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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 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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6 min read

Letter from Istanbul: how many neighbours is it possible to love?

It’s easy to feel overwhelmed by the sheer mass of humanity in Turkey

Becky is a a writer living in Istanbul.

An Istanbul street curves and the sun illuminates one side
An Istanbul street.
Drew McKechnie on Unsplash.

 

Living in the megalopolis that is Istanbul in Türkiye, as the country is now calls itself*, is both wonderful and utterly overstimulating. As the sun dawns earlier in the summer months, I often ponder on what woke me up as I sip my morning coffee. Was it the Call to Prayer from our neighbourhood mosque; the caterwauling cats; fighting crows; howling dogs or squawking seagulls?

Istanbul (formerly known as Constantinople) is where East meets West, and home to up to 20 million people. It's the only city in the world to straddle both Asia and Europe, separated by the narrow Bosphorus sea, which you can cross by ferry in 20 minutes. 

Known in the Bible as 'Asia Minor,' Türkiye boasts a wealth of Christian history and numerous religious sites, including the breathtakingly preserved ancient city of Ephesus.

Once the largest Christian cathedral in the world, the Hagia Sophia in Istanbul’s historic quarter Sultanahmet attracts millions of tourists to its grand Byzantine architecture every year, as both a mosque and a museum. 

Istanbul's gastronomy is among the best in the world. The food, paired with the melting pot of history, faith, and culture, also makes for the warmest sense of hospitality in the world to visitors and newcomers that you could ever imagine. It is a stark contrast to what I was used to in the UK. 

Turkish hospitality is about way more than tulip-shaped glasses of tea and aubergine köfte kebabs; in Turkish culture, a guest is honoured, making them feel as if they belong. From the drawn out etiquette of home visits to literal fights breaking out when it's time to pay the bill, in Türkiye, a guest is seen as a 'gift from God.'

Speaking of hospitality, Türkiye's official population is indeed an estimate due to the constant stream of refugees that pour into the country and settle in Istanbul, hoping to build new, better lives for themselves.

It is a hugely built-up city, with each skyscraper competing for height and a Bosphorus sea view; here and there, you can spy small little houses called gecekondus (which means 'put up at night'). These are the (illegal) homes of newcomers. 

Türkiye is, on the whole, proud of its migration history (and its 2016 agreement with the UN). Of course, it's a country in a prime position to grant refuge to displaced people in neighbouring nations and as a transit country for people trying to emigrate west, and is home to the world's largest refugee population (3.2 million Syrians and up to 222,000 other nationalities). The latest refugees to seek sanctuary in the four thousand year old city are more Iranians. I enjoy friendships with Turkish, Persian, and Syrian friends in my faith community. 

Of course, attitudes vary regarding the many 'neighbours' who make their home in Istanbul. There are complaints that 'enough is enough.' There is a 'Türkiye first' rhetoric that permeates the Caffe Nero I sometimes work in.  (Eye-rolling and body language speak louder than words when the barista is short with a burka-wearing, stroller-pushing mum speaking Arabic. 

And I do get it. 'Istanbul is overcrowded' is a massive understatement. You can't even begin to compare it to the UK immigration rhetoric. 

Behind most discrimination is fear, and secular locals worry that so many refugees in Türkiye could lead to a different religious landscape one day.

I, too, am a guest here in Türkiye, and I am grateful I've been able to make it my home. I'm reminded that every person is worthy of love and respect no matter where they are from. 

Of course world events significantly impact attitudes towards refugees in Istanbul. Sadly, it's a fact that events around the world can shape people's discourse regarding certain people groups. I find it hard to switch off from what's going on around the world, and since Israel bombed Iran last two weeks ago, I've been glued to the news. 

My hairdresser is an Iranian girl who has a residence permit due to her husband's job in hospitality. I asked her how she was doing. She said she's scared for her mum and sister, who are in a city that's being bombed, and she wants to bring them to Türkiye. She said the scariest thing about it all is that all flights are grounded right now, and the internet is inconsistent; they feel utterly helpless. All I can do is hug her and tell her all life is precious to God, and that I am praying for peace.

A week later, I woke up to the news that the USA had struck Iran, with the intention of destroying three of its nuclear facilities. The world waits and watches with bated breath to see what will happen next.

I don’t have the answers for overcrowding or immigration policies, but when I reflect on 'who is my neighbour' I know it is whoever I find standing in front me.

 

Many in Istanbul do ask 'who is my neighbour? It is a question that has been asked for millenia, most famously by Jesus.

Jesus replied with a powerful story that would have pushed the buttons of all those gathered around on issues of race, religion, and hospitality, which became one of his most famous parables. In 'The Good Samaritan,' a traveller and a Jew are brutally attacked and robbed when he's walking from Jerusalem to Jericho. Beaten, bloody, and left for dead on the side of the road, a priest passes by, but instead of helping, he ignores the man and continues his journey.

Next, a Levite who also worked in the Jewish temple comes along the road, crosses to the other side, and walks away.

Finally, a man from Samaria (sworn enemies of the Jews) passes along the road, sees the injured man, and stops. He stops, tends to his wounds, puts the man on his donkey, and takes him to an inn to recover, covering all the expenses from his pocket.

You can imagine the sound of a pin dropping when Jesus asks which of these three was a neighbor to the man attacked by robbers: 'The expert in the law replied, 'The one who had mercy on him.' Jesus told him, ‘Go and do likewise.’

The message is simple- our 'neighbours' are all the people we come across. It's those different from us and even those with whom our ethnicity and national history demand we make enemies. 

As a white woman with a British passport, I am privileged. I can return to the UK when I choose. People don’t wince if they hear me speak English in Caffe Nero. As a resident in Istanbul, I navigate the attitudes and ever-shifting narratives towards immigration in Türkiye by prayer. 

I want to hold space for my Turkish friends who feel scared and frustrated.

I want to be a voice of peace to my friend who sends me a video of missiles heading for Iran over the border from Hatay, Türkiye. 

Living in Türkiye as a woman of faith has changed me, and I can't help but think that if we all adopted the Turkish philosophy of hospitality, which views all guests as gifts from God, deserving to feel like they belong, the world could be a different place.

I don’t have the answers for overcrowding or immigration policies, but when I reflect on 'who is my neighbour' I know it is whoever I find standing in front me, no matter where they come from. I ask for the strength to 'love my neighbor as myself' no matter the country on their ID card (or despite their lack of one). And when I feel overwhelmed by the sheer number of precious human lives arriving in Türkiye every day, I remember that each of them is also a neighbour - and my job is to care for the one in front of me.


* Türkiye is the new spelling of the country’s name. Find out more