In a recent podcast episode, Glumpuddle described Narnia fans as currently trying to "cracking the code" to figure out a framework that would make sense of the strange and controversial decisions Greta Gerwig is making with The Magician's Nephew. I think it might be good to have a thread totally devoted to that. Here's my attempt.
In an interview, Gerwig has mentioned that something she finds interesting and unique about Narnia is how it includes things from different mythologies in the same universe. For example, The Lion, the Witch and the Wardrobe features both a faun and Father Christmas. I suspect she's trying for the same effect by setting the story in the 50s but using musical influences from the 70s and cameras from...whenever they used 70mm.
If true, does this make me like the approach? Well...not really. I don't see what was wrong with the original time period in which the book takes place. And I personally think rock and roll music sounds ugly and I want the music for MN to sound beautiful. (My apologies to all the rock and roll fans reading this. I will say though I don't know anyone who associates that style of music with Narnia.)
But if my theory is correct, it does make me respect what Greta Gerwig is trying to do. I can follow her reasoning anyway and see this as a genuine attempt to capture the spirit of the Narnia books. What about you guys? What are your theories as to "the code?" And how do you like mine?
This topic was modified 2 months ago 2 times by Col Klink
For better or worse-for who knows what may unfold from a chrysalis?-hope was left behind.
-The God Beneath the Sea by Leon Garfield & Edward Blishen check out my blog!
Topic starter
Posted : February 27, 2026 6:58 am
DavidD liked
I can't suggest about a code, but I do think rock and roll music is inappropriate for the story, and for the mid 50s time slot. I'm putting this together in my mind as I write, but pre-rock 50s music has plenty of potential.
We have seen video of the hero wandering home through old city streets and some bombed ones, and past well dressed people as well as very ordinary folk. We know from the story that he himself has a life broken by separation and serious illness, the loss of natural beauty and happiness.
That's her backdrop to a story that will take him to a place where he sees beautiful old buildings damaged by war, and beautifully dressed human figures whose days are over. Its history is over, like many former states and governments. There is no sign of the natural world.
Music up to here is sad and harsh, but not R&R.
After this he will see very ordinary folk who are beginning a new world, with the animal kingdom and nature given its proper place, with humans decently ruling over it, and cooperating with the intelligent animals. There is hope after destruction.
It's a very 50s theme, and beautiful music should represent it.
But then the old grasping conceited man, and the despotic magic user from a past world, threaten the new order. Even here I cant see R&R being suitable.
The task for the boy to collect the single item that will defend it, becomes its safety for many years to come. The story ends with a promise of happier days. Perhaps he reflects all children given a new chance in this new world post-war.
Again, hope and beauty and innocence should be reflected in the music.
No code, but the themes of destruction, new starts, and rebuilding, do work well.
There, shining in the sunrise, larger than they had seen him before, shaking his mane (for it had apparently grown again) stood Aslan himself.
"...when a willing victim who had committed no treachery was killed in a traitor's stead, the Table would crack and Death itself would start working backwards."
Hmm, I have been thinking about some of Greta Gerwig's other films.
Spoiler
Barbie
In Barbie, the movie was in many ways a meta-reference to how an adult woman looks back on playing with Barbie dolls and the culture as a child. The film looks at Barbie both from an idealistic perspective and from a critical perspective. Insofar as I understood the film, it seemed to be saying that both men and women need to be self-actualized and we should not rely on relationships for our worth. (That's probably not a fair representation of the film's themes, I saw it once a while ago now.)
Spoiler
Little Women
In Little Women, the story was told in flashback - which was different to previous versions (I was familiar with the 1949 Elizabeth Taylor and the 1994 Winona Ryder versions of Little Women). This movie is also a little meta in that Jo writes a book in honor of her younger sister, "Beth" who had died. As I understand it, because this book serves as a biography of Jo's sister, it necessarily contains auto-biographical elements about Jo herself. When Louisa May Alcott had written the book, she had not wanted Jo to get married, but the publisher forced her hand on the issue. In the new film adaption, Jo writes herself as getting married in this somewhat auto-biographical book to satisfy her publisher who thought the story would be boring if it did not contain this element. Because the story is told in flashback, with the publishing of her book as the framing device, the film makes it ambiguous as to whether Jo really got married or if this is a fiction within the story to satisfy her publisher. Amy is also changed. In other versions, Amy is portrayed as a spoilt, superficial girl who just wants to marry a rich man. In this version, Gretta makes Amy more sympathetic by having her point out that in their society, women cannot do anything other than marry, so she might as well marry a wealthy man as this is all the success that she can have. Along with Jo seeking success without a man, this kind of leads in the direction of saying that the era in which Alcott lived was quite misogynistic. I did not see any changes to Beth or Meg's story. Meg wanted a different life to Jo (she wants to be married) and the movie goes out of its way to say that this is good for anyone who wants it.
In both cases, the story is not just about the source material, but also about Gretta Gerwig's reflections on the source material. (That does not mean that she is not respectful to the sources, but I think she is willing to critique the source material in her films.) I do not know enough about how she feels about C.S. Lewis and Narnia. I would not be surprised if there is again a meta element in the movie.
I don't really have any idea what the 'code' may be, but here is some fun speculation:
Given the poster of "A new World, A new home" - I do wonder if there could be a framing device of the end of death and destruction and a new beginning. If the story takes place after World War II, then it would not surprise me if Digory's father had died in the war and now his mum has a terminal illness. This would lead to high stakes with Digory potentially becoming an orphan. It would allow the destruction around London to echo Digory's inner world. It could also explain why Digory had to move from his home in the country to London.
Charn, as a war-torn world, where everything other than Jadis is dead, could also echo this theme of death.
With the creation in Narnia and of the hope of 'the land of youth' - there could be a turning point around the film's mid-point. Obviously this would all lead to the healing of Digory's mother. This could also make Digory's decision in the garden all the more poignant as he is choosing with regards to his mother's life or death and if the film has shown how dire death is, than this could hit hard.
I would expect Gretta to place meta references to C. S. Lewis' own mother dying when he was young in Ireland and possibly C. S. Lewis own experiences in the First World War (or after it).
The term is over: the holidays have begun.
The dream is ended: this is the morning
I don't really have any idea what the 'code' may be
I guess what I was trying to say is that many Narnia fans are feeling confused because Greta Gerwig has talked about being a big fan of Narnia but a lot of the decisions she and Netflix are making (like Aslan being voiced by an actress instead of an actor, changing the time period of the story, and using rock and roll on the soundtrack) aren't what fans seem to want. Also, she seems like a careful director who makes her movies to be analyzed but these artistic choices seem pretty random. By "cracking the code," I meant figuring out what the unifying idea is that makes sense of these seemingly incompatible things. My theory is that Gerwig sees the Narnia books as being enjoyably random and is trying to do the cinematic equivalent of that. Of course, we won't know until we get a real interview from her. Hope that clears things up. My OP probably could have been written better.
I like Coracle's idea of each section of the movie having a different musical style. Maybe there could be one for London, one for the Wood Between the Worlds, one for Charn and one for Narnia.
For better or worse-for who knows what may unfold from a chrysalis?-hope was left behind.
-The God Beneath the Sea by Leon Garfield & Edward Blishen check out my blog!
Topic starter
Posted : February 27, 2026 2:25 pm
DavidD liked
Ahh, my bad - sorry.
The term is over: the holidays have begun.
The dream is ended: this is the morning
Posted : February 27, 2026 3:00 pm
I like Coracle's idea of each section of the movie having a different musical style. Maybe there could be one for London, one for the Wood Between the Worlds, one for Charn and one for Narnia.
What I was thinking was that the themes of brokenness, despair, darkness, etc that accompany each of those places would be repeated in the different places but with different instruments, harmonisations, settings, even major vs minor keys.
So the dark, sad tones as Digory walks through London is harsher in Charn, and the quietness as he walks silently on some streets becomes a cold quietness with steel instuments in Charn.
But a warm quietness with woodwind in the Wood, and a breath-holding quietness when they arrive in the new world, followed by a depth of strings as the voice happens, and very high notes on something metallic.
I would expect a theme for temptation, one for success & triumph, etc, expressed in different ways but recognisable.
There, shining in the sunrise, larger than they had seen him before, shaking his mane (for it had apparently grown again) stood Aslan himself.
"...when a willing victim who had committed no treachery was killed in a traitor's stead, the Table would crack and Death itself would start working backwards."
Posted : February 27, 2026 4:01 pm
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