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

Comment

Community

Migration

Politics

16 July 2025

5 min read

Our problem with immigration is not open or closed borders but the decline of Christianity

Christianity doesn’t provide immigration policy, but it could still unite our communities

Graham Tomlin

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

Keir Starmer and Emmanuel Macron in front of flags.

Starmer and Macron announce their deal.

10 Downing Street.

So Keir Starmer and Emmanuel Macron have done a deal on migrants. One in, one out. The EU might yet block the plan, and it may fail as many have before it. The Conservatives’ Rwanda idea never got off the ground. Will this one? Labour hail it as a breakthrough with the French agreeing to take back some migrants for the first time. The right-wing media complain this is a drop in the ocean and will make precious little difference.

What interests me is the role Christianity plays in this debate, invoked as it is on both sides of the argument.

On the right, the argument runs like this: Britain is (or used to be) a Christian country. It is now in danger of being overrun by people who do not share that faith, or the values that are rooted in Christianity. Therefore, we must put a rapid halt to excessive immigration, especially migrants from conservative Islamic countries such as Afghanistan, Somalia or Pakistan. If we don’t, we will see the UK change dramatically and lose its distinct Christian identity.

So, in a speech last year, Reform leader Nigel Farage claimed that “Judeo-Christian values” are at the root of “everything” in Britain. These values, he said, were that “the family matters, the community matters, working with each other matters, the country matters.”

I’m sure they do. Christianity has shaped the character of the UK over centuries. And there is undoubtedly a sense in many places, especially more deprived ones, that communities have changed and are becoming unrecognisable from what they were. The chattering classes in Hampstead and Chipping Norton are hardly likely to feel the pinch, yet Bradford or Burnley can feel very different now than they did 50 years ago.

Yet it’s hard to identify Farage’s values as distinctly Christian. Many Muslims would claim much the same, and it would be difficult to describe his list as an adequate summary of the message of Jesus. ‘Judeo-Christian values’ are often identified on the right as being the same as ‘British values’, which are defined by the UK government as “democracy, the rule of law, individual liberty, and mutual respect and tolerance of those with different faiths and beliefs.” It’s hard to imagine anyone getting crucified for preaching that.

Yet Christianity is also used on the left. While he was Labour Leader in 2019, Jeremy Corbyn invoked Jesus in a call to welcome migrants: “The refugee crisis is a moral test. Jesus taught us to respect refugees. He himself said 'welcome the stranger…’ And the Bible says, 'the foreigner residing among you must be treated as your native-born'.

He had done his homework. It’s a better account of the teaching of Jesus. Yet on the left, the welcome of the refugee is often part of a wider and deeper value of ‘diversity’ as a good in itself. Multiculturalism, the kaleidoscope of cultures found on many high streets with Indian, Thai, Italian, Moroccan restaurants, or the image of kids from different countries and religions happily running around a school playground is a beloved trope of secular progressive liberals.

The trouble is that it is not how it feels to many in parts of Luton or Leicester. The residents of Hampstead and Chipping Norton can embrace multiculturalism because it does not fundamentally threaten their way of life.

“The ebbing away of the faith is greeted with barely a fraction of the passion which accompanied Brexit.”

Bijan Omrani

Embracing strangers is easier if you have a settled place to welcome them into. A home where the family gets on well, where the parents are united, the kids are content, is much more likely to be able to welcome in unknown guests with a proper curiosity to learn from them. A family full of tension and bickering is unlikely to welcome the stranger at all, as the newcomer will strain existing tensions even further.

As theologian Oleg Dik writes: “A society which loses a sense of shared broad and strong identity is unable to welcome a stranger…. What makes us different is enriching only as long as we are all aware that we have something uniting us. In the absence of a uniting bond, difference turns out to be threatening.”

The vision of the left – of diversity as an end in itself, held together only by a loose idea of tolerance or secularity which no-one thinks is worth dying for, threatens to erode the ties that bind us, as it gives no clear centrifugal core that can hold us together.

Christianity doesn’t give you an immigration policy. Both left and right can claim some legitimacy in the Christian narrative. However, what Christianity does provide is a community that offers a moral schooling centred on the worship of Jesus, as the one who shows us the true shape of human life, the necessity of self-sacrifice, not self-indulgence as the key to a functioning communal life, and the sacred value of each person - beliefs which, in turn, can welcome the stranger into a secure and confident home.

These things have, over centuries, seeped out from their intense core in the Christian Church into wider society. Arguably today, they are being eroded ironically more by secularism than by Islam.

The real problem of our time is not mass immigration (as the right would have it) or the failure to fully open borders (for the left). It is the widespread erosion of Christian faith.

As historian Bijan Omrani puts it: “Christianity’s disappearance is being accepted with little consideration or debate. The ebbing away of the faith is greeted with barely a fraction of the passion which accompanied Brexit.” Now this may largely be the fault of the church itself, a failure of courage about its own message, and appearing like another social lobbying group for various causes rather than a community centred on the worship of Jesus. But it's also down to the swathes of middle class, educated Britons – like Nigel Farage and Jeremy Corbyn - who like to claim the name of Jesus when it suits, and who live off the cultural heritage of Christianity without investing into its future by going anywhere near a church.

A good immigration policy needs the compassion that welcomes the vulnerable stranger. Yet it also needs a strong united community with a shared set of values, to welcome them into. Left and right may use Christianity in their rhetoric. But both miss something vital - that Christianity has to be practiced not just argued over.

A renewed Christianity might be the saving of both right and left - or at least offer a deeper and richer narrative than either can offer on their own, one that provides a strong core that can holds a society together, yet also welcome the stranger as a gift and not a threat.

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