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Bad Adaptations, Good Product

I think the film Logan's Run is very interesting, even though it has some serious flaws. I'm glad it was made the way it was and not more faithfully to the book, because I'm glad to have seen it. I can't say whether a more faithful adaptation of the book would make a good film, because it's been a very long time since I've read it.
 
I've enjoyed various Tarzan films and the Ron Ely TV series, but none have been faithful to the novels.

There was one Tarzan serial, The New Adventures of Tarzan from 1935, that Edgar Rice Burroughs himself had a hand in producing, so it was more authentic than the others, up to a point. (It was also cut into two films, the second of which was called Tarzan and the Green Goddess.) It portrays Tarzan as an educated, cultured gentleman as he is in the books. The 1984 Greystoke: The Legend of Tarzan, with Christopher Lambert, is relatively faithful as well.

I feel the most authentic screen adaptation of Burroughs's books is Filmation's Tarzan, Lord of the Jungle animated series from 1976. Aside from avoiding the violence and racism and giving Tarzan an American accent, it was extremely faithful to the characterization and concepts from the books, including a number of characters and settings that I don't think have ever been adapted onscreen anywhere else. Unfortunately, Disney's stranglehold on the home-video rights to animated Tarzan productions has kept the series from getting a DVD release.
 
Richard Matheson wrote the screenplay to his novel 'The Legend of Hell House', and you can actually read the novel while watching the movie and see whole sequences lifted directly from the book. I should also point out Matheson's 'I Am Legend' which became 'The Last Man on Earth', 'The Omega Man', and 'I Am Legend'. As an aside I recently read 'Armageddon Films FAQ' and in the chapter discussing 'I Am Legend' I learned that Matheson wanted Jack Palance in the role of Neville/Morgan instead of Vincent Price.

Matheson also wrote the screenplay for The Incredible Shrinking Man (based on his novel) and Duel (based on his short story), and adapted numerous of his short stories for The Twilight Zone, Alfred Hitchcock Presents, etc.

Other movies adapted from Matheson's work include Somewhere in Time, What Dreams May Come, Stir of Echoes, The Box, Real Steel, etc.

Oh, just to clarify one point. The movie is titled "The Legend of Hell House." The novel is simply titled "Hell House."
 
The point-and-click game adaptation of 'I Have No Mouth and I Must Scream.'

It can be hair rippingly difficult (if you don't use a play through), but it's worth it just to hear an ultra-hammy Ellison voicing AM. The way the story was expanded isn't bad either.
 
Speaking of Philip K Dick, Minority Report.

Didn't like that. Did like Total Recall.

Another classic horror: Dracula (1931).


My high school did a Pygmalion musical where the girl came back to the teacher at the end.

That's "My Fair Lady". Say what you like about GB Shaw, Pygmalion is better with showstopping tunes! A happy ending is par for the course in the Viennese operetta genre.
 
Over the years I've managed to read both copies of 'The Tower' and 'The Glass Inferno' which Irwin Allen combined to make the movie 'The Towering Inferno'.
It was interesting to see what characters/elements he took from both books to combine into one movie.
Both stories have the buildings catch on fire as a result of poor construction although in 'The Tower' it's hastened along by a disgruntled employee setting fire to the building. It also has the party on the top floor being attended by all the dignitaries and the cage between the two buildings as well as the attempted helicopter rescue. In the end though the firefighters are unable to stop the spread of the flames and everyone on the top floor dies of asphyxiation. Also it's implied but never mentioned that the building that catches on fire is the World Trade Center Tower One seeing as the story is set in New York and the building they run the line to is equally as tall.
'The Glass Inferno' is set in an unnamed Midwest city and it is the tallest building in the Midwest. This one had the architect and using the water tanks at the top of the building to smother the flames.
I've always wondered about those two novels. Towering Inferno is one of my favorite movies, but I've never gotten around to checking out the source material.

My high school did a Pygmalion musical where the girl came back to the teacher at the end.

That's "My Fair Lady". Say what you like about GB Shaw, Pygmalion is better with showstopping tunes! A happy ending is par for the course in the Viennese operetta genre.
To be fair, though, the happy ending was there as far back as the 1938 film adaptation of Pygmalion, which was adapted for the screen by Shaw himself, though the happy ending was added against Shaw's wishes.
 
Kenneth Johnson's The Incredible Hulk. Aggressively strove to be as unlike the comic as possible, but still a beloved adaptation to this day.
Three generations of female viewers had a crush on Bill Bixby. :adore:

I'm not crazy about the thread title. A divergent adaptation isn't automatically a bad one.
I'd have used the word "inaccurate" instead of "bad." Some inaccurate adaptations make for a better movie, and some don't. Others are half-and-half.

I might get raked over the coals for this but I preferred the movie adaptation of Fahrenheit 451 over the book.
<snip>
Also the ending left me cold. It seemed depressing that Montag and the others were going to spend the rest of their lives walking around in the winter snow memorizing/reciting books and not interacting with one another. In that respect they seemed to have become just as cold and mechanical as the people and society they left behind.
Dystopian science fiction isn't noted for happy endings. The exception to this that I can think of is the movie version of The Handmaid's Tale. It had an upbeat ending, whereas the novel had an ambiguous ending in which the reader is left unsure as to Offred's ultimate fate - and the reader never even gets to know her real name. I'd have preferred the movie end with the news report, instead of the final scene, as that would have been more in keeping with the "did she get away or didn't she?" of the novel.

One thing the movie did better than the novel, though, was to sort everything out to make the story more linear, instead of meandering back and forth between Offred's memories and her present reality.

I think the film Logan's Run is very interesting, even though it has some serious flaws. I'm glad it was made the way it was and not more faithfully to the book, because I'm glad to have seen it. I can't say whether a more faithful adaptation of the book would make a good film, because it's been a very long time since I've read it.
It would have been interesting to see the rest of the world that was written about in the novel, but I'm guessing that it would have been prohibitively expensive to do it that way.

The most obvious differences between novel and movie were the way in which Lastday was enforced worldwide vs. only in the domed city, and the 21-year lifespan vs. 30-year lifespan. It would have been difficult to find actors who looked 21 who could really do justice to the roles, in my opinion.


In keeping with my preference for "inaccurate" instead of "bad," I'm going to mention The Crow. The movie was adapted from the graphic novel, and the TV series The Crow: Stairway to Heaven was mostly adapted from the movie, but with some parts of the graphic novel included (ie. the Skull Cowboy character).

Some people absolutely loathed the TV series - they thought it was too bright and cheerful, and Draven wasn't constantly killing people. But that would have made for one very short series if he had. The focus was changed from revenge to redemption and justice... and when you look at the series as a whole, the gang actually was being killed off one by one, though not because Draven planned it that way. I suspect that if the series had been allowed to continue (it was renewed but behind-the-scenes crap led to its cancellation), eventually the other gang members would have received their ultimate comeuppances.


Over the years I've heard some Dune fans say they'd love to see an adaptation of God Emperor of Dune. In my opinion, any adaptation of that would have to be an inaccurate one, because so much of it is just various characters listening to Leto II pontificating and yapping about his Other Memories or some self-aggrandizing praise. This is one time in which I'd have to favor more action and less talk, because the talking part of the book is just so damn boring (I really don't like Leto II :p).


Another movie that is quite different in places from the novel is Contact (based on the novel by Carl Sagan). The movie pares Ellie's family right down to nothing, whereas in the novel her mother is still alive and there's family tension about her father. The romance between Ellie and Palmer Joss doesn't exist in the novel (the two characters have a wary mutual respect, but no romance). And the movie completely misses the interesting stuff about the character of S.R. Hadden (it helps to have a bit of a background in classical history, as the character was named after an Assyrian king).

I don't think the changes really take much away from the basic story, though, and this remains one of my favorite movies.
 
I don't really like the title either. I did try to change it from 'Bad' to 'Unfaithful' pretty much immediately after I posted it, but it looks like I'd have to bother the Mods to do that.

The fairly recent movie adaptation of A Walk Among The Tombstones was pretty good. I actually liked how it took away the 'it's personal' aspect of the novel.
 
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This far into the thread and no one has mentioned The Wizard of Oz? :wtf:
Aside from the device of making the whole story a dream, the classic 1939 MGM musical is actually pretty faithful to the book -- at least, more so than some previous film adaptations. Have you seen Larry Semon's bizarre 1925 version?


And the monorail thing [in Fahrenheit 451] is cool, although it's a little obvious that there's only the one and that it doesn't go very far. Might've helped if they'd at least thrown in a matte painting suggesting a more extensive monorail system.
Considering the quality of the film's few FX shots, it's probably just as well they didn't.

1509081309390112.jpg


(BTW, the monorail was an experimental test track in France. A monorail of the same design was built under license by the AMF company for the 1964 New York World's Fair.)
 
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I read the book of 2001 multiple times long before I ever saw the movie, so I knew the explanations for everything in the movie that was supposed to be mysterious. It's striking to me how completely opposite the two creators' sensibilities were, with Kubrick making everything enigmatic and ambiguous while Clarke spelled everything out in detail. I've seen so many people complaining that the film 2010 ruined things by "inventing" an explanation for why HAL went crazy, when it's the same explanation that was spelled out clearly in the original 2001 novel from the beginning (and, of course, reiterated in the 2010 novel).


Yeah, it is quite interesting, isn't it? It's like Kubrick used broad strokes but then Clarke filled in the gaps. On the whole, I think when paired, it's a very satisfying story. I think the travel scene works better in the book, given the understanding of what's going on.

As for HAL, yeah, was telegraphed better in the book, but perhaps Kubrick wanted to keep that plot point for a movie sequel. Ironically, the book sets up the sequel better, giving us the understanding of who these characters are and why they're there in 2010. And Clarke does reiterate quite a bit in the followups, often borrowing entire chapters.
 
I read the book of 2001 multiple times long before I ever saw the movie, so I knew the explanations for everything in the movie that was supposed to be mysterious. It's striking to me how completely opposite the two creators' sensibilities were, with Kubrick making everything enigmatic and ambiguous while Clarke spelled everything out in detail. I've seen so many people complaining that the film 2010 ruined things by "inventing" an explanation for why HAL went crazy, when it's the same explanation that was spelled out clearly in the original 2001 novel from the beginning (and, of course, reiterated in the 2010 novel).


Yeah, it is quite interesting, isn't it? It's like Kubrick used broad strokes but then Clarke filled in the gaps. On the whole, I think when paired, it's a very satisfying story. I think the travel scene works better in the book, given the understanding of what's going on.

As for HAL, yeah, was telegraphed better in the book, but perhaps Kubrick wanted to keep that plot point for a movie sequel. Ironically, the book sets up the sequel better, giving us the understanding of who these characters are and why they're there in 2010. And Clarke does reiterate quite a bit in the followups, often borrowing entire chapters.

Or, maybe the exact reason why HAL failed is irrelevant in the film. All that is important is that he failed, even while being the pinnacle of human achievement, thus representing the essential fallibility of mankind and an intrinsic limitation that is to be overcome in the next stage of human evolution that transcends even death.... WHOA! :cool:
 
I liked the first 90 minutes of Minority Report but it needed a darker ending than it got that was a little more philosophically complex than we got.

I haven't read the book for 2001 but Kubrick focused a lot more on showing you what he meant through cinematography than through the events of the story. I've seen it heavily analyzed by film buffs on an auteur forum who've gone into detail about the shot by shot meaning of the last sequence. Pointing out how the monoliths can be interpreted as a movie screen turned 90 degrees and the themes of using information and presentation to control people.
 
The classic 1968 version of Planet of the Apes is arguably better than the original novel--and has a much better ending (courtesy of Rod Serling).

PLANET OF THE APES the movie has about as much in common with Pierre Boulle's original novel as Woody Allen's EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT SEX has with the David Reuben bestseller of the same title.
 
Funny enough, the twist from the novel is closer to the twist from the Burton movie.

Not that the Burton one makes a lick of sense without doing homework, but it's still a little closer.
 
The first Mission: Impossible movie comes to mind. The team (which was the emphasis of the show) was killed of in the first act, and the lead character of Jim Phelps is turned into a villain.


This is why I have not bothered with any MI movies since the first one.
 
This is why I have not bothered with any MI movies since the first one.

It's a mistake to judge the later films on the basis of the first film. The later ones are from completely different creative teams and have very little to do with the first one. Heck, the first three movies don't even feel like a series. Despite the shared title and the recurrence of two characters and a few tropes, they seem like completely unrelated action movies with radically different styles and sensibilities and essentially no mutual continuity. The series didn't gain any real coherence, consistency, or quality until J.J. Abrams took over with the third. His continued involvement as producer on the fourth and fifth films has made them finally work as a series, but I consider the first two films to be essentially failed pilots for a series that didn't properly start until the third movie. (I believe the newest movie, the fifth, is the only sequel that's directly referenced any event from the first film at all, and that was a single line near the beginning.)
 
I don't really remember MI3, because I didn't get an undistracted viewing of it, but I think MI4 is pretty entertaining, very much a descendant of the TV series, with its own bag of tricks and twists. MI4 is really nicely done, I thought.
 
None of the first three Mission Impossible films, including the third, made an impression on me but I've really liked the fourth and fifth entries. I'd recommend those, at least, quite strongly.
 
This is why I have not bothered with any MI movies since the first one.

It's a mistake to judge the later films on the basis of the first film. The later ones are from completely different creative teams and have very little to do with the first one. Heck, the first three movies don't even feel like a series. Despite the shared title and the recurrence of two characters and a few tropes, they seem like completely unrelated action movies with radically different styles and sensibilities and essentially no mutual continuity. The series didn't gain any real coherence, consistency, or quality until J.J. Abrams took over with the third. His continued involvement as producer on the fourth and fifth films has made them finally work as a series, but I consider the first two films to be essentially failed pilots for a series that didn't properly start until the third movie. (I believe the newest movie, the fifth, is the only sequel that's directly referenced any event from the first film at all, and that was a single line near the beginning.)

Unless that reference to the first film goes along the lines of, "Guess what? Jim Phelps wasn't the bad guy after all!", I don't see myself ever mustering up any enthusiasm.
 
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