Alice in Wonderland (2010), directed by Tim Burton, is a visually striking and narratively inventive reimagining of Lewis Carroll’s classic tale. Released by Walt Disney Pictures, the film is not a faithful adaptation of Carroll’s Alice’s Adventures in Wonderland or its sequel Through the Looking-Glass but rather a “sequel” of sorts. Burton takes the familiar world of Wonderland and pushes it through the lens of his dark, surreal aesthetic, creating a film that is both familiar and distinctly his own. While the film dazzles in many ways, it also falters in others, particularly in terms of narrative depth and character development.
The story follows a 19-year-old Alice Kingsleigh, played by Mia Wasikowska, who has forgotten her previous journey to Wonderland, which occurred when she was a child. This time, Alice stumbles back into Wonderland (or “Underland” as it is referred to in this film) when she escapes from an uncomfortable marriage proposal at a garden party. Wonderland, once a whimsical place of wonder, is now in disarray, and Alice is soon told that she is destined to overthrow the tyrannical Red Queen (Helena Bonham Carter) and restore peace. This narrative thread of a young woman destined for greatness plays into familiar fantasy tropes, which distances the film from the nonsensical, dreamlike quality of Carroll’s original works.
Visually, Alice in Wonderland is a feast for the eyes. Burton’s Wonderland is richly imaginative, filled with twisted trees, colorful landscapes, and bizarre creatures that blend the familiar with the grotesque. The use of 3D technology enhances the visual spectacle, bringing the viewer deeper into this fantastical world. The film’s design is strikingly Burtonesque, with its gothic overtones and whimsical flair, making every frame a work of art. Colleen Atwood’s costume design also deserves mention, as the costumes reflect the oddity and madness of the world, especially Alice’s iconic dresses that change as she ventures deeper into Wonderland. The use of CGI is extensive and at times overwhelming, but it adds to the film’s surreal and dreamlike quality.
The casting of the film is one of its strengths, particularly with Johnny Depp as the Mad Hatter. Depp, a frequent collaborator of Burton’s, brings his characteristic quirkiness to the role, playing the Hatter as a tragic and slightly deranged figure. His performance, while at times overly eccentric, provides an emotional anchor in a film that often prioritizes spectacle over substance. Depp’s Mad Hatter is given more screen time than in most other adaptations, which shifts the focus of the narrative away from Alice and more toward his story of rebellion against the Red Queen. Helena Bonham Carter is equally compelling as the Red Queen, playing her as a cartoonish but menacing villain with her oversized head and penchant for shouting “Off with their heads!” Carter infuses the character with both humor and cruelty, making her a memorable antagonist.
Mia Wasikowska’s portrayal of Alice is more subdued. She plays Alice with a quiet strength and a sense of wonder, but at times her performance feels somewhat detached, as though she is more an observer in her own story rather than the active protagonist. Alice’s journey of self-discovery, while central to the plot, feels underdeveloped. She is often overshadowed by the more eccentric characters around her, and as a result, her character arc lacks the emotional resonance it might have had. Anne Hathaway’s White Queen is another standout, though her character is given less screen time than expected. Hathaway plays the White Queen with a sense of ethereal calm, though there is a subtle edge to her character that hints at something darker beneath the surface.
The script, written by Linda Woolverton, takes significant liberties with the source material. While Carroll’s Alice’s Adventures in Wonderland is a chaotic, absurd story with little in the way of a traditional plot, Burton’s Alice in Wonderland is structured more like a typical fantasy epic, complete with a prophecy, a chosen one, and a final battle. This shift in tone may be disappointing for fans of the original work, as it removes much of the whimsical nonsense that made Wonderland such an enduring and beloved creation. Instead of the playful logic puzzles and strange encounters of Carroll’s story, we are given a more straightforward good-versus-evil narrative. The film attempts to add depth by exploring themes of identity and self-determination, but these ideas are not fully explored, leaving the film feeling somewhat shallow.
One of the most notable departures from the original is the character of the Mad Hatter. In Carroll’s work, the Mad Hatter is a minor, albeit memorable, character with no real backstory or motivation. In Burton’s film, however, the Mad Hatter is given a tragic past and a central role in the rebellion against the Red Queen. This change allows Johnny Depp to shine in the role, but it also shifts the focus of the story away from Alice. The film becomes less about Alice’s journey through Wonderland and more about the struggle between the Red and White Queens, with Alice playing the role of the reluctant hero who must save the day.
The film’s pacing is another issue. While the first half of the movie is engaging, as Alice reencounters the strange inhabitants of Wonderland and slowly pieces together her past, the second half feels rushed. The final battle sequence, in particular, is underwhelming. The climactic fight between Alice and the Jabberwocky (voiced by Christopher Lee) is visually impressive, but it lacks emotional weight. The prophecy of Alice slaying the Jabberwocky feels like a forced attempt to inject a traditional fantasy element into the story, and as a result, the battle feels disconnected from the rest of the film.
One of the film’s strongest elements is Danny Elfman’s score. Elfman, another frequent collaborator of Burton’s, provides a haunting and whimsical soundtrack that perfectly complements the film’s visuals. His music adds to the dreamlike quality of Wonderland, and the recurring theme for Alice is both beautiful and melancholic, reflecting her internal journey as she grapples with her sense of self and her place in the world. The score helps to elevate some of the film’s weaker moments, imbuing them with a sense of wonder and magic.
While the film excels in its visual and auditory elements, it is less successful in its narrative. The decision to turn Wonderland into a more traditional fantasy world, complete with a clear-cut villain and a heroic prophecy, strips the story of much of its originality. Carroll’s Alice is not a typical hero, and Wonderland is not a place of straightforward conflict. By imposing a more conventional narrative structure onto the story, the film loses some of the unpredictability and charm that defines Carroll’s work.
The film’s thematic exploration of identity is also somewhat underdeveloped. Alice’s journey is framed as one of self-discovery, as she learns to embrace who she is and reject the societal expectations placed upon her. However, this theme is not fully realized. While Alice does reject her arranged marriage and choose her own path by the end of the film, her character arc feels rushed and lacks depth. The film hints at deeper themes of empowerment and independence, but these ideas are overshadowed by the spectacle of the final battle and the focus on the Mad Hatter’s storyline.
In terms of adaptation, Alice in Wonderland (2010) is not a faithful retelling of Carroll’s novels, nor does it aim to be. Instead, it uses the familiar characters and world as a jumping-off point for a more conventional fantasy adventure. For viewers looking for a faithful adaptation of Alice’s Adventures in Wonderland, this film may be disappointing. However, for those willing to accept it as a reimagining of the story, there is much to enjoy, particularly in terms of the film’s visuals and performances.
