Alice through the ages
While Disney’s “Alice Through the Looking Glass” may not be wholly faithful to the original, its iconography is instantly recognisable. This is a credit not only to Lewis Carroll himself, but also to the many artists (and one in particular) who have over the years turned his words into images
By Nicholas Barber
Disney’s new megabudget “Alice Through the Looking Glass” has even less in common with Lewis Carroll’s books than its predecessor, 2010’s “Alice in Wonderland”. The first film, directed by Tim Burton, turned Lewis’s tongue-twisting, logic-flipping nonsense into a Tolkienesque feminist quest, in which an adult Alice (Mia Wasikowska) donned a suit of armour to battle the fire-breathing Jabberwocky. The sequel takes even more liberties with the source material. In James Bobin’s frantic steampunk time-travel caper, Alice puts the universe at risk in order to help the Mad Hatter (Johnny Depp) resolve his daddy issues.
What’s curiouser and curiouser, though, is that however far the films stray from the novels which inspired them – 1865’s “Alice’s Adventures in Wonderland”, and 1871’s “Through the Looking Glass, and What Alice Found There” – they never lose sight of those novels completely: there is something in every scene which is drawn from Carroll’s writing. But that says less about the films than about the indelible stamp which Carroll’s characters and situations have left on popular culture. Even after 150 years, we have only to see a mouse at a tea party, or a pair of rotund identical twins, and we know immediately that we’re in Wonderland.
This iconography isn’t a testament to Carroll’s genius alone. It’s also a tribute to the many artists (and one in particular) who have turned his words into images. After all, what is the use of a book without pictures or conversation?
Lewis Carroll (1864)
Type “Lewis Carroll Alice in Wonderland illustrations” into Google, and you’ll see a screen full of drawings by John Tenniel (cf, next picture). But Carroll himself – that is, Charles Lutwidge Dodgson – was the story’s first illustrator. When he presented his muse, Alice Liddell, with a manuscript entitled “Alice’s Adventures Under Ground” in 1864, it incorporated 37 of his own sketches. They’re stiff and amateurish compared to Tenniel’s, with ill-proportioned characters who look more like Victorian dolls than people. But they also have the naive creepiness of a sinister folk tale and of Heinrich Hoffman’s grisly “Der Struwwelpeter”. And it’s interesting that Alice didn’t start life as the blonde we all imagine. In Carroll’s mind, she had a mane of thick, dark, pre-Raphaelite hair.
John Tenniel (1865/1871)
Sir John Tenniel was “Punch” magazine’s political cartoonist for 50 years, but his claim to immortality rests on the 92 illustrations he drew for Lewis’s “Alice” novels. These classic and endlessly reproduced pictures have been seen by far more people than have read the books, and that’s even before you count all the imitations and parodies. The characters in Walt Disney’s 1951 cartoon, to give just one example, are modelled on Tenniel’s. It was he, not Lewis, who gave Alice blonde hair and a blue dress with a white apron and a bell-shaped skirt. And it was he who made the Hatter buck-toothed and chinless, with a bow tie and a price-labelled top hat. As well as their unforgettable costume design, what makes his pictures so fascinating is their combination of strangeness and finely detailed naturalism: the White Rabbit may be wearing a waistcoat and carrying a watch, but he still looks like a rabbit.
PHOTOS: Alamy, BBC, Helen Oxenbury/Walker Books, Alan Moore and Melinda Gebbie
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