At the tail end of WW2 it wasn't usual to have co-educational schools in UK, except down at the comprehensive level, or in a brand new post-war school like Experiment House. So I don't think that a school dance is the sort of place where Jill would wear Narnian clothes. Maybe she wears them to an end of war party where Eustace has the chance to introduce her to his Pevensie cousins. That would be a good way of linking her to later books.

I actually had almost the same idea last week, except I was thinking that they could have Aslan be the griffin, and catch Eustace, and that the audience would see him change back but Eustace wouldn't. I agree though, I wouldn't mind if they modified this part- but I think it's important to show Aslan helping/rescueing them.

I am wondering if Eustace turns back into a dragon for the trip back to Narnia, becoming a boy again on landing. Or if Aslan charters a tame dragon for his use. I've just been watching my copy of the BBC movie, you see. That production does stress the Eustace/dragon link.

And I hope they get crotchety hard-of-hearing Trumpkin as well as Glimfeather right.

At the tail end of WW2 it wasn't usual to have co-educational schools in UK, except down at the comprehensive level, or in a brand new post-war school like Experiment House. So I don't think that a school dance is the sort of place where Jill would wear Narnian clothes. Maybe she wears them to an end of war party where Eustace has the chance to introduce her to his Pevensie cousins. That would be a good way of linking her to later books.

The only problem in that idea is that Experiment House wasn't post-war - the war is still on, the school has been running for a few years, and it is much too early to be a Comprehensive (or even a "Secondary Modern" school which began in 1944).
I suspect it was a privately-run school with a philosophy and agenda of its own, to suit the sort of people we call "alternative" today.

I did a lot of thinking about SC today. I'll probably make a much more in-depth video about this, but here are some quick thoughts:

I would describe the main theme as "self-imprisonment." Every night, Rilian lets himself be bound to the chair. Minutes later, he begs to be released. A prison of his own making.

This is the LotGK's weapon of choice. She makes people destroy themselves. That's how she almost gets the kids and Puddleglum killed. She plants the desire for hot baths and comforts in their heads, and it leads to them imprisoning themselves at Harfang. The escape from Harfang is an escape from a prison they willingly entered.

The LotGK tries again later. She tries to convince the kids and Puddleglum that the sun never existed, and that this underground world is all that there is. She tries to put imprison their minds and nearly succeeds.

Jill herself is in a kind of prison of her own making. If she only followed the signs, everything would go much easier. But she is always being distracted.

This theme is in other Narnia books too:
- The most extreme example is the dwarfs at the end of LB who cannot smell the good food in front of them. Aslan says: "Their prison is only in their own minds, yet they are in that prison; and so afraid of being taken in that they cannot be taken out."
- In MN, Aslan says "all get what they want, but they do not always like it." That sums up this whole concept pretty well.
- Eustace own arrogance, desire for power, and greed lead to his transformation into a dragon. His dragon state is a prison he cannot escape on his own.

^ Those are some very interesting thoughts glumPuddle . I think "self-imprisonement" is a good name to put to the theme found in the book.

I think another theme is trusting in Aslan. He gave Jill the road map to finding Rilian essentially. When she didn't follow it, she ran into trouble. When we think we know better than Aslan (God) we get into trouble. We think we know everything, but on our own, we never get anthing right.

Very good glumPuddle, and Valiant. I very much agree. I've always thought of Rilian's Enchantment as being bound by sin, but I suppose sin in itself falls under the category of self-imprisonment.

^ Yes, your right about sin AslanIsOnTheMove, . Christ came to set us free and he came to set us free from a prison we accepted.

This is the LotGK's weapon of choice. She makes people destroy themselves. That's how she almost gets the kids and Puddleglum killed. She plants the desire for hot baths and comforts in their heads, and it leads to them imprisoning themselves at Harfang. The escape from Harfang is an escape from a prison they willingly entered.

The LotGK tries again later. She tries to convince the kids and Puddleglum that the sun never existed, and that this underground world is all that there is. She tries to put imprison their minds and nearly succeeds.

I like this way of describing the LOTGK. This is brain-washing, or propaganda that she is using. Rilian is almost like an addict who comes to his senses and sobriety only one hour per day, just after dinner. Why, I wonder?

In the BBC SC production Rilian wore a sort of elaborate silver mask. What do you think the film makers might do to show his different states of mind in a Walden SC?

I don't know. Maybe have his face cast in shadows?

Maybe he could act out the changes. We could tell the "the difference" between Smeagol and Gollum. I think a good actor could pull it off.

"All get what they want, but they do not always like it." --Aslan, MN

I think this is an interesting take on human nature. It seems like human beings have a natural tendency towards bad things and away from good things. But it's not even as simple as "bad things just feel so good." Here, Aslan seems to be saying that even when bad things feel bad, human beings often still want them. Really bizarre concept, but I see the truth in it.

I think that's what SC is primarily about.

glumPuddle, I think yours is a good analyis of what TSC is about.

I've also felt that Puddleglum's role was impotant at pointing at something, too. It's always significant to me when reading TSC that Puddleglum isn't a pessimistic atheist who believes the world is going to pot. In fact, by believing in Aslan he often goes against his Marshwiggle nature to be a pessimist.

I've always enjoyed Puddleglum's tendency to be a pessimist and yet have faith in the one thing he should have faith in: Aslan. But nontheless, its the hardest thing to put faith in.

this is a briliant post, what with the little tip off to narnia fans that filmmakers woud like their opinion on which movie to consider making next, I think a thread like this is rather valuable
SC is my all-time favorite book ever. that's a bi statement I know, but nevertheless...I am happy to say that I don't mind movie-maker changes. I can keep the book and the movie completely separate in my mind, and I believe, as long as we can do that, nothing should get in the way of us enjoying the movie, if it is well made of course

that said, I agree with most of the opening points, and heres a few of my own

1. puddgleglum. the casting of this character cames very near to making or breaking the movie. I advise movie makers...with a stern yet humurous glint in my eye... get it right.
2. for me, the atmosphere of the movie is clean, fresh and lonely, a wild adventure on some beautiful moors it then goes to a warm and festive castle, with a creepy side then to the climax of the movie, so everything gets a bit darker, and then, as stated before, the kind of wintery wonderland feel that harks back so wonderfully to VotDT. I feel that as long as this is done right, to a certain extent, I will find it hard to dislike the movie, and audiences in general should respond positively
3. humour. te team seems good on humour, so I won't say too much, but there is SO MUCH scope for humour with these characters...that I REALLY hoe they draw up this.
4. for me, the message of the books is trust. they each learn to trust each other, and they all learn to trust aslan.That if you trust someone, you follow them, right to the end. it's the most positive message of friendship and love, one that is new and profound, and then I am SURE the moviemakers can perfectly convey through the film.

so, in short, good luck, take your time, and I look forward to seeing this movie...whenever it's made. ^_^

"All get what they want, but they do not always like it." --Aslan, MN

I think this is an interesting take on human nature. It seems like human beings have a natural tendency towards bad things and away from good things. But it's not even as simple as "bad things just feel so good." Here, Aslan seems to be saying that even when bad things feel bad, human beings often still want them. Really bizarre concept, but I see the truth in it.

I think that's what SC is primarily about.

This is one time I really have to agree with you. I get the feeling that what is wrong with Rilian is some kind of mental illness. And if LOTGK personifies the addiction he is under. I wonder if LOTR's depiction of Theoden might be a clue on how to depict Rilian's state of mind.

And then there is Puddleglum, himself. I can't really see this character as CGI. For all that he is separate from humans in some ways, he is just too human in others. Far from a pessimist, I think at times he is just a little sardonic towards the world around him. Look how he compares himself to his fellow Marshwiggles, who think he is too full of 'bobbance and bounce'.

There is another aspect of SC. Take the frequent references to food. Puddleglum reminds Eustace and Jill that the sort of fare he exists on might not agree with them, but they are glad to eat it anyway. On the way, Puddleglum feeds himself and his two fellow travellers when he shoots some geese. They get to Harfang where Puddleglum tests the alcohol (brandy?) though in giant quantities it would be more than his system could take.

Then there is the feast where Jill tries Venison for the first time - until Puddleglum discovers they had been munching on Bambi. Worse still, the travellers find out they were being fattened up for the Giants' um [strikethrough]Christmas dinner[/strikethrough] Autumn feast. Then there is that meal they share with Rilian. It seems as if getting good food inside him dilutes the poison within him. Is this how to explain Rilian's malady better? That it is something like alcoholism or being unable to give up gambling or smoking?

Whilst I hope that Puddleglum's speech to the Emerald Witch is included in any movie, I also hope that another Puddleglum response, this time to Rilian's temptation to go to Bism is also included.

I'd also like some idea of what the Silver Chair represents besides Rilian being tied into it. And wouldn't it be great if the musical group SilverChair got somehow involved with such a production? After all, they called themselves after this particular book.

I don't remember if anyone has mentioned this, but a good character development detail is Jill & Eustace quarreling. We see a fair amount of bickering during the journey, but before they free Rilian, they apologize, and by the end, we hear that they are always good friends. I would think their change in attitude toward one another would help propel the story. Also, they could show the childrens' change in attitude toward Puddleglum. At the beginning they think he's a "wet blanket," and I can see them looking at each other and rolling their eyes at some of his comments in the beginning (just not too much, please!). When they get underground, it would be really neat to show how much of a comfort he becomes to them, and to complete the development by showing them seeing him as a hero and loving him for the same kind of pessimism they found annoying at the beginning. Couldn't that be enough character development that they wouldn't have to add extra "character arcs" that aren't related to the book?

And on another note, I want to see lots of wide open landscapes and moors. I love the feel of their journey through all that empty land.