The Lion, the Witch and the Wardrobe

The image of a faun carrying parcels in the snow was, for CS Lewis, the first glimpse of a world that would be Narnia. From this single mental picture he composed a magical land and a tale of suffering, forgiveness and redemption; The Lion, the Witch and the Wardrobe.

For decades children have delighted in the adventures of the Pevensie children, fallen in love with Aslan and wondered what Turkish Delight tastes like. Contrary to the claims of the film’s distributor, Narnia has long been ‘alive’. Imagination is something far more powerful than many realise.

Director Andrew Adamson begins his film with the London Blitz. As German bombs fall indiscriminately in the city Mrs Pevensie rushes her four children to the comparative safety of their shelter. But London is not a safe place and before long the four children – Peter, Susan, Edmund and Lucy – are boarding a train for the country.

Billeted to the expansive and rambling home of Professor Kirke (Jim Broadbent), the four are cut adrift from their home and their parents. They have each other but – as with most families – there are tensions between the siblings. Edmund is uneasy with his older brother filling the void left by their father (serving in the war). Peter is burdened by his responsibility as the oldest, unsure how to care for his younger brother and sisters while keeping Edmund in check.

Playing hide-and-seek one day Lucy, the youngest, climbs into a large wardrobe to take cover. Wriggling to the very back she finds herself stepping into a strange wintry land. Under the iconic lamp post she meets and befriends Lewis’ faun – the timorous Mr Tumnus.

From Tumnus she learns that the whole of the land is under a curse. The snow has been thick in Narnia for a century as the magical inhabitants suffer under the bitter repression of the White Witch. Always winter and never Christmas. But consigning her subjects to a joyless existence is not the Witch’s sole objective. She is awaiting the arrival of two sons of Adam and two daughters of Eve – so she can kill them.

On Lucy’s return her story seems somewhat outlandish. A quick inspection reveals the wardrobe to be ornate but ordinary. Yet Lucy is adamant and Peter and Susan are bewildered. According to the Professor there are three ways of understanding Lucy’s claim; she is either lying or deluded or she is telling the truth.

It soon turns out that Lucy is not the only one who can enter Narnia. But on his visit Edmund is seduced by the White Witch’s promises of power and he agrees to return with his siblings in tow.

According to an ancient prophecy the arrival of these four humans will precede the coming of Aslan – the great and righteous King. His coming will break the Witch’s curse. Yet Edmund’s part in the Witch’s conspiracy is a crime with deadly consequences.

Words and pictures do not always coalesce. When we read we form our own pictures using the words provided and our imaginations. As I remember Lewis’ novel it is as much the words as the images that linger. Beaver’s description of Aslan, Aslan’s explanation at his resurrection are as memorable as the images of Mr Tumnus under the lamp post and Lucy’s sudden arrival in Narnia. But with cinema we experience a filmmaker’s interpretation. And – generally speaking – filmmakers are more inclined to favour images over words.

It is certainly the case with Adamson. His Narnia is a glorious recreation – much of it in keeping with my childhood thoughts. However key elements of the plot are sacrificed for the sake of the visuals. Beaver’s account of Aslan and the prophecy are cut short as dialogue is swapped for action. Aslan’s time with the children, his discipling of them, evaporates as the film rushes towards its climactic and violent battle scene. In fact Aslan himself seems somewhat reduced. He looks and sounds magnificent. He seems real. But he does not evoke fear in the wicked as he did in Lewis’ world. We are told of his majesty and love, but (until the Stone Table) we do not see enough of it. We can see the evidence of the girl’s adoration of him but there is insufficient development of that love.

Lewis gave little time to the battle against the Witch and her army. It was the events at the Stone Table that captured the key drama of the novel. Yet in Adamson’s reading we are given a Middle Earth-style war that dominates the second half of the film.

These are significant flaws yet the film is still a work of wonder sure to be loved by many. Among the wholesome-looking quartet, Georgie Henley stands out as the gorgeous Lucy. Her wide-eyed amazement and steadfast spirit are skillfully brought to the big screen. While Aslan’s death didn’t induce my childhood tears it was still a powerful and shocking moment. His suffering in Edmund’s place a stunning reminder of Christ’s death for us.

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