THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE

US, 2005, 140 minutes, Colour.
Georgie Henley, Skandar Keens, William Mosely, Anna Popplewell, Tilda Swinton, James Mc Evoy, Jim Broadbent, James Cosmo.
Voices of: Liam Neeson, Ray Winston, Dawn French, Rupert Everett, Cameron Rhodes.
Directed by Andrew Adamson.

Narnia is an impressive achievement.

Clearly, it will appeal to audiences who liked The Lord of the Rings trilogy. It is a story of imagination and of values. However, it does not have the scope or depth of Tolkein’s work. Rather, C.S. Lewis wrote a children’s story that he hoped would appeal to children of all ages and the child within the adult readers.

This is a review by someone who read Lewis’s theological writings, including his fantasy of good and evil, The Screwtape Letters as well as his biography, Surprised by Joy, and appreciates Shadowlands, but never read the Narnia books. The first impression is one of surprise at how ‘childlike’ the film is – in the sense that the characters are young and that all the action and the issues are pictured from their point of view rather than an adult perspective. This is quite a difference from Tolkein’s adult storytelling. Adults who read the books as children will have no difficulty relishing what it was that delighted them when they were young.

Another surprise is how firmly the Narnia experience is rooted in British war history, the evacuation of the children from London to the countryside, to fostering in homes and estates. Lewis was wanting his readers (after the War) to remember that, no matter what the difficulty, there was always hope – and imagination.

Lucy and Susan, Peter and Edmond Pevensie are called the sons of Adam and the daughters of Eve – they are Everychild figures. The youngest, Lucy, is the innocent who discovers Narnia. Edmond, the mischievous, is the betrayer. Susan is the voice of reason (which in Narnia is not enough). Peter, the eldest is the responsible one who becomes the knight leader. Together (including the repentant and reconciled Edmond) they overcome the powers of evil and eternal winter embodied by the white Witch and her cohorts.

However, they cannot conquer by themselves. On the one hand, Mr and Mrs Beaver, are their playful guides. On the other, the majestic lion, Aslan, is the king who is willing to lay down his life for Edmond but whose inner strength and power enables him to rise again.

Tilda Swinton is Jadis, the witch. Aslan is voiced by Liam Neeson with great dignity. Mr Beaver is Ray Winstone displaying a delightful sense of humour, with Dawn French as Mrs Beaver.

Douglas Gresham, Lewis’s stepson and head of the author’s estate, is a producer of Narnia which means that it is a respectful adaptation of the novel (remembering that it is a ‘version’ and a visual interpretation, not the novel itself). New Zealander, Andrew Adamson (director of the two Shrek films) has co-written the screenplay and directed (joining fellow-kiwi Peter Jackson in adapting beloved British classics for the screen). The effects and the computer graphics are state of the art, creating a wonderful world of snowscapes, creatures and battles.

There has been a lot of publicity given to the fact that Church groups in the United States have been promoting Narnia extensively. This is a little surprising given many of this constituency’s alarm about witchcraft and Harry Potter. On the other hand, many critics are saying either that there is no religious content or that Lewis was evangelising.

Lewis was not only a committed Christian, he tried to find literary ways of communicating the meaning of the Gospel. With this frame of mind, he was able to imbue his tales with Christian references. Some may not recognise these but will appreciate the values the story embodies. Christians will be able to recognise the references (especially with the character of the noble lion, Aslan, and his sacrificial death and rising) and connect them with their beliefs.

1.The popularity of these stories? Children reading them for half a century? Adults? The universal appeal? The religious dimension – and the support of religious groups for the distribution of the film?

2.The work of C.S. Lewis, audiences who have seen Shadowlands? C.S. Lewis as a writer, apologist for the church, his particular Christianity after being away from the church? His inventiveness of stories for children, drawing on myths, the influence of his J.R. Tolkien? The religious dimensions of the film or not? The message – and the allegorical aspects of Christianity?

3.The series of books? The information about the place of Narnia itself? The idea of Narnia as a fallen world, a world in winter and need of redemption? The sons of Adam and daughters of Eve? Edmund as a betraying Judas? The fight between good and evil? Aslan as leader – giving his life in sacrifice for someone unworthy? His rising from the dead? The apocalyptic battles? The rule of the four children and the fulfilment of prophecy? Restoration of order in Narnia? The incongruity of Father Christmas suddenly appearing in this context?

4.The visualising of the world of Narnia, the location photography in New Zealand, the computer graphics and special effects? The magical world? The stunts, the effects, the animation? Spectacle and adventure? The rousing score?

5.The film as directed towards children, towards adults?

6.The World War Two setting, London and the blitz, the separation of families, the children almost as orphans, the railway station and the mother farewelling the children? The alienation for the children? The context of war and hostilities? The train ride, their being met by the housekeeper? Her instructions about the house itself and Professor Kirke? The children settling in, exploring the house, playing inside and outside, their quarrelling? Their experiences? The visit by Lucy to Narnia and their not believing? Each of them finding Narnia – and responding to it according to their particular personality?

7.Peter as oldest, leader, his mother giving responsibility? Susan and her rationalistic approach to everything? Edmund as cantankerous, mean, independent, making choices? Lucy, the youngest, her innocence? The fact that Lucy went to Narnia first? Edmund going with her, his scepticism, being snared by the white witch? Peter and Susan and their succumbing to the world of Narnia?

8.Lucy, playing hidings, in the cupboard, going through to Narnia? The audience sharing her discovery on the other side of the wardrobe? Winter, the lamppost – and its significance in the history of the family and of Narnia? Her encounter with Mr Tumnus, the faun? His talk, going to his cave, his explaining about winter? The later disappearance – and his confession of having betrayed them? His being imprisoned? His escape and joining the forces of good? Lucy and her devotion to Mr Tumnus?

9.Lucy and Edmund returning to Narnia? Edmund and his disbelief, the encounter with the white witch, travelling with her, her assistant? Her plausible arguments? His being deceived by the white witch? His being led into betrayal? His agreement with her? Later disappearing from the group, going to the white witch, her deceptions and the results? His repentance and needing redemption?

10.The four children in Narnia, the shock for Peter and Susan, verifying the reality, discovering what had happened to Mr Tumnus? The encounter with the white witch? Edmund and his betrayal, taken, used, imprisoned? His needing to be rescued? Aslan laying down his life for Edmund, Edmund rejoining the others and in the crusade?

11.The encounter with the Badgers, the personality of Mr and Mrs Badger, the humorous patter, their explanation of the situation and the history of Narnia, going on their travels, encountering the dangers, especially the wolves? Their house, their leading the children to Aslan and the forces of good?

12.The history of Narnia, the role of the white witch, her entourage, her adviser? The wolves and their sinister mission, chasing the children? The other animals in Narnia: the fox and his voice, the gryphon, Philip the horse, Vardan?

13.The forces of Aslan? Aslan himself, the dignified lion, majestic? Liam Neeson’s voice? A leader – and the suggestions of the symbolism of Christ? His forces, the variety, the dwarfs and fauns, the centaurs? The force of good for the salvation of Narnia?

14.The confrontation between the white witch and Aslan, their truce, the witch’s betrayal, Aslan and his being willing to die for Edmund, his rising again, leader of the good?

15.The visualising of the battles, the heroics – and the irony that they were just children from Finchley?

16.The fulfilment of prophecy, the four children and their thrones? The meaning of their ruling of Narnia – and the hopes of the residents of Narnia that they would come and restore peace? The gradual transformation of Narnia from winter to spring and summer? The children spending their years in Narnia, growing up, the riding of the horses? The finding of the lamppost?

17.Their return, the irony that no time had passed, the meeting with Professor Kirke? The interpretation of Narnia and the hopes for the future?

18.The experience of the children, what they had learnt, how they had been transformed – Lucy beginning to understand, Edmund and repentance, Susan and her having to use more than her reason, to use her imagination, Peter and his growing sense of responsibility? Audiences and the deeper meanings and the Christian allegory?