And Then There Was Aslan

Book Review: THE MAGICIAN'S NEPHEW
Written by: C. S. Lewis
Originally published in: 1955
HarperCollins edition printed in: 1995
171 pages
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It has become so engrained in our cultural heritage over the last 60 years that it's fair to assume that everyone knows the story of The Lion, the Witch and the Wardrobe, whether because of the original C. S. Lewis novel, the new Disney film adaptation (reviewed HERE), or even (as is the case for this CR@B) the late 80's BBC serialisation (such nostalgia!).

For reasons unknown, however, the other (less celebrated) volumes which comprise the seven strong “The Chronicles of Narnia” completely alluded me until viewing the recent big screen reimaginings of Prince Caspian (reviewed HERE) and The Voyage of the Dawn Treader (reviewed HERE). Upon hearing that Fox/Walden are next planning to eschew both the publication order and chronological order of the prose series by filming prequel The Magician's Nephew, I set about familiarising myself with the children's novella so I won't go in cold when the film eventually hits cinemas in 2014.

Written last but set before Lion..., The Magician's Nephew literally goes back to the very beginning by depicting the mythical creation of Narnia and its myriad of fantastical folk and talking animals. We are present at the very dawn of this new world, reading in awe as the great lion Aslan's song brings light then life to a void of nothingness. Lewis's renowned Christian allegory is pretty hard to miss: this is Genesis in all but name – with Aslan (God) even setting a “son of Adam” the task of plucking (but not eating) an apple from a sacred garden (Eden).

The slippery serpent's role is here taken by a familiar figure to the Narnia-verse: Jadis the White Witch, who is accidentally transported to Narnia and immediately sets herself up as Aslan's immortal foe. No catalytic cause is specified for the ensuing rivalry between the paradoxic pair, merely the corrupt Queen's malevolent lust to control everything.

Other welcome correlations to the classic series are provided by the reasoning given for the iconic lamp-post coming to be positioned in the middle of a Narnian forest, and the story's young human protagonist, Diggory Kirke, who will grow into the knowingly sympathetic Professor with the labyrinthine country mansion and magical Wardrobe.

Exploring the rafters of their semi-detached London homes one wet Summer, young Diggory and next door neighbour Polly happen upon the lad's eccentric Uncle Andrew's secret study, wherein the disagreeable old man fools the children into donning magical rings which transport them to a mystical woodland realm which allows them access to any number of universes.

Despite being understandably outdated (there are even a couple of instances of what we today would consider flagrant sexism towards women), Lewis's prose is so easy to read and so tantalisingly magical that it's hard to put down or find issue with. I was entranced from page one.

The fantasy does unfortunately get bogged down in unsubtle religious motifs; the Narnia-shaping centre-piece is so vivid in grandiose detail that it brings the book's pacing to an almighty halt. Nevertheless, uncovering the mysteries to this otherworldly realm keeps you engaged. In particular, the explanation behind Professor Kirke's mysterious wooden coat cupboard providing a gateway to Narnia is an acute retro-fit addition; the strawberry atop this already sweet cake.


In a CR@B Shell: Atmosphere and wonder take precedence over plot in this slimline children's fantasy, but The Magician's Nephew is nevertheless a charming and enchanting tale which succeeds in making Narnia all the more tangible but no less miraculous.
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Snow More Winter

DVD Review: THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE
PG – 137mins – 2005
Screenplay by: Ann Peacock, Andrew Adamson, Christopher Markus, Stephen McFeely
Based on the novel by: C. S. Lewis
Directed by: Andrew Adamson
Starring: Georgie Henley, Skandar Keynes, William Moseley, Anna Popplewell, Tilda Swinton, Liam Neeson, James McAvoy, Ray Winstone, Dawn French, Michael Madsen, Patrick Kake, Shane Rangi, James Cosmo, Jim Broadbent
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I fear my initial reaction to this epic fantasy adaptation – one I made upon leaving the cinema in December 2005, and stubbornly held until last night – was somewhat harsh. I far too quickly dismissed Andrew Adamson’s The Lion, The Witch and the Wardrobe as nothing more proficient than the late eighties BBC mini-series, albeit with superior CGI. But viewing the first film in the saga for a second time – and in the perspective of the successive entries in the series (reviewed HERE and HERE) – made my appreciation blossom. Either that or I’m getting soft in my old age…

True, the four young actors taking on the Pevensie children – for the first time, it must be noted, they do improve as the films progress – are at times frankly appalling actors (particular the lads Moseley and Keynes whose voices lack any kind of expressive tone or depth), but with so much magic and wonderment flurrying around them any faults are often blanketed over like the snow from Narnia’s eternal winter.

As I revisited Mr Tumnus’s (McAvoy) home for tea, crumpets and sardines, and trekked across frozen lakes with Mr and Mrs Beaver (voiced by Winstone and French respectively) on the way to meeting the mighty Aslan (Neeson) and joining his army to combat the White Witch, Jadis (Swinton), what struck me most about Lewis’s children’s fable is how bleak and frightening it all is: Narnia under the White Witch’s rule is not a pleasant place, with foxes being mauled by wolves, fauns being turned to stone and children being chained up and slapped for asking questions.

Indeed, even as the snow thaws and the sons of Adam and daughters of Eve (that’s human children, FYI) bring hope back to the whitewashed landscape, Aslan’s blatantly allegorical sacrifice upon the Pagan-esque Stone Table in place of traitorous Edmund (Keynes) is hardly family viewing, with all manner of grotesque demonic creatures (minotaurs, dwarves, giant bats, etcetera) all baying for the lion’s blood under firelight.

Of course it’s hardly much of a spoiler for me to reveal that good eventually conquers evil with Aslan making a magnificent return to defeat Jadis once and for all (though Swinton still manages to wangle appearances in both follow-ups to date), but not before Peter (Moseley) has done his fair share of sword fighting and Edmund has been stabbed. Thank heavens for little Lucy’s (Henley) gift from Father Christmas (Cosmo): a healing potion which makes all battle scars vanish – all except the ones imprinted on the adolescent audience’s brains, that is.

So, allegorical meaning or not, The Chronicles of Narnia: The Lion, The Witch and the Wardrobe doesn’t escape representing some truly adult horrors, even if they do all happen in the back of a magical closet and feature a menagerie of talking critters. This may sound like a negative observation, but trust me it is not: I say bravo to Adamson and his crew for not bowdlerizing some of the more intimidating imagery and granting Narnia a truly visionary scope. I guess we’ve all got to grow up some time; we may as well do it in the comfort of a good film.

In a CR@B Shell: A multifaceted, uncompromising and surprisingly re-watchable treat for the whole family. What better time to indulge upon a second peek inside the wardrobe then at Christmas when we wish we had as much snow as Narnia. Turkish delight, anyone?
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