Sons of Magic Magic has always been a fascinating and enchanting force, capable of captivating our imaginations and stretching the boundaries of what we believe is possible. Throughout history, there have been many legends and stories about powerful magicians and sorcerers who have used their abilities to shape the world around them. But what about the sons of these magical beings? What is their role and how do they fit into the magical world? The sons of magic are often portrayed as unique individuals who inherit the power and knowledge of their magical parents. In many tales, they are depicted as being destined for greatness and are chosen to carry on the legacy of their ancestors. These sons of magic often have special abilities and gifts that set them apart from regular mortals. They may possess the ability to cast spells, control elements, or communicate with otherworldly beings.

Who should play The White Witch for the Netflix Narnia series?

Tilda Swinton played the role in the Walden Media movies.

Who could be next?

Copperfox

Well-known member

Specter

Meeting the World

MrBob

Well-known member

Why should she be portrayed by a British actress? The White Witch was from Charn. Does she have to have a British accent? How about looking for French, German actresses, or from other Northern European countries? The actress doesn't have to be world-renown.

Copperfox

Well-known member

Specter

Meeting the World

Why should she be portrayed by a British actress? The White Witch was from Charn. Does she have to have a British accent? How about looking for French, German actresses, or from other Northern European countries? The actress doesn't have to be world-renown.

Copperfox

Well-known member

Lest we single out the British for special scolding over the matter of British actors playing all sorts of people---

Original Star Trek saw white American actors being space aliens all over the galaxy; and most Japanese space movies populate far-off planets with aliens who look Japanese.

MrBob

Well-known member

I am not scolding the use of British actors for Narnia. In Prince Caspian, Miraz and Glozelle were played by Italian actors, Sopespian was played by a Mexican actor, and Coctor Cornelius' actor was Belgian. Those roles were well done. The original Star Trek didn't have the budget to look too far, and they were filming at a time that was less than welcoming to multi-cultural roles.

I am just saying that the characters who are not from England do not necessarily have to be played by British actors. However, I do hope they find an actor for Prince Caspian that does not speak in the accent of Inigo Montoya.

ShastaoftheNineRealms

Active member

Copperfox

Well-known member

ShastaoftheNineRealms

Active member

jasmine tarkheena

Active member

I was kind of thinking Emma Stone as the White Witch. She played Cruella in a recent Cruella movie. She might be good as the White Witch.

Sven-El

Well-known member

As far as Cate Blanchett goes, initially I'd be against it, but having seen her play Hela in Thor: Ragnarok, and her own interest in playing villains I could see it.

Seeing as Greta Gerwig has worked with her before, I could actually see Saoirse Ronan as the White Witch. I saw one article that suggested she should play Susan, but the problem with that is Saoirse is almost 30, a little too old to be playing a pre-teen.

If we're expanding our search outside of Britain, I'd also be partial to Dakota Fanning, and her sister Elle, as Jadis and her sister.

Otherwise I'm partial to Natascha McElhone ( The Truman Show) as Jadis, and not just because she's British. I always felt she had the kind of eyes that were perfect for an enchantress, the kind that sort of draw you in and beguile you. Kind of like Cate Blanchett's in a way.

Narnia

We have lived now for 30 years in the era of the cinematic blockbuster. It began with the massive launch of Jaws in 1975 and has encompassed four enormous series that have provided their audiences with eye-popping special effects, a spiritually uplifting mishmash of myth, legend, religion and pop cultural homage, and the prospect of more to follow in a year's time. These series - Star Wars, Lord of the Rings, Harry Potter and now The Lion, the Witch and the Wardrobe, the first episode in The Chronicles of Narnia - are known as franchises, a term borrowed by the brazenly commercialised cinema from those anonymous chains of hotels and fast-food joints that spread around the world bearing identical logos.

We also live in an age where everyone is immediately informed of the financial success or otherwise of all new films. Were he alive today, Oscar Wilde would describe a movie buff as a man who knows the weekly gross of everything and the value of nothing. The big question is, will CS Lewis's Narnia books be with us in cinematic form over the next seven years? Perhaps. But in 50 years' time will today's pre-teens be bidding at auction for that Victorian wardrobe in the Professor's house or the White Witch's coach, the way an earlier generation wanted Dorothy's ruby slippers or Kane's Rosebud sledge?

Like Lord of the Rings and the Harry Potter films, The Lion, the Witch and the Wardrobe is a very English affair, aimed at young children, who I'm sure will love it. It's briskly directed for much of the way, though with no great individuality, by Andrew Adamson, a film-maker previously noted for his work in animation, most notably the Shrek movies. Drawing on what was, for the book's original readers, the vivid experience of the Second World War, the film centres on four middle-class children: Susan and Peter, who are near teenagers, Edmund, who's a year or so younger than Peter, and Lucy, who is around eight. After an expressionistic re-creation of the London blitz, they're evacuated to a large, rambling country house, home of the remote elderly Professor (who might be either CS Lewis or God) and run by a stern housekeeper. Edmund is an outsider, more sensitive, vulnerable and self-centred than the others (he risks his life during an air raid to save a picture of his father, absent on active service with the RAF), and his name derives from the cunning, manipulative brother in King Lear

Lucy is the most open to imaginative experience and it is she who enters the magical, alternative world of Narnia. One minute the kids are playing hide-and-seek to the strains of the Andrews Sisters' wartime hit 'Oh Johnny, Oh Johnny, Oh!', the next minute Lucy has walked into Narnia through the mysterious wardrobe. In this snow-covered land it is perpetual winter due to the totalitarian White Witch who rules it through her Secret Police. When originally conceived by Lewis, Narnia must have seemed like Nazi-occupied France. When he finished the book in 1950 it also suggested the Eastern Europe of the Cold War.

The children are drawn into the conflict in Narnia as part of an ancient prophecy. They are the only human beings involved in a civil war between the White Witch, the incarnation of evil, and the rebellious forces of good, led by Aslan, a large, fierce lion. Her adherents are vicious talking wolves and deformed mutants. His benign followers include fawns, centaurs and beavers. The children are initially divided, in the way citizens of most occupied countries are. While his siblings side with Aslan, the treacherous Edmund becomes a collaborator, seduced by the Witch through the offer of endless quantities of Turkish delight. We must remember that sweet rationing in Britain didn't end until February 1953. The word 'aslan' is Turkish for lion.

For the Narnia books, Lewis drew on his immense knowledge of medieval literature, as well as on Alice in Wonderland, Beatrix Potter and The Wind in the Willows. He was also influenced, I suspect, by Where the Rainbow Ends, a curiously old-fashioned patriotic play revived every Christmas from 1911 until after the Second World War, in which a party of British public schoolboys assist St George in saving Britain. Noel Coward appeared in it several times as a juvenile and for some years it was a serious rival to Peter Pan.

But it is Lewis's commitment as a Christian apologist that has proved to be the most problematic source. Surprisingly, it's the one that JRR Tolkien, who was largely responsible for his friend's conversion, found objectionable. The influence is to be found in several ways. One of these, both serious and jocular, arises when the first spring in a century comes to Narnia, heralded by the appearance of Father Christmas. The presents he gives the four children are suitable for wartime kids or Christian soldiers, and they come right out of Blake's 'Jerusalem' - a sword and shield for Peter, a bow and a quiver of arrows for Susan, a dagger for little Lucy.

But he also gives Lucy a potion for reviving the near dead, and this leads us to Aslan, the lion. Speaking in the sad, sepulchral voice of Liam Neeson, Aslan is Christ the Redeemer, who lays down his life to save humanity. Following his humiliation and death, he is very specifically resurrected, with Susan and Lucy in attendance like the two Marys. On the other hand, Aslan is very much the British lion, emblem of nation and empire, king of the jungle, the spirit of unification.

Children will not, however, leave the film after its climactic battle thinking of Aslan. The greatest impression is likely to have been made by the White Witch. 'Her face was white, not merely pale,' Lewis writes, 'but white like snow or paper or icing sugar, except for her very red mouth. It was a beautiful face in other respects, but proud and cold and stern.' He might have been describing the mature Tilda Swinton, who was born to play this role. Hers is now as indelible an impersonation of a fictional character as WC Fields's Micawber, Peter Lorre's Joel Cairo or Vivien Leigh's Scarlett O'Hara.

• Tilda Swinton
• CS Lewis
• Drama films
• Family films
• Science fiction and fantasy films
• Chronicles of Narnia

Dusted Not Busted

They may possess the ability to cast spells, control elements, or communicate with otherworldly beings. In some stories, the sons of magic are burdened with the responsibility of using their powers for good. They are seen as protectors of the magical realm and are tasked with maintaining balance and harmony.

~ Don't smear, don't smudge. Stay Dusted Not Busted..bitch.

Tag Archives: the white witch

Makeup Inspiration: Tilda Swinton as the White Witch

13 Wednesday Jun 2012

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Tilda Swinton as the White Witch

Tilda Swinton looks flawless as the powerful diva antagonist of the Lion, the Witch, and the Wardrobe movie (adapted from the book by C. S. Lewis). Her foundation is absolutely flawless, and it blends in so well with the skin on her neck it doesn’t even look like she’s wearing any. As a pale girl with lots of blemishes, I appreciate how hard it is to cover up any sort of redness or uneven skin tone on milky white skin. Even though she’s wearing zero eye makeup, her brows are shaped nicely so her blues still stand out. Her subtle reddish pink lip color is understated and youthful. I like the refreshing simplicity of this look. Even if she is pure evil, the White Witch keeps it locked on fresh.

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These individuals may go on epic quests and adventures, battling against evil forces and dark magic. They must overcome obstacles and face their own inner struggles in order to fully embrace their destiny and fulfill their role as sons of magic. On the other hand, there are also stories where the sons of magic are portrayed as being tempted by the dark side of their abilities. They may be seduced by power and fall into the clutches of evil. These individuals must grapple with their own desires and make choices that will ultimately define their character and the outcome of their story. Regardless of the specific storyline, the sons of magic often serve as a symbol of hope and inspiration. They remind us that even in a world filled with chaos and uncertainty, there is still magic and wonder to be found. These characters show us that we all have the potential for greatness within us and that we can choose to use our powers for good. In conclusion, the sons of magic are an intriguing and captivating aspect of magical tales and folklore. Whether they are heroes destined for greatness or individuals tempted by darkness, these characters embody the power of imagination and the limitless possibilities that magic can bring. Through their stories, we are reminded that magic is not just a fictional concept, but a force that can inspire us to dream, create, and believe in the extraordinary..

Reviews for "The Sons of Magic: Masters of Spells, Potions, and Charms"

1. Sarah - 2 stars - I was really excited to read "Sons of Magic" because the concept seemed intriguing. However, I found the execution to be lacking. The characters felt one-dimensional and their relationships were not well-developed. The plot was predictable and lacked depth, leaving me feeling unsatisfied. Overall, I can't say I enjoyed this book as much as I had hoped.

2. John - 1 star - "Sons of Magic" was a huge disappointment for me. The writing style was overly simplistic and lacked the necessary descriptive language to bring the story to life. I found myself struggling to connect with the characters, as they were poorly developed and their actions felt forced. The pacing was also inconsistent, with certain scenes dragging on unnecessarily while others felt rushed. I wouldn't recommend this book to anyone looking for a captivating fantasy read.

3. Emily - 2 stars - I had high expectations for "Sons of Magic" based on the promising synopsis, but unfortunately, it fell flat for me. The world-building was weak, with very little explanation or depth given to the magical elements. The dialogue was often unnatural and awkward, making it difficult to become fully engaged in the story. Additionally, the plot twists and reveals felt contrived and lacked surprise. Overall, I found "Sons of Magic" to be a lackluster read that failed to deliver on its potential.

4. Michael - 1 star - I struggled to finish "Sons of Magic" and found it to be a tedious and unoriginal read. The characters were clichéd and lacked any real depth or development. The plot felt recycled and offered no new or exciting ideas. I was constantly waiting for something interesting to happen, but was left disappointed. The writing was also subpar, with awkward phrasing and grammatical errors throughout. I would not recommend "Sons of Magic" to anyone looking for a fresh and engaging fantasy novel.

5. Jessica - 2 stars - "Sons of Magic" had an interesting premise, but it failed to deliver on its potential. The pacing was slow and uneven, making it difficult to stay engaged in the story. The characters lacked complexity and their motivations were unclear, making it hard to empathize with them. Additionally, the dialogue felt stilted and unnatural, hindering my ability to fully connect with the narrative. Overall, "Sons of Magic" left me underwhelmed and I wouldn't recommend it as a standout fantasy read.

The Sons of Magic: A New Generation of Sorcerers and Enchanters