A glimpse into the world beyond

The Chronicles of Narnia: The Lion, The Witch and the Wardrobe Rating: PG – Some material may not be suitable for children (battle sequences and frightening moments)

Imagine getting a glimpse into the world beyond our five senses. What if we could see into the realm that separates truth from falsehood, right from wrong? Would we gain any new insights into how vital our role on earth is?

In his classic, The Lion, The Witch And The Wardrobe, C.S. Lewis created the fun, ingenious and biblically symbolic world of Narnia where four unsuspecting children embark on the adventure of their lives.

Peter (William Moseley), Susan (Anna Popplewell), Edmund (Skandar Keynes) and Lucy (Georgie Henley) take refuge in the country house of a professor during the German air raids over England during World War II. While playing hide-and-seek, the children stumble across a wardrobe and mysteriously enter a magical world that is in a perpetual state of winter.

They find themselves in a battle against the White Witch (Tilda Swinton), who holds Narnia captive. She is desperate to prevent the foursome from fulfilling a prophecy that would see them joining the lion Aslan (voice by Liam Neeson) and his followers in his fight to save Narnia from her clutches.

In addition to this external battle, the children face internal battles. Peter struggles to become a leader. Edmund battles through temptation to receive forgiveness. Susan fights to embrace faith over logic. Lucy seeks to retain her childlike faith.

And all struggle to understand the dichotomy between the physical reality of their previous world and the spiritual truths of Narnia.

C.S. Lewis knew the difference between preaching and storytelling. In preaching, he made his point. In storytelling, he inferred his point. Lewis and the filmmakers use symbol and metaphor to convey truth, following Christ’s method found in parables. A few examples:

Aslan represents Jesus Christ. The sacrificial death and resurrection of Christ is so detailed it incorporates even the shaving of Aslan’s mane, to mirror the garments being stripped off Jesus. The Holy Spirit may be symbolized by Santa Claus, handing the foursome gifts such as a sword and the ability to heal. “These are tools, not toys,” Santa says.

Satan is cleverly depicted as the White Witch, who disguises herself as an “angel of light” with attractive clothing to cover her blackened heart. She traps Edmund in a plot reminiscent of the Fall.

The movie portrays numerous other analogies. On the assurance of forgiveness, for example, Aslan says: “What’s done is done. There is no need to speak to Edmund about what is past.”

The movie provides an excellent description of the gospel told through the eyes of children whose honest struggles are not unlike those we face today. It is packed with great cinematography that manages to avoid an overuse of violence. It challenges parents to consider how this movie compares biblically to other popular fantasy novels-turned-movies aimed at children, but whose message is decidedly different.

The film leaves viewers with at least two great truths. First, war in the spirit world exists whether someone believes it or not. Second, we need to participate actively through obedience, self-denial and the pursuit of God to confront evil (both within ourselves and within the world) and set up God’s kingdom.

This is a tremendous film. It will be a credible tool to engage people in dialogue about the redemptive story of Jesus.

Paul H. Boge is the author of The Chicago Healer and Father to the Fatherless, and attends North Kildonan MB Church, Winnipeg.