Hollywood recently managed to take a classic fantasy novel and strip away its soul.
Author Madeleine L’Engle’s “A Wrinkle in Time,” a book published in 1962, is clearly written from a Christian perspective and eloquently communicates the author’s biblical worldview.
Ava DuVernay is the director of a current film adaptation of L’Engle’s work. Unfortunately, it is likely that the author would scarcely recognize her own story as a result of Hollywood’s reverse Midas touch that materializes in the form of New Age mysticism.
The screen version of the literary tale is simply a heavy-handed piece of contemporary cinematic propaganda with an apparent purpose of spreading a superficial New Age theology and one-dimensional feminist ideology.
Winfrey stars as a deity of sorts and appears to use the Disney movie, which is clearly designed to appeal to a younger audience, to preach a form of pagan self-worship.
In an apparent quest for praise from the politically correct crowd in the entertainment industry and film critic community, the big-screen version of “A Wrinkle in Time” places front and center the primary tenet of liberal theology, that being a highly redacted notion of diversity.
Both the original book and the current film adaptation utilize a basic plotline of a teenage girl, Meg, who along with a male friend and Meg’s little brother, embark on an intergalactic multi-dimensional search to find Meg’s longtime missing scientist father.
Mrs. Which (played by Winfrey), Mrs. Whatsit (played by Reese Witherspoon), and Mrs. Who (played by Mindy Kaling) are three mystery women with supernatural powers who magically appear in Meg’s life. The trio facilitates Meg’s access to a space-time transportation medium called a tesser, which allows an Oz-like journey to be set in motion.
In L’Engle’s original work, the three women are described as ancient star-beings, who function as guardian angels. However, in the current film adaptation they are depicted as characters similar to that of Glenda in “The Wizard of Oz,” conveying the concept that the three basically comprise a group of good witches.
As is representative of the modern payback currency of Hollywood’s brand of superficial thought, the male characters in the movie are either evil or inept.
Meg demonstrates that she is much more capable than her male counterparts in the tale. The supernatural character of male gender seems to be included for the sole purpose of bringing the element of humor to the scenes in which he appears. Known as Happy Medium (played by Zach Galifianakis) he is somewhat ambiguous in nature and wholly non-toxic in his masculinity.
At the conclusion of the movie, Meg is able to complete the story arc by securing the attendant treasured liberal value of self-esteem, and she does so by embracing the New Age and feminist ideology of the real-life Winfrey.
What is cinematically and artistically tragic is that L’Engle, much like the style of the beloved Christian literary icon C. S. Lewis, wrote her fantasy work through the lens of an explicit Christian worldview. She was an official writer-in-residence at a cathedral, and she possessed the kind of love and reverence for the Bible that so many in the film-going audience share.
L’Engle even sprinkled across the pages of her fantasy novel numerous scriptural passages from both the Old and New Testaments. But the makers of the movie somehow saw fit to surgically remove L’Engle’s quotations from the Good Book and her mention of the name Jesus, as well as any notion of the Judeo-Christian God contained in her novel.
Instead the film added “the universe” as an object of worship and did so in the prototypical New Age manner that for decades Winfrey has fostered and promulgated.
In the film, Winfrey’s character poses the following question: “What if the universe is all inside each of us?”
In order to move magically throughout time and space to the various exotic destinations embedded in the story’s plotline, one must, according to Winfrey’s character, “…become one with the universe and yourself.”
In an apparent effort to give the impression the film is in touch with current personalities, the movie adds references that are not in the book, including the names of Nelson Mandela, Oskar Schindler, Indira Gandhi, and Maya Angelou, as well as a nod to a hip hop play with the inclusion of a line from the Broadway show “Hamilton.”
With the biblical principles stripped away, “A Wrinkle in Time” is essentially a naked attempt at New Age propaganda. It is a fable cloaked in the moth-eaten fabric of cunning deception and hollow self-worship.