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

Belief

Creed

Education

24 January 2025

7 min read

The myth of secular neutrality

Where academia went wrong.

Alex Stewart

Alex Stewart is a lawyer, trustee and photographer.

A phrenology head is shown with its eyes closed.

David Matos on Unsplash.

In the recent horror-thriller Heretic, Hugh Grant plays Mr. Reed, a sharp-witted psychopath who imprisons two missionaries, subjecting them to ceaseless diatribes about the supposed irrationality of all religions. Mr. Reed is also a terribly smug, self-righteous bore, a caricature of the fervent atheist who dismisses faith as mere superstition while assuming atheism is objective and neutral.

This kind of assumption lies behind the criticisms directed by secularists at those who argue from a position of faith, as we saw recently with the debates on the Assisted Dying Bill. Yet, the notion of secular objectivity is itself a fallacy. Secularism, like any worldview, is a perspective, ironically one that is deeply indebted to Christianity, and humanity’s history of abandoning faith and its moral foundation has had disastrous consequences.

Secularism is a bias, often grounded in an ethical vanity, whose supposedly universal principles have very Christian roots. Concepts like personal autonomy stem from a tradition that views life as sacred, based on the belief that humans are uniquely created in God's image. Appeals to compassion reflect Jesus’ teachings and Christian arguments for social justice throughout history. Claims that the Assisted Dying Bill was "progressive" rely on the Judaeo-Christian understanding of time as linear rather than cyclical. Even the separation of the secular and sacred is derived from Jesus’ teaching to “render to Caesar what is Caesar’s and to God what is God’s”. Authors like Tom Holland in Dominion and Glen Scrivener in The Air We Breathe have shown how Western societies, though often disconnected from their Christian roots, still operate within frameworks shaped by centuries of Christianity.

The antidote to human pride and self-deception was to be found in the Almighty. Ironically, it was this humility, rooted in a very theological concern about human cognitive fallibility, that gave birth to the scientific method.

A political secularism began to emerge after the seventeenth century European religious wars but the supposed historical conflict between science and religion, in which the former triumphs over superstition and a hostile Church, is myth. Promoted in the eighteenth century by figures like John Draper and Andrew White, this ‘conflict thesis’ persists even though it has been comprehensively debunked by works such as David Hutchings and James C. Ungureanu’s Of Popes and Unicorns and Nicholas Spencer’s Magisteria. Historians now emphasize the complex, often collaborative relationship between faith and science.

Far from opposing intellectual inquiry, faith was its foundation. Medieval Christian Europe birthed the great universities; this was not simply because the Church had power and wealth but because knowledge of God was viewed as the basis for all understanding. University mottos reflect this view: Oxford’s "Dominus illuminatio mea" (The Lord is my light), Yale’s "Lux et Veritas" (Light and Truth), and Harvard’s original "Veritas Christo et Ecclesiae" (Truth for Christ and the Church). This intertwining of faith and academia fuelled the Enlightenment, when scientists like Boyle, Newton, and Kepler approached the study of creation (what Calvin described as ‘the theatre of God’s glory”) as an affirmation of the divine order of a God who delighted in His creatures “thinking His thoughts after Him”.

Their Christian beliefs not only provided an impetus for rigorous exploration but also instilled in them a humility about human intellect. Unlike modernity's view of the mind as a detached, all-seeing eye, they believed man’s cognitive faculties had been diminished, both morally and intellectually, by Adam’s fall, which made perfect knowledge unattainable. Blaise Pascal captures this struggle with uncertainty in his Pensées.

“We desire truth, and find within ourselves only uncertainty....This desire is left to us, partly to punish us, partly to make us perceive from whence we have fallen.”

For Pascal and his believing contemporaries, the antidote to human pride and self-deception was to be found in the Almighty. Ironically, it was this humility, rooted in a very theological concern about human cognitive fallibility, that gave birth to the scientific method, the process of systematic experimentation based on empirical evidence, and which later became central to Enlightenment thinking.

Orwell was not alone in thinking that some ideas were so foolish that only intellectuals believed them.

Although many of its leading lights were believers, the Enlightenment era hastened a shift away from God and towards man as the centre of understanding and ethics. Philosophers like David Hume marginalized or eliminated God altogether, paving the way for His later dismissal as a phantom of human projection (Freud) or as a tool of exploitation and oppression (Marx), while Rousseau popularised the appealing idea that rather than being inherently flawed, man was naturally good, only his environment made him do bad things.

But it took the nihilist Nietzsche, the son of a Lutheran pastor, to predict the moral vacuum created by the death of God and its profound consequences. Ethical boundaries became unstable, allowing new ideologies to justify anything in pursuit of their utopian ends. Nietzsche’s prophesies about the rise of totalitarianism and competing ideologies that were to characterise the twentieth century were chillingly accurate. Germany universities provided the intellectual justification for Nazi atrocities against the Jews while the Marxist inspired revolutions and policies of the Soviet and Chinese Communist regimes led to appalling suffering and the deaths of between 80 and 100 million people. Devoid of divine accountability, these pseudo, human-centred religions amplified human malevolence and man’s destructive impulses.

By the early 1990s, the Soviet Union had collapsed, leading Francis Fukuyama to opine from his ivory tower that secular liberal democracy was the natural end point in humanity's socio-political evolution and that history had ‘ended’. But his optimism was short lived. The events of 9/11 and the resurgence of a potent Islamism gave the lie that everyone wanted a western style secular liberal democracy, while back in the west a repackaged version of the old Marxist oppressor narrative began to appear on campuses, its deceitful utopian Siren song that man could be the author of his own salvation bewitching the academy. This time it came in the guise of divisive identity-based ideologies overlayed with post-modern power narratives that seemed to defy reality and confirm Chesterton’s view that when man ceased to believe in God he was capable of believing in anything.

As universities promoted ideology over evidence and conformity over intellectual freedom, George Orwell’s critique of intellectual credulity and the dark fanaticism it often fosters, epitomized in 1984 where reality itself is manipulated through dogma, seemed more relevant than ever. Orwell was not alone in thinking that some ideas were so foolish that only intellectuals believed them. Other commentators like Thomas Sowell are equally sceptical, critiquing the tenured academics whose lives are insulated from the suffering of those who have to live under their pet ideologies, and who prefer theories and sophistry to workable solutions. Intellect, he notes, is not the same thing as wisdom. More recently, American writer David Brooks, writing in The Atlantic, questions the point of having elite educational systems that overemphasize cognitive ability at the expense of other qualities, suggesting they tend to produce a narrow-minded ruling class who are blind to their own biases and false beliefs.

It was intellectual over-confidence that led many institutions to abandon their faith-based origins. Harvard shortened its motto from "Veritas Christo et Ecclesiae" to plain "Veritas” and introduced a tellingly symbolic change to its shield. The original shield depicted three books: two open, symbolizing the Old and New Testaments, and one closed, representing a knowledge that required divine revelation. The modern shield shows all three books open, reflecting a human centred worldview that was done with God.

However, secular confidence seems to be waning. Since the peak of New Atheism in the mid-2000s, there has been a growing dissatisfaction with worldviews limited to reason and materialism. Artists like Nick Cave have critiqued secularism’s inability to address concepts like forgiveness and mercy, while figures like Ayaan Hirsi Ali and Russell Brand have publicly embraced Christianity. The longing for the transcendent and a world that is ‘re-enchanted’ seems to be widespread.

Despite the Church’s struggles, the teaching and person of Christ, the One who claimed not to point towards the truth but to be the Truth, the original Veritas the puritan founders of Harvard had in mind, remains as compelling as ever. The story of fall, forgiveness, cosmic belonging and His transforming love is the narrative that most closely maps to our deepest human longings and lived experience, whilst simultaneously offering us the hope of redemption and - with divine help – becoming better versions of ourselves, the kind of people that secularism thinks we already are.

Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief

Find out more and sign up