Classic Remarks: A Classic Book that Translates Well to Film

One classic in particular has always seemed to be particularly suited to adaptations…

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Recommend a classic book that you think translated particularly well to screen (even if the adaptation was not entirely faithful).

Happily there are many films that count as successful adaptations of their source books. Some changed a lot in order to make a unique and successful film, such as The Lord of the Rings, Harry Potter, The Princess Bride, and most adaptations of The Three Musketeers. Others managed to be remarkably faithful to the book’s plot, tone, and themes. One classic in particular has always seemed to be particularly suited to adaptations.

Treasure Island by Robert Louis Stevenson may be one of the most easily-adapted of classic books. It has over fifty adaptations for film and television, and most of the ones I’ve seen have been pretty faithful. The book’s plot is clear, efficient, and colorful. It doesn’t need elaboration, condensation, or drastic changes. It contains no extraneous subplots, which would either distract in a film or be first for the cutting floor. The action itself develops the characters and plot so well that an adaptation needs only to follow Stevenson’s layout to get an exciting feature length movie that doesn’t leave much out. Even the looser adaptations, such as the anarchic Muppet Treasure Island, still feature scenes and dialogue lifted directly from Stevenson. Why mess with what works?

My favorite adaptations are the 1934 and 1950 versions, starring Wallace Beery and Robert Newton as Long John Silver, respectively. These actors exude so much slimy charisma and chew their lines with such mischievous relish that it’s a delight to watch them. And each also brings out the desperate menace and corrupted dignity of Stevenson’s iconic character.Honorable mentions go to many of Shakespeare’s plays, especially Romeo and Juliet, which has been faithfully adapted in many surprising ways, and Richard Lester’s two-film adaptation of The Three Musketeers, which is shockingly and successfully faithful to a book whose many adaptations rarely resemble its actual plot.

Classic Remarks: Favorite Musketeer

All for one, and the one is…

Which of Dumas’ Musketeers is your favorite, and why?

For the musketeers of Alexandre Dumas’ swashbuckling stories, we have D’Artagnan, Athos, Aramis, and Porthos. They are the most interesting and effective when all together, which makes it a bit difficult to single one out as a favorite. Additionally, it is worth considering their various portrayals in adaptations, since the characters of The Three Musketeers are probably better known in adaptation than in their original novel.

Speaking generally, I can say my favorite musketeer is Porthos. He’s the loud, boisterous, fun fellow, always ready to make others laugh, even when being threatened with a duel. Always loyal to his friends, though I suppose that rather characterizes all the Four. He’s fun in the book, but I also admit to my choice being influenced by the 1993 Disney film, where he was played with cheerful wit by Oliver Platt. Behold:

Frank Finlay also played Porthos quite well, if drier, in the excellent 1973 film. Witness his unique solution to uncorking a wine bottle while the musketeers seek a peaceful breakfast and private conversation in the middle of a siege:

Portho’s charisma and enthusiasm for life makes him a natural favorite for many fans, and I suppose I’m not immune to that charm either.

Classic Remarks: A Much-Read Childhood Classic

Which children’s classic couldn’t you read enough of when you were growing up?

Several books could probably be mentioned here, especially given a loose definition of “classic,” but the ones that stand out to me are the Picture Classics graphic novels Tom Sawyer and Huck Finn, adaptations of Mark Twain’s famous novels.

As I flip through them now, I’m impressed by how detailed and faithful they are. Twain’s novels deserve to be read unabridged, but their size and age can sometimes be intimidating to younger readers. The Picture Classics adaptations zip from adventure to adventure and an avid young reader can easily finish both in a day—perhaps more than once each!

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Much of the flavor of Twain’s prose is also kept. Characters speak with Twain’s dialects, and the bits of narration in Tom Sawyer reflect Twain’s third-person prose, while Huck Finn preserves the boy’s distinct first-person narration.

In some graphic novels the art doesn’t always make clear what is going on, but in both of these the art is easily readable. It also complements the text well and does a good job of evoking stories’ settings.

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These adaptations were my first introductions to Mark Twain’s famous heroes, and I’m glad of that. While nothing quite compares to reading the full novels, Picture Classics did a fantastic job of capturing the essence of the stories. Even though the focus is on action and adventure, Twain’s deeper commentaries still linger in every frame. Characters drive the action on every page, rather than merely reacting. These books thrilled me as a young boy, letting me imagine I was a fellow-adventurer with Tom, Huck, and Jim on deserted islands, creepy caves, cool woods, and the long, storied Mississippi River.

“Killing the Rock” – Art in a time of crisis

Forgive me for this departure from my usual discussions of fiction and writing, but this is a film I want to share. It touches on a way that people can find meaning and release through art. I can’t even imagine the horrors of the ongoing Syrian Civil War, but Abu Raja has had to watch it take his family and most of what he loves. But rather than let his grief and anger consume him, he turns to creation. Out of rock, he makes art.

The director, Jake Viramontez, is an old high school classmate of mine, but he did not personally contact me or ask me to share. After seeing a general notification about the film’s release and viewing it myself, I knew I wanted to share it. He and his crew made the journey out to Jordan to find a story worth telling, and they told it well. May God use it to open our eyes and our hearts.

If you appreciate the film and are able, consider sharing it on whatever platforms you can.

Killing the Rock from Jake Viramontez on Vimeo.

“Every act of creation, is first an act of destruction.” ~Picasso

The horrors of the Syrian war are recounted through the eyes of 60-year-old artist and refugee Abu Raja as he embarks on his mission of sending a message to future Syrians through his sculptures. The film explores pain, loss, and the importance of creation in the face of overwhelming destruction. Shot in Ramtha, Jordan just 5 kilometers from the Syrian border where war continues to rage on.

To give, go to:
give.classy.org/killingtherock

Director: Jake Viramontez
Director of Photography: Tristan Nyby
Produced by: Wjd Dhnie, Jens Jacob
Executive Producer: James Shani
Production Company: Madison + Vine, Sypher Films
Co-Producer: Brent Madison
Editor: Jake Viramontez
Sound Design: Defacto Sound
Original Music: Ryan Taubert
Colorist: Bryan Smaller, Company 3
Story Editor: Jarod Shannon

Shot on: Red Weapon Helium w/Kowa anamorphics.

Classic Remarks: My Favorite Jane Austen Adaptation

Which Jane Austen adaptation is your favorite and why?

I am again at a disadvantage. My familiarity with Regency-era literature is so poor that my only Austen novel is Emma. I do have a general understanding of Pride and Prejudice, however, and it happens that the only Austen adaptation I have fully seen is one of that novel. And I must admit I like it a lot.

It’s a very…streamlined production. Lower-budget than most, and far from anything Hollywood would produce. Certainly it fails to capture the breadth and texture of Austen’s work. Nevertheless it wears a charming directness that manages to get to the heart of Pride and Prejudice. Using a clever modern-day framing device, it makes the tale of Elizabeth Bennet and Mr. Darcy immediately relevant to young people of our day. With a nicely balanced mixture of gentle humor and disarming sincerity, it manages to entertain while still driving home the story’s moral. Additionally, its severely abridged nature and short length directs the interested viewer to the source book.

Which adaptation is this?

I speak, of course, of the Wishbone adaptation.

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This was one of the best children’s shows produced by PBS in the 1990s. In it Wishbone, an adventure-loving Jack Russell Terrier, accompanies his boy, Joe, through adventures in middle school and literature. Whenever Joe faces a particular situation in his life, Wishbone will find a similar situation in a work of classic literature and relate the story to the audience. The audience gets to see Wishbone’s own imagination of the classic story interspersed with Joe’s modern-day story playing out in parallel. The result was a children’s show that was highly literate, thoughtful, and empathetic to older kids, and just happened to star a cute and energetic dog.

Wishbone DarcyThe episode entitled “Furst Impressions” is no exception! It’s truly the only Austen adaptation I’ve seen all the way through, so I can’t argue that it’s among the best. But this isn’t completely a joke answer. While the half-hour show only has about fifteen minutes to spare for the Austen sections, it boils the Elizabeth-Darcy relationship down to its essentials, and then takes those essentials quite seriously. Despite the ever-present humor of seeing Mr. Darcy being played by a Jack Russell Terrier, Austen’s story itself is never made fun of nor spoofed.

wishbone-dog-ep-1-furst-impressions-youtube-2012-05-15-22-14-23We see Elizabeth and Darcy both make snap judgments about each other and allow themselves to believe false rumors. In time, through humility and honesty, they sort out their prejudices and discover their mutual love, and end up happy and healthy. Parallel to this we get a story of Joe and his friends, Samantha and David, who are agonizing over a school dance. False rumors set Sam and David against each other, and it looks like the chance of a fun, drama-free dance is gone. Feelings are hurt, tempers flare, and Joe finds his two best friends are unable to be near each other without shouting and accusing the other of lying. Finally, honesty and humility bring about forgiveness and understanding, and their friendships are restored. And just as in Austen’s book, the source of the rumors can be traced to an envious socialite who ends up lonely.

Far from the most nuanced or complete adaptation of Pride and Prejudice, the Wishbone episode “Furst Impressions” nonetheless entertains with a direct, honest paraphrasing of the book’s most essential relationship. By showing Austen’s story side-by-side with a situation any modern kid can relate to (and adults too), it gives its audience a wise message of forgiveness and honesty, while quite possibly arousing interest in the source novel.

And it also stars a cute, energetic Jack Russell Terrier!

What’s your favorite Jane Austen adaptation? And did you ever watch Wishbone or read the Wishbone book series?

Next up on Classic Remarks: What children’s classic couldn’t you get enough of as a child?

Book Review: “The Legend of Tarik” by Walter Dean Myers

182269The Legend of Tarik
by Walter Dean Myers
Series: No.
Pages: 180
Published: 1981
Spoiler-free Synopsis: A young African captured into slavery in medieval Spain seeks vengeance for the murders of his father and brother, becoming a legendary hero in the process.
Reason for Begining: I’d never read a story following a heroic African in medieval Spain before, and it sounded quite interesting, especially since I know a thing or two about medieval Spain.
Reason for Finishing: A quick, reasonably entertaining read.
Story Re-readability: It’s easy enough to reread considering its length and quick pace, but it doesn’t hold enough interest for me personally.
Author Re-readability: I’d certainly be willing to read Myers again, although his story felt a bit rushed and didn’t have quite as much texture or unique interest as I would have liked.
Recommendation: It’s worth a read for dedicated bibliophiles, and may be quite appreciated by younger readers who are less picky than me about having fully fleshed-out stories with unique elements. Also recommended if you are starved for fantasy quests featuring non-European heroes.

Key Thoughts Continue reading “Book Review: “The Legend of Tarik” by Walter Dean Myers”

Classic Remarks: Is the Phantom of the Opera abusive or romantic?

Is the Phantom of the Opera abusive or romantic? (You can discuss the musical or the book version, or the differences between the two.)

Courtesy of IMDbUgh, this guy.

Let me be upfront: my judgment is on Joel Schumacher’s 2004 Phantom of the Opera movie adaptation of Andrew Lloyd Weber’s musical. I haven’t seen any other film or stage version, nor have I read Gaston Leroux’s novel.

I believe I was in high school when I first saw the movie. It struck me as rather weak overall, and particularly infuriating in how it seemed to romanticize the abusive, creepy, criminal Phantom.

Oh sure, he has a tragic backstory to explain his deformed appearance and antisocial behavior. Although, if you ask me, the movie’s version of these “deformities” are less severe than I’ve seen on several other real-life people who nonetheless live their own lives with compassion, healthiness, and a fair bit of normality. Likewise many people have overcome far worse abuses than he is said to have suffered and live functional, non-murderous lives. Still, this is the reason the story gives us as to why he tends to murder people out of vengeance, or, you know, if he happens to see them during a ballet performance he really doesn’t like (R.I.P. poor stagehand). He’s given passionate songs with passionately creepy lyrics to sing, and I guess some people are impressed by the rose he leaves on Christine’s tomb nearly fifty years after the whole affair. Honestly, I find it difficult to sympathize with him.

This is a fellow who:

  • Uses a young, naïve woman as a tool to get revenge on society, despite the fact that the specific people who harmed him in the past won’t be affected by this revenge (making it not really revenge, but mere criminal actions)
  • Uses said woman to vicariously live a life of musical fame denied to him by his deformity, criminal activity, and general hatred of other people
  • Tries to seduce said woman with various techniques designed to strip her of her ability to make informed decisions, including:
    • lying about his identity and intentions
    • hypnotism
    • threats of violence against those she cares about
    • physically holding her captive
    • physically holding captive the man she actually loves
    • forcing her to wear a wedding dress and commanding her to marry him
    • blatant emotional manipulation in general
  • murdering an innocent stagehand
  • threatening terrorist acts upon the theater if they don’t do what he wants

At the end, he shows some remorse for his actions, and he does leave Christine and Raoul in peace for the rest of their lives. But he’s never brought to justice for his crimes, and his crimes are in no way romantic. It’s all the worse because the film musical never seems able to acknowledge the severity of his sins or the sort of repentance he really needs in order to be redeemed. I felt that it paints him as tragic, but sweet and impressive in his devotion and dramatics. I find him kind of disgusting.

It also hurts that he dresses so very similarly to the heroic vigilante of my own fiction for which this very blog is named. But that at least is without his control, and so I will try not to hold that against him. I like his dramatic style, but not his morals or actions.

Seriously, do an image search of “phantom of the opera unmasked” to compare the 2004’s deformities with the far more severe portrayals in other adaptations.