Article

Comment

Film & TV

25 August 2023

8 min read

Dear Greta Gerwig: how your Netflix Narnia can be a roaring success

Narnia fan John Kuhrt pens an open letter to a daunted Hollywood director on helping her handle the Great Story.

Jon Kuhrt

Jon Kuhrt is CEO of Hope into Action, a homelessness charity. He is a former government adviser on how faith groups address rough sleeping.

A film director stands next to a camera to look at its screen, while a camera operator looks on

Dear Greta,

Congratulations on being appointed Screenwriter and Director for Netflix’s The Chronicles of Narnia. I really enjoyed your films Ladybird and Little Women and I am seeing Barbie this week as I have been away. It’s great to see a writer/director of your standing getting this crucial job.

I know you feel daunted to take on this job and I am writing to share five thoughts on what you need to bear in mind to make the series a success. I cannot claim to know anything about producing films or TV series. But I do know about Narnia.

Like millions of others, the books have been very significant to me. I read them first when I was a teenager, but I have continued to re-read them into adulthood. They have given me a reference point for some of my deepest questions about purpose, faith, life and death.

Disney/Walden Media’s Narnia series faltered after three films. The Lion, the Witch and the Wardrobe (2005) was a huge box-office hit but was followed by less successful adaptations of Prince Caspian (2008) and The Voyage of the Dawn Treader (2010). I thought all three films had many good qualities but the abandonment of the project less than halfway through shows the challenges of bringing Narnia to visual life.

So, with all this in mind, these are my five tips for how to create a great Narnia series:

1. Understand the thinking behind the books

The author, C.S. Lewis, was both an academic expert in medieval literature and a high-profile Christian author and communicator. He was a brilliant but complex man. Understanding him, his beliefs and his aims in writing Narnia is fundamental.

The two best books on this subject are Michael Ward’s Planet Narnia: the Seven Heavens in the Imagination of C.S. Lewis and Rowan Williams’ The Lion’s World: a journey into the heart of Narnia.

Ward’s book is a highly academic dissection of the hidden ‘key’ which Lewis implanted within each book (it was subsequently published in an abridged and more accessible version as The Narnia Code). The mish-mash of themes and diverse myths and legends in Narnia has puzzled and frustrated academic readers for decades. It was one reason why his friend J.R.R. Tolkein disliked the books so much. But Ward argues that the coherence and distinct atmosphere of each book comes from each being based on a different planet from the medieval cosmos. It is a thesis which has won almost unanimous affirmation.

Williams’ book is very different. It is a short but deep reflection on the theology that Lewis was conveying through the Narnia tales. His opening chapter discusses ‘The point of Narnia’ and he uses Shakespeare, Dostoevsky and Augustine to explore the ideas in the stories. He also assesses and responds to the criticism the books have faced.

2. Recreate the distinct atmosphere of each book

No other books have given me such a vivid experience of ‘going into another world’ as the Narnia books have. I now realise this is because of the most fundamental, yet intangible, strength of the books: the atmosphere, mood or tone that Lewis creates.

As Ward writes, quoting Lewis:

“Lovers of romances go back and back to such stories in the same way that we go ‘back to a fruit for its taste, to a region for its whole atmosphere – to Donegal for it Donegality and London for its Londonness.’ ”

Lewis was fascinated by literature which drew the reader into enjoyment of a story by indwelling it: seeing ‘through it’ rather than ‘at it’. Ward coins the term ‘donegality’ to describe this hidden element which establishes an intrinsic quality: ‘…the inner meaning of a romance cannot be flagged up by the author without altering its true nature. It has to remain hidden, woven into the warp and woof the story.’

The challenge for Netflix is that each Narnia book has a distinct ‘donegality’ based on the ancient themes and characteristics associated with the seven planets. This makes them very different to the Harry Potter books, which have a more uniform feel and consistency. Capturing the distinctive essence of each book will be vital to re-create the atmosphere Lewis aimed for.

3. Embrace Narnia’s spirituality

All adaptations of Narnia have to grapple with how they will handle the clear spiritual themes within the books. Faith makes corporations nervous but ‘theological due-diligence’ will be a key part of the creative and strategic discussions. I would advise Netflix to be bold and as true to Lewis’ thinking as possible.

In its 1980s, the BBC airbrushed spirituality out and this was one factor which made it a poor adaption. In contrast, Disney were braver in their films. As one newspaper wrote after the box office success of the first film ‘Disney finds a way to worship both God and Mammon’.

However, Disney never got to attempt some of the most theologically challenging scenes in the series. Narnia’s creation in The Magician’s Nephew and its apocalypse and depictions of heavenly re-creation in The Last Battle will be immensely difficult to convey on screen. These scenes will not work without confidence and clarity about what Lewis was trying to get across.

Rather than seeing them simplistically as allegories of Christian faith, it is best to see the stories as deeply infused with spiritual meaning. Rowan Williams answers the question ‘What is the point of Narnia?’ by saying that Lewis is doing nothing less than ‘trying to recreate for the reader what it is like to encounter God’. He is trying to

‘rinse out what is stale in our thinking about Christianity – which is almost everything.’

But this does not mean being preachy. Williams makes the point that ‘there is no church in Narnia, no religion even’.

Instead the spirituality is embedded within the ‘non-religious’ action: the bravery, treachery, sibling tension, bullying, reconciliation and forgiveness which are jam-packed into the stories. Spiritual truth is embedded and woven within each story.

4. Get the central character right

The character of Aslan stands right at the heart of the books. He is the only character who features in all seven books in the series, he sings the world into existence and presides over its end. He is the Beginning and the End, the Alpha and Omega of the whole story.

Aslan is very obviously an ‘authority figure’ but Lewis’ achievement is to craft a character who is both immensely powerful and enduringly attractive. And the key to this is the subversive nature of his authority. In an age where there is so much questioning of structural inequality and systemic injustice this is an aspect which Netflix should emphasise.

Rowan Williams draws this out with great insight: in Narnia ‘evil is cast as the ultimate force of reaction; we are invited to see ourselves as living ‘under occupation’ and summoned to join a resistance movement.’ Aslan’s wildness, his animality, represents the unpredictable world of grace which opposes the ‘ordered state of sin’ of the White Witch, King Miraz or (most deeply) the prisons we build for ourselves. Williams writes:

‘Transcendance is the wildness of joy; and the truth of God becomes a revolution against what we have made of ourselves’.

This is why Aslan’s victories lead to riotous partying. As Williams points out this is an ‘explosion of liberating festivity’ which (uncomfortably for some Christian readers) includes pagan revelry. At the end of Prince Caspian both the god Bacchus and a drunken Silenus make appearances to celebrate the liberation Aslan brings.

Aslan is the focus of hope not because he ‘saves souls’ but because he is the liberator of people and the whole of creation. Getting Aslan right will be a huge part of getting Narnia right.

5. Interpret it for a new audience

The Narnia books have faced criticism from authors such as Philip Pullman and J.K. Rowling. When Disney released the first film, Guardian columnist Polly Toynbee wrote an article titled ‘Narnia represents everything that is most hateful about religion’.

Rowan Williams engages head-on with the accusations that the books have overtones of racism and sexism and that they glorify violence. Whilst allowing for the fact that Lewis was an author of his time, he accepts the discomfort that modern readers will feel, for example, in how the ‘dark-skinned’ Calormenes are presented.

He also discusses one of the saddest parts of the stories: that former hero Susan is ‘no longer a friend of Narnia’ by the end of the series. Williams fairly defends this plot-line from those who claim it as evidence of Lewis’ misogyny.

More obviously, the old-fashioned dialogue of the children (‘Golly gosh’, ‘By Gum, you’re a beast’ etc) is a turn-off for modern audiences. The Disney films modified this well and used the backdrop of the Second World War at the start of each of the films to provide a more gritty context than conveyed in the books.

If you hold fast to the core of the books (see points 1-4) then stylistic changes and wise handling of aspects which are uncomfortable for today’s audience will enhance the series. All stories needs reinterpreting for a new audience.

The Great Story…

Narnia is a great story, but a key reason for its enduring popularity is because it reflects something of the Great Story of which we are all a part. As Lewis puts it himself in the conclusion of the final book:

“Now at last they were beginning Chapter One of the Great Story which no one on earth has read: which goes on for ever: in which every chapter is better than the one before.”

I wish you all the best with the production of the series and I look forward to seeing the result.

Thanks,

Jon Kuhrt, Narnia fan, South London (aged 51).

PS: You might be interested in this talk I gave on The Magician’s Nephew, my favourite Narnia book.

(This article was first published on Jon Kuhrt's Grace+Truth blog in August 2023).

Article

Assisted dying

Comment

Mental Health

2 December 2024

6 min read

No, it is not your life to dispose of

What could not be said about the assisted dying debate

Steve Hellyer

Steve is the former vicar of St Matthew's Oxford.

Empty bus seats are lit in dark neon colours.

Vy Tran on Unsplash.

It is 1979. I am aged 23 and have been in great mental and emotional anguish and pain for years. I am on a pointless journey, on Greyhound busses, from the East coast of America to the West, and am presently sitting in a parked bus just outside a city in Arizona; the powerful engine idles as we wait for departure time, giving a gentle to-and-fro rocking motion to the bus. I have not eaten for days, am unspeakably tired of my life, and have made a written list of possible ways to end it.

But not on that list is one possibility I have not previously considered, but which is now before me. As I look out to my right, up into the Arizona desert hills, I realise that here is an option which perfectly fits with my desire, not so much to do away violently with myself, as simply to drift into a passive oblivion; I realise that I could simply rise from my seat right now, get off the bus, stumble off into the desert hills, lie down, and wait to die. I need not shoot or poison myself after all. I know I can do this, and fairly easily; to die will take time, but no matter. No-one knows where I am, no-one will know I am missing, no-one will come looking for me, and probably no-one will find me. It is suddenly an immensely attractive prospect, and I am seconds away from rising up from my seat...

There is one thing, one thing only, that makes me hesitate; it is what other people would call ‘a religious belief’, but to me it is simply a truth.

It is this; I am absolutely sure that there is a God. And suddenly there is something grimly, darkly humorous even, in what I thus believe will follow my death; I will find myself, not in peaceful oblivion, but in the presence of God. I will, as they say, ‘meet my Maker’. And what then will I say to God? I will say: “Apologies: I could not go on, there was no other way out for me”. But what, I reason, if God were then to say: “You are wrong. There was a way forward. Look: you could have stayed on the bus, and had you done so, let me show you how your earthly future would have panned out…” And I will listen, and I will watch, as the film rolls on, showing me an alternative future. But of course, by then it would be too late…

And suddenly, sitting on that bus, in a moment of cold clarity, I realise, with a kind of desolate logic, how I am caught. In a very real sense, my belief in God my Creator means that I am not in fact ‘free’ to dispose of myself; more, that what I refer to so glibly as ‘myself’ is not in fact MY self. The bus ticket in my pocket may be ‘my’ ticket, my rucksack ‘my’ rucksack, but my life is not after all my possession, mine to dispose of; it is a loan, a gift, from a Giver, to Whom I am responsible, answerable…

I remain in my seat. The bus continues its gentle rocking motion a while longer. The driver gives his familiar 1970s Greyhound driver’s recitation, the various admonitions and prohibitions I have heard so many times as I have crossed America, I could give the speech myself (ending with the words ‘and no marijuana’, which always raises a smile) – and the bus pulls out onto the freeway. I look back over my shoulder at the desert hills as they recede, and feel I am leaving more than the desert hills behind; I am still in deep pain, but know I have left a possibility behind me, for good. Months later I will reflect on this moment and realise with a smile that the name of the city where I had put death behind me by not rising was Phoenix.

And so my journey has continued – on, in due time, to a return to England, to a measure of healing, to getting ordained as an Anglican priest, to thirty-four years of Church ministry, to marriage to a very remarkable woman, to fatherhood of two children - and, at some future moment, to my own death: all in God’s time.

How shoddy, shrunken and lonely, is our much vaunted and trumpeted vision of the autonomous individual.

The word ‘God’ was probably used very little, if at all, in the MPs debate on assisted suicide - and this debate has really been about assisted suicide, not ‘assisted dying’, given that people will be given drugs to self-administer. Even the Christian MPs who spoke, did not mention God, as they knew what could be said, and what could not, in order for them to be heard at all. The public arguments for, and against, the legalisation of assisted suicide have almost without exception had to be premised on one agreed assumption, apparently the only one now permissible in a post-Christian, liberal humanist, agnostic/atheist society: the assumption that my life is mine. The arguments used for assisted suicide resolve down to: “It is my life: I should be allowed to decide when to end it”. Most of the arguments used against resolve down to: “Yes, of course, granted, agreed, it is your life: but there may be unintended consequences for others in allowing you to end it, others may feel obliged to end their lives”, etc. At no point could anyone say, as I so passionately would claim: “No, it is not your life to dispose of”; there is now, it seems, no public place for the apostle Paul’s blunt statement in his letter to the Church in Corinth: ‘You are not your own.’

Yet this is now one of the most fundamental beliefs of ‘my’ life: and I have found it to be totally liberating and beautiful. I think of those glorious sculptures on the outer walls of Chartres Cathedral, including the representation of the creation of Adam, presented as emerging from the very mind of God. I think of the glory of man and woman made in God’s image as stewards of creation. I think of the extraordinary wonder of the Incarnation, of God embodied in Christ. I think of the sufferings of Christ on the cross; and I think, yes, of course I think, of the sufferings of my fellow men and women and children, and of my own sufferings, and of the call to me to shoulder the burden, both of living, and of dying, in God’s time.

And, alas, I think I also see something of how shrivelled, how wizened in comparison, how shoddy, shrunken and lonely, is our much vaunted and trumpeted vision of the autonomous individual – “my life, my rights, my body, my choice” - in the dominant contemporary Western mindset, eating away steadily like a corrosive acid any wider conception of community and the social institutions that enshrine it, and any sense of a deeper accountability to God.

Where will the current assisted suicide decision ultimately lead? What is the destination? It is difficult to predict, but the signs from other countries who have gone down this road are not good.

But what do I know? Do I have answers to all the questions around assisted suicide? I confess I do not. But one thing has become clearer to me: I am on a very different journey from the one my nation is travelling now.