December 8, 2005
By Matt Savelloni
“COURAGE IS NOT SIMPLY ONE OF THE VIRTUES, BUT THE FORM OF EVERY VIRTUE AT THE TESTING POINT.” – C.S. Lewis
In 1950, C.S. Lewis published THE LION, THE WITCH & THE WARDROBE, the first of seven chronicles of his fictitious land of Narnia, although it is the second book chronologically. He would finish the series with a new publication in each of the subsequent years (take that, George R.R. Martin!), establishing a landmark in children’s literature. He died relatively young (on the same day as the JFK assassination and Aldous Huxley’s death for all you history buffs) and within a couple years of his wife’s final surrender to cancer. And yet somehow, in this shortened life of grief and spiritual struggle, Lewis managed to create one of the most rousing, blissful adventures that continues to amaze readers old and new and will endure for all time.
WARDROBE… (sorry, but my fingers will fall off if I try to type out that title every time) begins in 1940, during the German blitzkrieg of London. Four children—Peter, Susan, Edmund and Lucy—are sent to live in the countryside with an eccentric professor, Digory Kirke. Lemony Snicket and Harry Potter fans take note: the idea of being sent to live with a crazy overseer begins the Snicket series and Digory is a name well-known to Rowling maniacs. In an empty room, the children find an old wardrobe filled with furs and wraps. Eventually, after a series of individual excursions, the children push through the plush material and are magically transported to the land of Narnia, an enchanted kingdom of talking animals, mythical creatures and a war between the powers of light and dark. The eternal snow is the handiwork of the evil White Witch, but her domination is fading, the snow slowly melting upon the arrival of the human children, who are the key to the final liberation of Narnia.
I would be on a fool’s errand if I tried to summarize all of the characters and events in even this first book. Plus, I do not want to spoil the surprise for any of those unlikely enough to have never taken Lewis’ journey. But the character central to WARDROBE…is Aslan, the kingly lion from a mysterious land “across the sea” who represents the resistance against the White Witch’s evil forces. What should be noted is that it is not just Aslan’s physical presence that leads the resistance but his submission, his philosophy of peace. It’s not a full-fledged MLK-like strategy of non-violence but it shares much with all passive historical leaders from Christ to Gandhi.
“EXPERIENCE: THAT MOST BRUTAL OF TEACHERS. BUT YOU LEARN, MY GOD DO YOU LEARN.” – C.S. Lewis
And it is that representation that has formed the bulk of some of the criticism and indeed, controversy, surrounding C.S. Lewis’ seminal work. It’s hard to imagine a simple children’s fantasy spurring controversy but over the years—and particularly in our modern era of political correctness and super-philosophies—the Narnia series has been accused of everything from racism to right-wing Christian propaganda. Lewis made no secret of drawing from the New Testament but countless works since the dawn of writing have gleaned insight from all manner of religious works. I’m always amused when people are unable to draw a distinction between representation and endorsement. Heck, even if Lewis was trying to use Narnia to convert “non-believers” to Christianity, how weak-minded do you have to be to allow a series of books with talking wolves, flying lions and half-man, half-goat creatures to form your spiritual beliefs? I know, I know, I can hear it now: but children are impressionable. True. But they are also reading a fantasy. The level of subtext detractors drum up, the allegories drawn to established religious works, are going to fly right over the heads of very young readers while older readers will enjoy either the novel’s diversion from or similarity to their own belief systems. WARDROBE…is no more a recruitment strategy than Harry Potter is a call to the practice of black magic. Nevertheless, the debate will flourish to some degree as we count down to the movie’s premiere.
Lewis draws on a number of decisive genres in constructing WARDROBE…and not just the New Testament. He enjoins Judeo-Christian traditions, Arthurian legends, Celtic mythology and Arabian Nights-like adventure in the plights of our young heroes. Each character, no matter how wondrous, is fully fleshed out, amusing and droll, majestic and mewling, courageous and cowardly, Good and Evil in the primeval sense. Lewis maintains an H. Rider Haggard pace offset by Tolkien flourishes of solemn reflection to give due consideration to the hazards involved, including the main theme of fate versus free will and how duty creates not only the chasm between the two, but the bridge across it.
C.S. Lewis was that rare fabulist: a scribe of simple texts spouting limitless gravitas. You can dedicate a lifetime of study to the implications of his work and indeed, there are Lewis scholars just as he himself was a scholar of the fabled writers preceding him. His friendship with Tolkien is not surprising as both worked on the doorstep of modernity, crafting stories of the “Olde” while, Lewis especially, alluding to the new. Both were inspired by the same world-changing paradigm: the propulsive, devastating events of World War II and the eve of destruction it heralded. As far as different groups laying claim to Lewis as their own, well, what more evidence do you need that he remains a timeless legend? After all, as WARDROBE…shows, battles are rarely enjoined over the insignificant.
“I SOMETIMES WANDER WHETHER ALL PLEASURES ARE NOT SUBSTITUTES FOR JOY.” – C.S. Lewis
Speaking of insignificant, we now arrive in Hollywood. Kid, I kid! But readers might be surprised to know that the lands of Narnia have been rendered before via the screen arts. There was a late 60s British TV series, a 1979 animated adventure that most people of my age probably recall from elementary school and a series of live-action specials in the 80s/early 90s. The fact that you’re unaware of these renditions probably speaks to their quality. Let’s face it: fantasy is hard (read: expensive) to do and unless a Lucas-like investment is available, should not be attempted.
Which brings us to the $150,000,000 THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE, the most unnecessarily long title in the history of film. And yes, you read that budget correctly. This is a major risk (but not really) by Disney. However, the tallies on Potter are already nearing half a billion and while Lewis doesn’t captivate as rabid a fan base, his writing disseminates across a larger timeline of viewers. I’ll admit it: I want to see this thing. Narnia made a big impression on me when I was a tyke and…confession time…I’m a sucker for talking animal movies.
One promising aspect is the writing-directing presence of Andrew Adamson, a young-ish director and former special effects maven who crafted the great SHREK film. While SHREK 2 doesn’t live up to expectations, his sensibility suggests a visionary who won’t allow the story to become too maudlin or histrionic. WARDROBE…definitely risks the danger of portent, much like the RINGS trilogy. By the third film (the weakest and most repetitive of the lot) in Jackson’s magnum opus, I was worn out and left wondering what kind of lean and mean juggernaut he might have filmed contained within the single 3-hour film originally planned. But I digress. Adamson has shown—at least in the animation world—a gift for economical storytelling that understands the brevity of wit and the appeal of landscapes and effects that don’t scream for attention but simply inhabit their corners and flavors of a story. I think Adamson is a wise choice to launch this franchise, if not see it all the way through.
Lastly, the other promising sign is the across the board casting across the pond. Amen to that, I say. I’m excited by Lima Neeson’s gentle intonations as the voice of Aslan, the exotic but unattainable beauty of Tilda Swinton as the White Witch and the beaming, quixotic smile of Jim Broadbent. And I am most impressed they didn’t try to shoehorn Dakota Fanning in here somewhere. The children are played by unknown newcomers and look and sound like real children, not precocious know-it-alls. After all, it is their wonder through which we must discover Narnia, otherwise, it just becomes another special effects extravaganza with nothing to chance. And Lewis’ story is so much deeper than another hollow carnival ride.
“If we cut up beasts simply because they cannot prevent us and because we are backing our own side in the struggle for existence, it is only logical to cut up imbeciles, criminals, enemies, or capitalists for the same reasons.” – C.S. Lewis
Author’s Note: As my last article of 2005, I want to extend to you and yours a Happy Holiday season and a promising New Year. See you on the flip side. –Matt
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