In the beginning was the word. Later came the film. And now comes the fight over which is better.
Tis the season when Hollywood gets literate. Since the Oscar deadline coincides with New Year’s Eve and a bookish pedigree is a sure way to get Academy members’ attention, studios turn to acclaimed novels for their holiday fodder. But there’s a risk involved. Ask any reader who has seen the movie version of a favorite novel, and the answer will usually be, “The book was better.”
That’s because readers of a novel have already made their own perfect movie version. They have visualized it, fleshed out the locations and set the pace as they either zipped through the book or scrupulously savored every word. Often they have even cast it. In the late 1930s, by the thousands, readers of Gone With the Wind demanded that Southern rogue Rhett Butler be played by that damn yankee Clark Gable. Readers are a very possessive bunch. So in taking a novel from page to screen, movie adapters must tread carefully, like a new visitor at Lourdes.
SPOILER WARNING!
THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE
CHALLENGES: Right off the bat, the screenwriters had to commit sacrilege by tinkering with a beloved children’s classic. They also had to wrestle with a strongly Christian plot that flirts with Sunday-school didacticism and had to keep kids interested despite a noticeable lack of exploding spaceships.
HOW THE BOOK WAS BETTER: Director Andrew Adamson Hollywoodizes Lion with a dreary, rote chase scene and “punches up” C.S. Lewis’ dialogue with a pair of tiresome beavers with Cockney accents who engage in sitcom-style banter.
HOW THE MOVIE IS BETTER: Whereas Lewis let World War II stay in the book’s background, the movie opens with a stark, scary shot of Luftwaffe bombers pummeling London. It’s a daring stroke that brings out the dark strata of loss and violence that lay beneath the story. Lewis also soft-pedaled the book’s climactic battle between the forces of good and evil; the movie makes it the kick-ass set piece readers have always wanted. “It’d be a crime not to show a fight between a centaur and a minotaur,” says screenwriter Christopher Markus.
DEFINITIVE VERSION: Nothing will ever touch the subtlety, mystery, power and charm of Lewis’ novel. But this Lion is still a noble beast.
Thanks to Brett
