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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).

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Politics

28 November 2024

4 min read

Here's why we need to keep democracy holy

It's much more than a utilitarian deal that benefits the most.

George Pitcher

George is a visiting fellow at the London School of Economics and an Anglican priest.

A sign reading 'polling station' stands by the entrance to a church.

Red Dot on Unsplash.

One of the more ludicrous constitutional contributions of late has been the parliamentary petition, with well past two million signatures when I last looked, demanding another general election be called, because the Labour government, elected in July, has “gone back on the promises they laid out in the lead-up to the last election.”

Prime minister Sir Keir Starmer has surprised precisely no one by saying that he won’t be calling one. And so we’ll move on. But, in passing, what is truly breathtaking is how little our democracy is understood and, apparently, how unseriously democracy in the west is now taken. If that sounds unduly censorious, I have a two-word response: Two million!

Little time need be spent on demolishing the premise of this spurious petition, other than to wonder how many of those signatories would have appeared on one calling for, say, a fresh mandate after the coalition government of David Cameron and Nick Clegg (where is he now? Ah yes) performed a massive reverse-ferret on a manifesto pledge not to raise university tuition fees.

Or how many of these same fearless electors believe the result of the Brexit referendum should be voided because of the lies of the Leave campaign, most notable the one painted on the side of Boris Johnson’s battle bus. But no – two million residual, self-righteous righties can only be mobilised against a Labour government.

This event none the less raises valid questions about what our democracy is (and is not) and why we should want to protect or even cherish it. These questions become the more critical because there’s a tangible feeling of slippage in western democracy, as if we’re growing a bit tired and even contemptuous of it.

There’s the ominous re-growth of nationalism across Europe. And not a few bien pensants – me included, to my shame – might admit to a feeling after Donald Trump’s re-election as US president that democracy is too important to be left to the people.

Slightly more seriously, we need to ask ourselves what the qualities of democracy are that we should seek to defend. The first of these is, quite obviously, the rule of law. Should a political actor seek to overthrow a democratically established electoral process, then that is a crime within the rule of law. Witness the horrors on Capitol Hill in Washington DC on January 6 2021.

That’s the Feast of the Epiphany as it happens, but nothing to do with the coming of wise men. With Trump at the centre of it. Draw your own democratic conclusions – and weep for the rule of law.

Natural justice is to ensure that vexatious petitions don’t overthrow legally elected governments, either by lobby or violence.

Again, why does this matter and what is it about democracy that we hold sacred, even holy? It can’t simply be that we hold dear a kind of hard utilitarian ideal that what we elect to do is for the benefit of most of the people, for most of the time, as decided by popular mandate among the demos.

If we believe in democracy, as I believe most of us do, we’re presented with a choice: We can look to secularism as a solution, universal Enlightenment principles built on citizenship and equality before the law. Or we can look to a multiculturist model, keeping the peace between essentially separate communities and the state.

Or we can shape something on Augustinian Christianity, that recognises the limits of political democracy, which would eschew undemocratic theocracy, but which would hold that no political order other than the Body of Christ (the Church) can claim divine authority.

We’re in classic Rowan Williams theological territory here: “[T]he Body of Christ is not a political order on the same level as others, competing for control, but a community that signifies, that points to a possible healed human world.”

Unsurprisingly, I buy that. Williams goes further to state this spiritual effect on the political environments in which we find ourselves is likely to be “sceptical and demystifying.” Which seems to be a reasonable manifesto in a democracy.

The principle of election can be a worrying one in theological terms. We don’t “elect” God, though some secularists would claim that the Godhead is our invention. Rather, it has sometimes been perceived to be the other way around historically.

Reformational Calvinism would hold, among many other things, the rather terrifying view that we’re elected by God. “The Elect” are those who will be saved, while the rest of us (I presume) can rot in hell. Little democracy there.

Less deterministically, a more modernist worldview would argue that the Christian faith, on which foundation western civilisation is built, offers a viable moral definition of the lawful state, with which politicians of all (democratic) persuasions can tackle issues of global justice.

One such issue of natural justice is to ensure that vexatious petitions don’t overthrow legally elected governments, either by lobby or violence. That’s an important aspect of Christian witness and will require true grit in in its application during the years ahead. That’s, if you will, our grit in the democratic oyster.