The Most Reluctant Convert

    The Most Reluctant Convert: The Untold Story of C. C. Lewis (2021)

          Max McLean plays the older C. S. Lewis who narrates the story of his early life, his atheism, and his eventual conversion to Christianity. McLean was the writer of the original stage play, which was further adapted by director Norman Stone for the screenplay. It is a basic retelling of Lewis’s 1955 ‘spiritual biography’ Surprised by Joy, with some parts of his sermon “The Weight of Glory” used to bring the film to a heartfelt finale. It was filmed on many of the actual locations in his life story.

          At a run-time of one hour and thirteen minutes it summarizes quite a bit of action. The steps, philosophical and argumentative, that led him to Christianity are presented telegraphically (if dramatically) as well, so if you are hoping to use this film as a proselytizing tool you may be disappointed. Its aim is mostly biographical, with a few theological pointers. The action all takes place well before the other Lewis film biography, Shadowlands (which of the two versions, I prefer the 1985 TV movie with Joss Ackland and Claire Bloom; it is less Hollywoodized).

          The history of this film was fraught with difficulties, made as it was under the shadow of Covid-19 restrictions. And I found getting my copy beset with complications. First of all, my order was lost in Dallas after almost a month of waiting. The company said I could get my money refunded, but I said I would much rather have another copy sent to me. Then when I found that this new package was finally in town, the post office informed me that they were having difficulties delivering it, so I had to wait another day. It arrived at last after weeks of anxiety; one almost suspects Enemy action that finally proved futile.

          The film style is interesting. The story begins with shots depicting the actual making of the film, then McLean steps into the role of C. S. Lewis, who tells his story by narrating parts as he goes about his normal life (in a pub, walking through Oxford, having breakfast) and moving in and out of his memories as he observes his younger self. It concludes with Lewis at a church’s Christmas celebration and returns to the filming crew; the shot pulls back until we see they are at the actual churchyard where Lewis is buried and they show us his tombstone, a sobering reminder of the reality of the person and the story they have been telling us.