Alice (Part 2) – “Welcome to a whole new Wonderland”

And we’re back, with the conclusion of the SyFy Channel miniseries Alice. (For my critique of the first part, follow this link.)

Part 2 of Alice picks up right where part 1 left off, naturally – with Alice (Caterina Scorsone, Edge of Darkness; 1-800-Missing) imprisoned in a crumbling house while Doctor Dee and Doctor Dum (Eugene Lipinski, Rollerball; Indiana Jones and the Last Crusade) interrogate her to learn where she hid the Stone of Wonderland, a ring with the ability to open up a portal between the real world and Wonderland via the looking glass. Meanwhile, Hatter (Andrew Lee Potts, Return to House on Haunted Hill; Warrior Queen) and the White Knight (Matt Frewer, 50/50; Dawn of the Dead) break into the casino in order to rescue her from the Queen and King of Hearts (Kathy Bates, Midnight in Paris; Titanic and Colm Meaney, Get Him to the Greek; Star Trek: Deep Space Nine, respectively). Once free of the Hearts, Hatter and the White Knight take Alice to the ancient Kingdom of the Knights (once again), where Hatter sends word to the resistance movement that Alice needs to meet with their leader, Caterpillar (Harry Dean Stanton, Rango; Alien). The resistance sends an emissary in the form of Jack Heart (Philip Winchester, In My Sleep; Thunderbirds), son of the Queen and King of Hearts and former boyfriend to Alice. Despite Hatter’s misgivings, Alice decides to leave with Jack after he tells her that the resistance knows where her father is and could get him out of Wonderland with her. One thing leads to another, Alice and Hatter set everyone free, the White Knight helps bring down the casino and with it the reign of the Queen of Hearts, and Alice leaves Wonderland to live happily ever after.

Top left – Alice; top right – Doctors Dee and Dum and Alice; middle left – the White Knight and Hatter; middle right – the Queen and King of Hearts; bottom left – Caterpillar; bottom right – Jack Heart, Alice, and Caterpillar

Before I go on, I feel this needs to be said, and it cannot be stressed enough – they left out the Cheshire Cat, and for that, there can be no forgiveness.

Anyway. One big thing worth noting is that in this second part, Alice, a black belt karate instructor, finally starts fighting back against the Hearts, quite literally at times. One thing you’ll notice if you watch enough horror or SyFy Original movies is that women characters often serve only to run around screaming or give the men characters something to fight for or after. I’m not sure at all why this is the case, but it does seem to be widely true. Thus, when you find a movie (or in this case a miniseries) with a strong female lead, it’s often refreshing. Sadly, the first half of this miniseries completely missed that point, portraying her as weak, timid, and scared. Still, it was good to see her take more control of her fate in the second half of the miniseries.

“I’m going with him, and there’s nothing you or King Skellington can do to stop me!”

While the first half managed to avoid too many terrible effects, either CGI or sets, the second half fell well behind. While there was no increase in the CGI (always a boon), the use of green screen backgrounds became way too common, and in general, they were not done well. I found myself remarking on how bad they were numerous times throughout the second half, especially during the two flamingo chase scenes. But hey, who doesn’t want to watch guys in suits fire shotguns while riding flamingos altogether too quickly?

Like this

The second part of the miniseries continued the social allegories and commentaries begun in the first, as expected. For example, in order to thwart the plans of the Hearts and start a revolution, Alice and Hatter free the kidnapped Oysters (see the review of part 1) in the casino by telling them to wake up and realize what was done to them, conveying the not-so-subtle undertones of individuality and disbelieving the story told by power; basically, the idea that blind complacency is the best friend of a dictatorial leader. Likewise, when their actions cause the emotion collection vats to overheat and be destroyed, the entire casino comes crashing down to the ground, a direct visual showing the Queen’s loss of power and authority. After the collapse of the casino, the Queen orders her henchmen to arrest Alice, but of course, they refuse, instead forcing her to hand over the Stone in order to reopen the looking glass and return the Oysters to the real world.

“The Stone or my finger? Off with your head! Please?”

The other big theme in the second part of the miniseries is the idea of reuniting with a lost parent, in this case a father. It turns out that the lead scientist for the Queen, and the one in charge of collecting the emotional essence from the Oysters, Carpenter (Timothy Webber, Cypher; The Grey Fox), is in fact Alice’s missing father, who finally manages to wake up with the other Oysters when Alice and Hatter set them free, only to die in Alice’s arms before the casino collapses in an all-too-common scene wherein he apologizes for everything and urges her to save herself before the building comes down (Star Wars: Episode VI – Return of the Jedi, anyone?).

“I can’t be her father. I do science!”

“Go, Alice. Return to your mother and your life.”

One of the concepts I’ve always enjoyed in movies like this, or like Labyrinth, or MirrorMask, or any of those movies where the hero travels from our mundane world to a fantastical one and back, is the melancholy at the end where the character (and the viewer) struggles with the question of whether any of it actually happened. It creates a very unique poignancy and sense of loss, while at the same time maintaining a shred of hope that that other world is still out there somewhere, waiting to be found. Of course, this melancholy is completely destroyed if one of the characters from that other world follows the hero back into his or her world, as happens here. To me, probably the biggest point of these things is the idea that it might have all been a dream, and when that uncertainty gets removed, the piece also loses a big part of its impact and significance.

“Is this real or a dream?”

“Real. Definitely real.”

“Oh. Okay then.”

So that’s it for Alice, and this installment of Miniseries Week. I hope you enjoyed it, and that you’ll join me in a thorough scathing of SyFy Channel for cutting out the Cheshire Cat. Because honestly, he’s just plain awesome. ’til next time!

“That’s for leaving out the Cheshire cat!”

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Posted on September 1, 2012, in Miniseries and tagged , , , , , , . Bookmark the permalink. Leave a comment.

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