Dear ones, I know your fierce dedication to the books of our youth—the magical stories that play a sacred role in our reality. I know how you watched the unveiling of each Harry Potter film and “The Chronicles of Narnia: The Lion, The Witch and The Wardrobe,” with a critical eye keeping watch over that tender spot in your heart where those tales are held with rare vulnerability and propriety.
At best, the stalwart among you were mildly content with the transition these stories made to the screen. There is a reason books are primarily the victor in the age-old barstool debate, “Which was better, the book or the movie?” Could the hordes that Hollywood mandates to create a film these days fit into that intimate space we hold for our most cherished authors? Could the story come first, despite marketing, high-ranking egos and an over-active thyroid churning out blood, lust and digital enhancements? Dare we ask—can a movie improve a classic in the pantheon of children’s literature?

Of course it can. It’s just that, mostly, it doesn’t. I’ve heard you pining over—even maligning—the film versions of “Eragon” and, most recently, “The Seeker: The Dark is Rising” and “The Golden Compass.” Indeed, they were bad enough to make you question that youthful trait, belief. Perhaps, readers, you doubt the magic of film in this arena.

If so, read “The Water Horse” before going to see it. The novel, by prolific children’s literature author Dick King-Smith (“Babe: The Gallant Pig”) is a charming tale inspired by the myth of the Loch Ness Monster. It is simple and engaging, a comforting read-aloud for children about a Scottish family changed by raising an exceptional pet. Published in1999, it received solid reviews but was not considered an epic family classic. The movie, “The Water Horse: Legend of the Deep,” is.
Set in coastal Scotland during World War II, the movie is about a lonely boy, Angus, (Alex Etel) who is wrestling with the absence of his enlisted father, an emotionally distant mother and his fear of water, when he finds an egg that hatches a strange sea serpent.

Whereas the liberties taken by film studios often dilute the value of stories, the transition of “The Water Horse” from page to screen heightens its gravities. The characters have more depth and demons, the drama is amplified and subtle, yet powerful messages about the effects of war and friendship are added, all while maintaining one of the book’s strongest traits: its earnestness.
“The Water Horse” opened on Christmas day and turned out to be a gift for families looking for a film that can be appreciated by several generations. It will also prove to be a lasting gift for you hopeful readers who are following the trend of making movies based on popular children’s literature.

The backdrop of WWII is unique to the film version. The novel was set in 1918, when whisperings about a monster in Loch Ness began. The change in setting is brilliant. There is nothing like war to ground a movie about a mythical beast into reality. And, ironically, the sea serpent is more real than the threat of military attack.

Due to concerns that German subs will infiltrate Loch Ness, a platoon of Allied soldiers moves into the lush, waterfront estate Angus’ mother oversees. The troops—and Angus’s rapidly growing pet—are wreaking havoc on his day-to-day life when a mysteriously scarred handyman shows up. Lewis Mowbray (Ben Chaplin) becomes an ally to Angus and the beastie he is trying to keep hidden, and a foe to the privileged platoon leader, Captain Hamilton (David Morrissey), who puts on a great show of being in charge.

Weta Workshop, the special effects team behind “The Lord of The Rings”  and “King Kong,” created an alternately heartwarming and thrilling computer-generated monster, who comes of age, as Angus must also eventually do. The serpent grows from a purring baby to a scary, temperamental and magnificent creature. (Parents of kindergarteners and younger be warned—this movie is not for the “Winnie the Pooh” set.)

Considering the screenplay’s epic nature and the digital grandeur of the title character, the film shows uncharacteristic Hollywood restraint, thanks to director Jay Russell, writer Robert Nelson, the actors and, well, just about everyone whose hand touched “The Water Horse.” Everything from the casting to the boiled-wool sweaters worn by Angus and his family make this film refreshingly authentic and timeless.