The Flip Side: Seeing the Movie Then Reading the Book

Asa Butterfield in Hugo (Paramount)

Recently I re-posted a series of articles I wrote on The Site That Shall Not Be Named (no it’s not the Dark Lord’s site) about how to divorce oneself from the source material when you’re watching an adaptation of a beloved book, comic, TV Show or what have you. If you want to read that series start here, otherwise bear with me.

In that series I really tackled a problem many face but mainly it pertained to books and their readers the most. To be more specific people who happened to have read the book prior to watching the film, which is a tough transition.

However, a twitter friend of mine and blogger in his own right, recently posted this intriguing entry:

People who follow me at all know I read a lot.

I read books now more than ever, used to read more newspapers and magazines.

But, I hear all the time, I want to see say “Hunger Games” but I need to read the book/books first. I personally prefer seeing the movie first.

Books are a totally different format, richer, longer, have subtext, a medium of words. Film is a medium of images and sounds, and quite a bit shorter at around 90-120 minutes. The average screenplay is 95-125 pages long, the average book is around 300 pages. It’s simply different.

For me a good example of this is Martin Scorsese’s “Hugo”. Although the book the “Invention of Hugo Cabret” by Brian Selznick is very cinematic, and the look is in the movie, Scorsese adds scenes, depth of character and a few other things I don’t see in the book. I did see “Hugo” before reading the book, and think if I read the book first I would have used my image of the book to cloud the movie and not loved the movie for what it did well but get trapped in comparisons.

An example of a book I did read first which clouded my judgment of the movie is “Jurassic Park.” I quite enjoyed Micheal Crichton’s novel, and I missed several scenes (especially the river scene) that were in the book in the movie. Although Spielberg does a good job with it, I find actually the monster movie “The Lost World” to be more fun. I think this is partially because my view of the book hurts the movie.

Another example for me from a recent movie is “The Hunger Games.” My wife has read through this series twice already, and I am still around 20% in the first book. I quite enjoyed the movie, and wonder if my judgment of the book would have clouded how I see the film.

Basically movies and books are entirely different mediums. If you try to make the movie just like the book you get boring movies like Chris Columbus’s Harry Potter 1 and 2, which although good and nowhere near as rich to me as Cuaron’s version that shares the vision of the book but doesn’t feel the need to get everything in Harry Potter 3 (still the best of the series to me.
What do you think?

The general points up there I agree with almost without exception. I wanted to quote the post mainly for context and also as shorthand to expound on my observations on this opposite phenomena I didn’t examine.

I completely agree with the assertion that one musn’t read the book before seeing the movie. The book is not Cliff’s Notes to the film. The film has to sink or swim on its own merits. With regards to The Hunger Games, I liked it but I knew innately that there was backstory and subtext from the book only being hinted at on screen, however, it didn’t ruin the film for me.

With regards to subtext allow me to make a minor semantical point: yes, many films are surface only but when you study them you learn to read them (I’m not being poetical, we say that) and seek the subtext. Some films are what they are; vapid or brilliant there’s not much else going on, those are few. There will be more forthcoming dialogue simply because the examples are ones I so closely relate to but I will transition, believe me.

Another thing that even I didn’t really examine in the prior series is that there really isn’t a direct correlation between pages in a book and a screenplay. One can make it, and I have, for a mathematical argument but truly the literal conversion of book to film can have so many more variables. A good example would be Swann’s Way by Marcel Proust. I stuck with it and finished it and liked, despite it being the most challenging read of my life. Such is the stream of consciousness and transition from reality to memory to fancy to dream that it makes it a very involving and exhaustive experience. Were you to take certain pages out of the book and transcribe them to screenplay form you could have so many changes of time and location that one novel page could be three to four screenplay pages. Again, if you’re a completist and being literal. A good film of the book would have some of those montages implied in the writing but not all of them.

Certain writing styles do imply montage as Eisenstein talks most about in the book of his I’m in the midst of and what can be done in a paragraph of prose may take a page or more in a screenplay depending on how you decide to exploit it cinematically. This is just further food for thought when thinking about taking something that’s purely text and turning it into visuals.

With regards to the example of Hugo above it’s amazing that we both reached virtually the same conclusion about the film having inverted reading schedules. I took The Invention of Hugo Cabret out of the library and devoured it because it was a quick read, liking the story much better than the presentation thereof and then though I knew Scorsese and Logan made certain changes I felt they enhanced the film and made it the best of 2011.

Sam Niell in Jurassic Park (Universal Pictures)

With regards to the Jurassic Park films, I actually tried to read the book and I failed to complete it despite needing to write a book report on it. That did not diminish my desire to see it or affect my view of it. I absolutely adored every second of it. Being a budding cinephile and a kid who at more than one point wanted to be a paleontologist it was, and will remain, one of the most exhilarating movie-watching experiences of my life. It’s magical. On the other hand, I didn’t try and read The Lost World, I disliked it a lot. How much? This much. I was pleased to learn in my Spielberg class that part of the reasoning behind his doing The Lost World was that Universal had been begging him for a sequel since 1982 and he would not hear of it being E.T.

Michael Gambon and Daniel Radcliffe in Harry Potter and the Half-Blood Prince (Warner Bros.)

As for the Harry Potter films: I love them and I love the books. My love for both is separate but equal, to re-appropriate an old phrase. I always read them before I saw them but with the few production delays they had the gap between reading and viewing grew as the films moved on. My favorite is The Half-Blood Prince, it’s the apex of the story cinematically and in the books I feel so much of what was built in the series lead to that point. The Prisoner of Azkaban is great but like many of the films they stumble at the goal line, metaphorically speaking but that one just loses the ball entirely with the very last image and piece of voice over. Only part of the issue with the first two films is Columbus. The other part is that the books steadily grew in size through the course of the series. Slavishness to the novel was easy, and maybe a requisite to establish the franchise at the beginning. As the books grew slavishness became more difficult to accomplish, nearly impossible, thus the films truly came into their own as a separate but equal enterprise.

So having said all that in the interest of piggybacking and elaborating on points I previously made; What about seeing the movie first and then reading? I am very intrigued by the idea but I do not have much practice with it. I have a few candidates in mind to try it with but let’s see what case studies I have (Yes, we are quite literally discovering it together, hence why I wanted to write this post).

Jack Nicholson in The Shining (Warner Bros.)

The Shining

I decided to pick up a Stephen King book because I saw The Shining. I was just into High School and it was the first time I enjoyed being scared. I was averse to horror before then. I learned from King and went on to read many that he read. However, the film and the book are very different beasts. I had no problem with having a cast in my head, King even acknowledges that in a foreword or afterword of one of his books, but like I said it was different. I didn’t dislike it. I don’t disagree with King’s comments about Kubrick either, yet I still enjoy Kubrick’s riff on the story more than the book or the mini-series. Do I skew to the movie for having seen it first? Yes. However, then there’s The Hunger Games. I tried to read it as a library book. Hardly started. I then saw the movie still knowing next to nothing and would likely enjoy the book more.

Pet Sematary

Miko Hughes holding a copy of Pet Sematary

Here’s one where if you make me pick which one I like I’ll kick, scream and refuse. I love them both so, so much.

Storm of the Century

Colm Feore in Storm of the Century (ABC)

Ha, I’m such a cheater because this is a screenplay but regardless I may be in a minority but I really enjoyed it in both incarnations.

Hellraiser/The Hellbound Heart

Doug Bradley in Hellraiser (New World Pictures)

Clive Barker brings such imagination and originality to everything he does it’s hard to be disappointed but it is a somewhat different interpretation of the vision than the one he put on screen I find. Similarly, he’s working on a comics series of Hellraiser now, which is incredibly good.

The Exorcist

Linda Blair, Max Von Sydow and Jason Miller in The Exorcist (Warner Bros.)

With all apologies due William Peter Blatty the movie rips the book to shreds quality-wise. However, the reading experience was just fine.

Rita Hayworth and the Shawshank Redemption/The Shawshank Redemption

The Shawshank Redemption (Columbia Pictures)

It wasn’t a tainted reading experience in any way and it’s evidence of why Frank Darabont is Stephen King’s best adapter.

The Body/Stand by Me

Wil Wheaton, River Phoenix, Jerry O'Connell and Corey Feldman in Stand by Me (Columbia Pictures)

In a similar way to Stephen King’s reaction to Darabont’s The Mist he also loved this one because of a crucial change Rob Reiner made for the better. Reading it was fine, watching it more lively. In this case it might’ve tainted it in my mind from having seen it so much.

Apt Pupil

This story as written is outstanding. Yes, the cast remained the same but the story delves into the psychology of the situation in ways the film scarcely attempts. You should read it.

The Langoliers

The Langoliers (ABC)

Augmented by having seen it first in part because I love the mini-series up until the very end. It’s like King says, the story just falls into place so smoothly and that translates on to the page and the mini-series is great until one of the worst third act blunders, and effects shots ever.

Misery

Kathy Bates and James Caan in Misery (Columbia Pictures)

How can having Kathy Bates in your head not make it better?

Cycle of the Werewolf/Silver Bullet

The Cycle of the Werewolf (Signet/Berni Wrightson)

It’s a totally different beast entirely. It’s a short little book with Berni Wrightson working his magic illustrating it, giving you new images to focus on.

Creepshow

Creepshow (Berni Wrightson/Signet)

Quite frankly with the premise of Creepshow being tales in the style of old EC Comics how can it not be a good comic book, seriously?

Burning Secret

Burning Secret (Vestron Pictures)

I’m surprised I had forgotten this one. This tale is quite literally the perfect example of this list. I saw this film by chance on Netflix. I was rather intrigued by it and was curious to read the book. The book was rather short and a quick read. The adaptation is great because it develops cinematic subtext without using any of the inner-monologue inherent in the prose. What this does is create an air of mystery and a questioning of motives, at least to an extent, which never happens in the book. The strength of the book is that you get explicit detail about the thought processes of each character. In short, you get slightly different but very well-realized renditions of the tale. In each version the medium is exploited brilliantly.

These are likely the only examples I can be completely certain of. Having thought on them: Yes, the argument does have merit. It can be better and more enjoyable to watch and then read. This might mean that The Hunger Games and A Song of Fire and Ice are in my future.

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61 Days of Halloween- Halloween 5: The Revenge of Michael Myers

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment so I will try and suggest something worth while as well.

Halloween 5: The Revenge of Michael Myers

Danielle Harris in Halloween 5: The Revenge of Michael Myers (Universal)

This installment immediately starts off on the wrong foot with a pulled punch. We back track and see what Jamie really did do and it lightens the blow severely and nearly retroactively damages the previous film.

This film suffers from lulls. Michael is quite absent and when he appears he is all too visible. Many of the kills occur offscreen and corpses are discovered later.

The corpse shock scene, where our hero discovers Michael’s victims after their death, is a staple of this series but this installment goes to the well one too many times, at least.

This film is less of a slasher film than the others in the series and while that change is welcome and perhaps even necessary, the drama and traditional horror we are left with need to be equally as compelling and it is not.

Jamie’s symbiosis with Michael never fully gets addressed or explained yet in this installment it gets amplified. In a film like E.T. that sort of explanation isn’t necessary as we are dealing with extraterrestrial life. Here a theory or even a guess would’ve been welcome.

There are also several protracted bogus scares in this film which are a complete and utter waste of time and are not an adequate substitute for a lack of involvement by Michael himself in the film.

This film even goes so far as to include a car chase which is so far removed from what makes this series work that it’s not even funny. This just exemplifies some of the screenplay issues that this particular installment was faced with.

One thing this film does have going for it is that it isn’t replete with people you’d like to see die so there is a minimal investment in the film in that way but there are so many problems that you’re almost surprised they didn’t break Michael’s connection to Halloween and have him show up in mid-November instead.

Near the end he actually does shed the tears that he shouldn’t be able to. Part II handled it right with a bullet to the head forcing blood out his mask’s eyeholes.

To close it up the penultimate showdown between Michael and Jamie is in a laundry chute. It was as uncomfortable to watch as I’m sure it was to shoot and then of course you have the end.

The ending is a cop out where there is yet another explosion but that’s all. Again somewhat like Part II only nowhere near as effective. You see nothing. Just flames and we end. It’s no wonder that no one wanted to pick up and run with this series immediately following that point, it was not a high. Not at all.

1/10

Review- Hanna

Saoirse Ronan in Hanna (Focus Features)

It’s really easy to love a film like Hanna. It takes a tale wherein the plot upon final examination is not all that complicated but it is rendered perhaps in the most interesting fashion that can be thought of. While it may not be the most original tale ever told it still bubbles over with freshness and enthusiasm for its subject matter that makes things seem quite new indeed even though they may not be.

It’s a film that also sneakily incorporates foreign languages and many locales within the narrative but due to this being an action film those averse to reading subtitles may be quickly won over and not cringe during these sparsely scattered scenes. The locales also vary but a journey geographically can be a great way to mirror a character’s journey to understanding about themselves and that’s what’s at the crux of the matter here: understanding. Whether it be for the audience or the protagonist we both start with the basics that we need to be allowed to function and move on from there picking up pieces along the way.

New information always clarifies and adds meaning to the tale as well as raising the stakes such that it’s all very expertly done. Yet we as the audience also are taken on a wonderful journey as we not only seek to find Hanna’s place in this international intrigue but also the motives of one Marissa who is seeking to hunt her down.

The film often balances wonderful action sequences and taut dramatic scenes that have an air of mystery about them as well. It paints it characters interestingly but not blatantly. Marissa being an example, her duplicity is underscored by her ever modulating accent. Yet Isaacs is another illustration. In very short order we see him as flamboyant club owner, then informant and then assassin. This kind of building of character alongside the building of the plot is great and rare to find. Add to that a final destination that Hanna must reach and you have yourself a surefire recipe for a great flick.

Hanna features a much-hyped, and discussed score by The Chemical Brothers. Now ultimately I must say I was won over by this score for two reasons: first, director Joe Wright spotted the film beautifully in terms of where he wanted score and where he didn’t. The opening of the film was quite quiet and there was a wonderful intimacy to it all. Then I did like the music itself is very good, worlds better than was Trent Reznor and Atticus Ross just got an Oscar for, it really puts the pedal to the metal when it has to and gives an offbeat vibe to this film. It does, however, for one section get too intrusive. Now in my A.I. paper I discussed intrusiveness of score. All are to some extent but there is a line I feel it crossed in her escape where it combined with the lighting and editing just made it too much of a music video feel.

Keeping these nitpicks in perspective, however, I’d always rather see a films whose negative qualities come from it trying to hard rather than it not trying hard enough. And that’s what this film did on two occasions. The second such was a scene where Hanna has just arrived at a room in Morocco and having been sheltered she is overwhelmed by the modern conveniences and their noise and fury and the sequences is overwrought and over-edited. It makes its point but perhaps too emphatically.

Ultimately, it must be said that this movie may be standing tall by the end of the year and these little nitpicks may knock it down a peg or two but it is still a great work. The acting in this film is tremendous and not simply for the fact that nearly everyone had dialogue in a language that is not their own. Many if not all the characters had moments that are memorable. Not failing to mention, of course, a screenplay which gives all these characters chances to have their moments but still telling a good and tight story.

There are rarely action films that both get your adrenaline pumping but also allow and, in fact, require your brain to remain functioning and not take that time off and this is one of those films. It’s as smart and well-told as it is exciting.

9/10