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Video Killed the Bookmark II

The problem with this topic is that the number of decent book to film adaptations –  since classics such as The Big Sleep and Lean’s Great Expectations were being made more than 50 years ago –  can be counted with alarming rapidity. After Visconti’s version of The Leopard with the wonderfully hirsute Burt Lancaster, the top three have been:

The Silence of the Lambs: this can be explained by any of a number of quotes – not the most obvious:

Hannibal Lecter: First principles, Clarice. Simplicity. Read Marcus Aurelius. Of each particular thing ask: what is it in itself? What is its nature? What does he do, this man you seek?
Clarice Starling: He kills women…

The clash of Thomas Harris’s splendid Hannibal with the compelling (but mostly taupe ) Clarice as she states the obvious gives rise to a tense dynamic that propels them across serial killers, the Goldberg Variations, fine wine and of course, her childhood.

No Country for Old Men led to the appearance of one of celluloid’s most malevolent figures: Javier Bardem as Anton Chigurh swinging a customized stun gun as he slaughters his deadpan way through West Texas after Josh Brolin and the cash perfectly captures the grim relentlessness of McCarthy’s prose that similarly keeps you turning the pages, though you know the news is going to get much, much worse before it gets better.

Apocalypse Now must have been an absolute bastard to adapt. The murky novella, Heart of Darkness, manages to convey the chaos and residual fear Willard experiences as he ventures into the Congo; the fact that Coppola illustrates this with a pared back script and fractious cast set in Vietnam is seriously impressive. Whether you agree that bald fat Brando cuts it or not, if the loss of control at the last American outpost before they get to Kurtz doesn’t get to you, the surfing certainly should.

Graphic novels were broached by the Editors in the first instalment of this discussion, although of course there is a wealth of material to choose from, and the production line does not appear to be slowing. The production companies have long ago optioned the more obvious series for adaption to the screen, and the result is now TV series for the lesser known characters of Marvel and DC as well as mega-Marvel blockbusters.

It has been a tumultuous transition for comic fans. The original X-Men films can now be blotted out by the masterful First Class with the likes of Fassbender and Jennifer Lawrence reclaiming the original story with authority. The fact that Wolverine: Origins was so woefully rubbish does not diminish the beast himself, or apparently Hugh Jackman’s bankability. Will.I.Am as Ghost was truly the nadir for the Marvel team.

Or it was until the Green Lantern appeared. The only good thing to come out of it was Ryan Reynolds meeting Blake Lively: who doesn’t like when two attractive people get together to flash some teeth? But the film went straight onto the midden heap alongside Daredevil, both Punishers, Hulks, Fantastic Fours and all initial three Spiderman films – shame for Evil Dead fans that Raimi lacked the sand to make a proper adaptation. No one wants to see James Franco as a broken Harry Gordon sobbing in an ugly fashion at sunrise. Raimi did do one vitally important thing of introducing the swooping, elated shots of Parker swinging along the grid of New York, our stomachs follow the trajectory of the camera in a great way and you can almost forget that Tobey Maguire just isn’t funny enough to play this self-deprecating hero. Without these, we may not have had the version of The Amazing Spiderman last summer that showed how entertaining the story is. Majestic casting with Martin Sheen and Sally Field as Uncle Ben and Aunt May were the perfect support for Andrew Garfield and Emma Stone to bashfully set up the original love story for Spiderman. Marvel films are currently on a role with The Avengers, Thor, the Iron Man Franchise (to a lesser extent Captain America). They are huge, funny, stunning and not yet bloated. Long may it last.

Which brings me to DC. Batman remains the most complex and enthralling character ever to feature in a comic book. A lone playboy, devoted only to his butler Alfred and the various permutations of Robin, there is no permanent love interest or nemesis, and no deviation from his goal: to be whatever Gotham needs to survive, or in good years, improve. Bruce Wayne is often depicted as a massive, scarred figure who appears almost ludicrous in a tuxedo. His calcified joints and scar tissue accumulated over years of letting the city take its frustration out on him is referenced in a great scene in Christopher Nolan’s The Dark Knight Rises when the news that Batman has no cartilage left in his knee does nothing to impede the plot. Phew.  Michael Keaton started what Christian Bale finished, although sadly Val Kilmer and George Clooney did some damage on the way with a lot of help from Jim Carrey and the wonderfully ridiculous ex-governor of California. Anne Hathaway absolutely smashed it as Catwoman to the extent that her other crimes against literature (One Day and Les Miserables, I’m not even starting with her Jane Austen impression) may be forgiven.

People performing extraordinary feats of strength and agility against gloriously unambiguous baddies in this dimension, or the next, will always have appeal. There is now aesthetic satisfaction as well as escapism to be had, and mutants no longer need be hammy. The momentum is such that there is no need for a rueful grin after delivering lines like: “How dare you attack the son of Odin!” as the audience knows a fight scene is coming, and it’s going to be ludicrous, violent, fast, and wonderful.

Next time: Will Dark Horse facilitate a third Hellboy film? Will Man of Steel and Kick-Ass 2 be any good? (Yes) And of course, Iron Man 3 as of April 14th.

The Editors

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