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

Awe and wonder

Comment

Holidays/vacations

Monastic life

Psychology

9 July 2025

5 min read

You can find the awesome in the everyday not just on holiday

The sources of awe are not scarce, but we do overlook them

Henna Cundill

Henna is a researcher with the Centre for Autism and Theology at the University of Aberdeen.

Awesome in Singapore.

Swaroop Satheesh on Unsplash.

Are you starting to think about holidays? Have you heard yourself trotting forth the old clichés?

“We’re looking forward to getting away from it all.”

“We’re planning something special to take us out of ourselves.”

“Well, it might not be that relaxing with the *kids/dogs/relatives* – but a change is as good as a rest!”

Even if going for the budget-friendly ‘staycation’ this year, there is something about stepping out of our everyday busyness and chores that we find distinctly appealing. We hope that a change of routine, if not a change of place, will afford us some kind of renewal. On holiday we are freed to move to the edges of our lives, even if we can’t escape them entirely, and gain the view from the terrace over the box-hedge-maze of all things quotidian.

But would it help us to visit that terrace a bit more often? This has long been the recommendation of scientists, poets and prophets alike. Most recently, a 2025 study from Yale University researched experiences of “awe” in the everyday. They recruited Long Covid patients and instructed them over a three-month period to slow down several times a day, paying attention to something that they valued or found amazing, whilst breathing and noticing any tangible responses or reactions in their body. The researchers called this process “awe”: Attention, Wait and Exhale. Amongst the participants in the study, the practice of AWE induced a measurable improvement in mental health.

Of course, there have always been people who pause multiple times per day to turn their thoughts away from the mundane. In the Sixth Century, an Italian monk known as Benedict devised a “rule” for those living the monastic life, wherein brothers were required to pause for prayer eight times in every 24 hours – including in the middle of the night! This connected the members of the order not only with God but also with each other. Even if a brother found himself temporarily outside the cloister, going on a journey or working with the poor in the wider community, he was still expected to “join” his community in prayer at the regular hours, stopping whatever he was doing to pray in solidarity.

There are still Benedictine orders today, and others who seek to “pray the hours” based on brother Benedict’s rule. But for most of us, our lives are far from this monastic ideal of community and regularity, even if we do practise the Christian faith. Within a busy schedule, stopping once or twice per day to pray can be a challenge, let alone eight times and regardless of convenience! No matter how much the scientists tell us that it will lift our spirits and do us good, such timefulness is the medicine that the modern life denies. But perhaps this is where the poets can supply deficiencies?

In her great work, Aurora Leigh, Elizabeth Barrett Browning once wrote:

“Earth’s crammed with heaven,
And every common bush afire with God;
But only he who sees takes off his shoes—
The rest sit round and pluck blackberries.”

It’s a brilliant reminder that sources of awe are not scarce, even if we are prone to overlooking them. In speaking of “he who sees” Browning suggests that there are some people who see the world in a way that anticipates moments of wonder, and that such people are willing to “take off their shoes”. This is an allusion to the story of Moses in the Bible, who, when he encounters the miraculous mystery of the burning bush in the desert, is commanded by God to take off his shoes because the ordinary desert has now become sacred and holy ground – a place of awesome encounter.

Perhaps we should take our cue from brother Benedict, and simply stop and kneel where we are, by the side of the path, in amongst the box-hedge.

This type of atunement is available to any of us, no matter how full the schedule. Even as I write – and you read – this article right now, any of us might pause to take in our surroundings and be able to find something to value and find amazing, a little bit of heaven crammed into earth. It might be a large thing, like the view from the window, or small thing, like the curling steam rising from a cup of coffee on the desk. Anything can become meaningful if we choose to observe its meaning; anywhere can become holy ground if we make it a place of encounter with all that is awe-inspiring and that transcends our daily lives.

What stops us, I wonder? Is it that for me writing this article, and for you reading it, this is just another task that we feel we must finish so that we can hurry along to finishing something else? We must keep pressing on, threading our way through the box-hedge-maze today, because the time for visiting the terrace is not now, it’s later – in a few weeks’ time, when the schools break up and we can finally “get away from it all”.

Perhaps we should take our cue from brother Benedict, and simply stop and kneel where we are, by the side of the path, in amongst the box-hedge. If we look closely, we might even notice that it is made up of a thousand million tiny leaves, each with its own little leafy life to live, each patterned with tiny, intricate veins. Beautiful, and for no obvious reason. Most people will never notice this – but we have seen it now. In the middle of all things quotidian, here is a common bush, and it is afire with God. There is nothing to stop us noticing this, and when we have done so, we can get up, take off our shoes, and continue to walk.

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