Presenting... Joel D. Heck

 The Norman Stone film version for Thames television  The stage play  The Brian Eastman film version  (All three based on the book by Brian Sibley)

 The BBC television film with a script by Brian Sibley, revised by William Nicholson. Aired in Joss Ackland as Lewis and Claire Bloom as Joy Davidman.  The stage play aired first at Theatre Royal in Plymouth on Oct. 5, Then London and Broadway. Running until April Nigel Hawthorne, Jane Lapotaire, and Jane Alexander. William Nicholson was again the writer.  Cinema film directed by Sir Richard Attenborough Anthony Hopkins and Debra Winger. William Nicholson doing another rewrite of the script.

 The BBC version with Ackland and Bloom

 Academy Award Nominations in 1994 (same year as Schindler’s List): Best Adapted Screenplay, Best Actress in a Leading Role  BAFTA Nominations in 1994: Best Film, Best Adapted Screenplay, David Lean Award for Direction, Best Actress  BAFTA Won in 1994: Alexander Korda Award for Best British Film, Best Actor BAFTA: British Academy of Film and Television Arts

 What is meant by the term?  A passage from The Last Battle  Plato’s idea of forms

 Rom. 8:18, “I consider that our present sufferings are not worth comparing with the glory that will be revealed in us.”  “The Weight of Glory”—”Indeed, if we consider the unblushing promises of reward and the staggering nature of the rewards promised in the Gospels, it would seem that Our Lord finds our desires, not too strong, but too weak.”

 “We are half-hearted creatures, fooling about with drink and sex and ambition when infinite joy is offered us, like an ignorant child who wants to go on making mud pies in a slum because he cannot imagine that is meant by the offer of a holiday at the sea. We are far too easily pleased.”

 The real England and the current version of England  The real France and the current version of France  Logres vs. England  The Ransom Trilogy

 Hebrews 8:5, “They (the priests) serve at a sanctuary that is a copy and shadow of what is in heaven.”  Hebrews 9:24, “For Christ did not enter a man-made sanctuary that was only a copy of the true one; he entered heaven itself, now to appear for us in God’s presence.”

 Factual inaccuracies  Joy fell when answering a telephone call from Kathleen Farrer, not from C. S. Lewis  Joy was treated in hospital in Oxford, not London  Two sons, not one (Attenborough version)  Douglas was 8 when he met Lewis, 15 when his mother died

STRENGTHS  Moved people to “reconsider the faith”  The meaning of Shadowlands (BBC)  Strong faith element (BBC)  A great love story WEAKNESSES  CSL appears to lose his faith in the Attenborough version (“It doesn’t work.”)!  The character of Joy (BBC)  “imagined the rest” (Bill Nicholson)  Platitudes on pain, inferior audiences

 To love at all is to be vulnerable. Love anything, and your heart will certainly be wrung and possibly be broken. If you want to make sure of keeping it intact, you must give your heart to no one, not even to an animal. Wrap it carefully round with hobbies and little luxuries; avoid all entanglements; lock it up safe in the casket or coffin of your selfishness. But in that casket—safe, dark, motionless, airless—it will change. It will not be broken; it will become unbreakable, impenetrable, irredeemable. The alternative to tragedy, or at least to the risk of tragedy, is damnation. The only place outside Heaven where you can be perfectly safe from all the dangers and perturbations of love is Hell.

STRENGTHS  Stage play a success story, most powerful version  Many look beyond the film to Lewis’s writings  Captured the popular imagination WEAKNESSES  A guilt-ridden CSL  An insulated CSL  A shy introvert according to Anthony Hopkins  Shows CSL dressing well, driving, Joy with one son

STRENGTHS  Doug Gresham was positive about it  The strong emotional content  Debra Winger (visited the Wade)  Phil. 1:15-18 WEAKNESSES  Christ not central  “An emotionally aloof man learning to get in touch with his feelings.”  Hopkins was being himself rather than playing Lewis.  The idea that romantic love here and now is our whole concern

 Bright Angel! I’m in a sea of glory!... I wonder have you yourself any notion how good some of these are? But, as you see, I’m drunk on them at this present. Glory be! Blessings on you! As sweet as sin and as innocent as milk. Thanks forever. Yours in great excitement.  Shy and introverted?

STRENGTHS  Artistic integrity  Follows the main outline of the actual story WEAKNESSES  George Sayer says he never recognized Hopkins’ portrayal of the Lewis he knew  Father Bide’s prayer for Joy’s healing is skipped in the Attenborough version

 “It is true that some preach Christ out of envy and rivalry, but others out of good will. The latter do so in love, knowing that I am put here for the defense of the gospel. The former preach Christ out of selfish ambition, not sincerely, supposing that they can stir up trouble for me while I am in chains. But what does it matter? The important thing is that in every way, whether from false motives or true, Christ is preached. And because of this I rejoice.”

 Lewis’s account of his reaction to Joy’s death: A Grief Observed  Best biography of Lewis: George Sayer, Jack: A Life of C. S. Lewis  Best biography of Joy: Lyle Dorsett, And God Came In (A Love Observed)  Lewis on love: The Four Loves  Douglas Gresham’s perspective: Lenten Lands