Based on the second volume of The Chronicles of Narnia, a series of seven books by C.S. Lewis, a friend and drinking buddy of J.R.R. Tolkien’s, The Lion, The Witch, and the Wardrobe has a first two-thirds that is entirely satisfactory, and wonderful moments throughout. It is handsomely cast, exquisitely filmed, and its soundtrack is a model of excellent surround-sound design.

The film starts with a frightening and suspenseful sequence as the Pevensie family scurries to get into their bomb shelter while Nazi bombers drop their payloads on the city of London. In the next scene, the four Pevensie children, two boys and two girls, are sent to a country mansion, where they will be safe from harm. The youngest, Lucy, discovers, in an otherwise empty room, an old wardrobe that proves to be a portal to the kingdom of Narnia. Under the spell of the White Witch, an ice princess who fashions herself as the Queen of Narnia, the realm is covered in the snow of a perpetual winter. Lucy meets a faun, Mr. Tumnus, who befriends her; she then returns to tell her siblings about her adventure.

They scoff -- until they, too, enter the magic realm. There they meet a jolly beaver couple, and the Witch kidnaps the younger boy, Edmund. The remaining three set off to save Edmund, all the while pursued by the Witch and her minions, a pack of wolves. The children eventually meet the rightful king of Narnia, Aslan, a huge lion voiced by Liam Neeson. Then the movie takes a bumpy turn into its last third, which involves a traumatic battle between good and evil forces.

The cast is letter perfect. The child actors are wholesome, polite, and British. The CGI figures are, for the most part, handled in a singularly believable manner. Talking animals like this would not have been possible 20 years ago without appearing ludicrous. Aslan looks natural among busy surroundings, less so when more exposed. Tilda Swinton chews up a lot of icy terrain with her intense and sly portrayal of the White Witch.

The visuals are stunning at every point. As jaded as you might be from other, similar movies, try not to gasp in awe when you first see the White Witch’s ice castle. The gryphons that play an important role in the final battle look fresh and new. Not coincidentally, their flying antics reflect back to the aerial sequence in the opening of the film. Other special effects are letter-perfect. Harry Gregson-Williams’ score is a bit bombastic at times, but its quieter sections are lyrical and effective.

Though Lewis’s Christian allegory is quite plain -- Aslan, the Christ figure, dies to redeem Edmund’s sin -- it is handled in a nonpreachy way that does not slow the story much until the very end.

Treat yourself to this astonishing film, or be first in line for its DVD release in May. It is a rare property that walks the tightrope between family and action film, and walks it well.

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