable and always be top notch. Then there are the marvellous visual effects, excellent acting and amazing animation and design. This is a movie that will indulge your senses. The Mad Hatter has an intensity and capacity of character that was downplayed by the movie trailers. In the trailers, only the upbeat Mad Hatter was seen. He has a darker side to his character as well as madness of the darkest sort is by no means far off from the surface. The Mad Hatter is by far one of the greatest characters in the film. Alice's expedition that allowed growth from a timid, to some extent unconventional, girl into an audacious and heroic young woman is magnificent and convincing. Alice brought back together with her friends from childhood: the Cheshire Cat, the Caterpillar, the Dormouse, Tweedledum and Tweedledee, the Mad Hatter, and of course the White Rabbit. Alice enters into an extraordinary journey to discover her true destiny and conclude the Red Queen's supremacy over the land. Tim Burton did not strive for bright and beautiful magic, but for dreary and wasteful once a wonderland

The movie is not the dark world that Tim Burton usually gives his audience but a softer more child friendly world. The story picks up when Alice is 19-years old and subsequent to the passing of her father. She is proposed to be married away and feeling pressured, she runs off, following the white rabbit, which leads her to into Wonderland. She only vaguely remembers this magical place from childhood. The story is admittedly a very simple one but one that can be easily followed. It is to the story's credit that Alice is now an adult, as it is able to facilitate many more happenings in Wonderland. A place where things can be sometimes be quite grotesque, unfriendly and bizarre. It is an out of the ordinary adventure and tale about a young woman's voyage to an alternate reality. That is testing the strength of her will power, resourcefulness and courage in the visage of danger and weirdness. Wonderland is an extension of Alice's frustrations with the real world where she felt that she had many expectations from outside forces.

Alice in Wonderland succeeds on numerous levels that I am uncertain who would fail to not be charmed by it. The film even has glance and hints at Alice's early life. It is also to my surprise touching specifically the relationship between Alice and her father. The film measures up to other films in its genre in that it is a family movie that has a charming and interesting story. It is full of interesting characters and a journey through Wonderland to observe all sorts of attention-grabbing landscapes. There is a positive impact on this film on other films since to bring a classic back in a new way leads the pack. It is intended for adults and children to watch together. The film is a wondrous piece of escapism.

The social context of the film like many of Tim Burton's movies amuses at specifically the kind of individual who does not get this movie. Tim Burton's Alice in Wonderland is a magnificent metaphor for the correlation between Tim Burton and his audience. These are individuals who have lost touch with the wonderment of their own childhoods. These same individuals who are mostly connected to the idea of what is proper and fashionable. The uninteresting people with little imagination and even less open-mindedness for it in others. The premise of the movie is to facilitate the idea that only small amounts of people in the world and only the best people still have that kind of limitless imagination. They are the ones that can find enjoyment in the truly original, even as the rest of civil society considers them as being eccentric, outlandish, or simply awkward. These people are represented in the film both in the real world at the party and another time in the Red Queen's court.

"Movies have no scruples. They are always borrowing from literature or adapting novels wholesale into feature films. And, as everyone who has ever read a novel that has been turned into a movie know, the book is always better-simply because books pay attention to detail; they describe rather than depict characters (so readers can form their own impressions); and they paint a broader canvas of life-changing events. Movies always leave things out. They change the original story, of which the readers are extremely protective." (University, Unit 2: Genre History and Literary Precedents)

For all the individuals that were not able to enjoy the movie as a form of entertain then they have lost the child in them. Individuals will complain about it not being accurate to the original book but in time, they will accept it. A generation from now this original film will be analyzed as one of the greatest creative fantasies of our present times. The idea that this is how people may feel in the modern day, which is pressured into something, they really do not want to do. This certainly proceeds impeccably with the extra background story. Many people may be able to relate to this idea. It is an important film in its genre because it will be a classic of our time of ingenuity. A classic tale reinvented to fit our modern ways of thinking and life.

The film strengths concerning its generic element are that this is easily Burton's finest work, and while he takes some liberties with Lewis Carroll's classic, there are still ample amounts of the traditional Alice character traits to satisfy everyone. The film has rejuvenated the antique theme about Alice reclaiming her "muchness" and defying societal expectations. Wonderland is bestowed with amusement that is constant. A film adaptation should, of course, treat its source material as inspiration rather than dogma and this is clearly, what Tim Burton intended and has achieved. The films weaknesses concerning its generic elements are that it is such a well know tale that has been told repeatedly. It is hard to truly find a story that is not based upon another story these days. It does not help that fate is the key component to in the story. This added to the predictability of events given they are foretold to us early on. This causing the computer generated imagery or CGI technology to heavy climactic battle to underwhelm when it does inevitably arrive. Wonderland is just how woefully conventional it all is.

I found it very easy to care for the characters in this film. The conclusion came across as deeply extraordinary, as good was able to triumph. Society loves when good wins over evil because it gives everyone a good feeling. The audience has been given so much to empathize with. The character development is interesting to be to get to know these characters a little bit better. When Alice comes back around her extended family, she is then one by one imparting her newly learned knowledge onto them. This is a true sense that she had grown and become wiser. The journey to Wonderland has made absolutely very much difference to the Alice's state of mind. At the commencement, she does not want to be married to the aristocratic and has a choice to make. By the end, she still does not want to be married to the aristocratic but she has been able to prevail in self-discovery in the span of time that she left. She has grown and learned about her strengths. She now knows what she truly wants to be able to make the necessary decisions that will affect her in a positive way. An easily enjoyable movie with much character depth.

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