aardvark179 ([info]aardvark179) wrote,
@ 2009-03-03 21:32:00
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Who reviews the reviewers
So, a link to the New Yorker's review of the Watchmen film got posted to reddit with predictable results—if I ever want to cause death by psychic shock I now know just how I'd do it. Ignoring all the accusations that the reviewer had never read the book (he clearly had, and why should it be required to review the film?) there was interesting bit in the review about how the film differs from the book. Watchmen (the book) does contain violence but I don't think it ever glories in it, and the review rather suggests the film does—sadly it is exactly what I feared we'd get when I heard that the director of 300 was at the helm.

The thing is people have always said that adaptations of Moore's works would have been much better if the film makers had stuck more closely to the text, but I don't think that's the problem. You could produce a film of a graphic novel that is almost a frame for frame reproduction of the book and still completely miss the tone, and I'm guessing that's what we've got here. The best adaptations between media are always the ones that capture some essential essence of the original and run with that, even if it means changing almost everything else.

I'll still go and see it, but I'm not hopeful about really liking it.



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[info]sphyg
2009-03-04 12:40 pm UTC (link)
Jonathan Ross said the film stays too close to the book, but liked it anyway.

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(Anonymous)
2009-03-09 01:46 pm UTC (link)
Yes, that's what's happened here, unfortunately. I can see Dave being very pleased with it, but it sucks out most of the Alan Moore nature, through excessive slavishness. It's kind of Eye-Spy book faithful. It's as if the story has been told to someone along with some stills, who then told another guy, and they passed it on to the next. And then they kind of formed a committee to write the screenplay. And at the end, they got an intern in to go through a tick list to make sure that various things were mentioned.

The result means that it's an almost incomprehensible cargo cult of a film. No wonder people say it makes no sense!

For example, they got rid of the electric cars because they wanted to add some vague thing about energy shortage into the plot. But they kept in the airships. Without Dr Manhattan's mastery of nuclear chemistry reducing elemental shortages (Helium [airships] and Lithium [batteries] being the most prominent) the airships make no sense. Changing the plot is fine, but do it coherently!

The explanation on Mars where Dr Manhattan sees the magic of humanity as being through human reproduction modelled thermodynamically as a kind of evaporative cooling type local entropy decrease is completely ballsed up. His conversion makes no sense.

The film completely destroys the non-linearity of the martian episodes, which connects the book to a whole tradition of storytelling and psychedelia.

The connection to fascism is completely gone.

Losing the confidence to rely on the historical perspective of cold war annihilation anxiety and moving towards an environmental one is a little sad. But half-heartendly doing that? Sometimes about war, sometimes about energy? Again no sense.

"Nostalgia" is mentioned, but for no real reason.

Going from creating a monster whose death throes kill and hospitalises millions with its pain to ... a pretty special effect which vapourises people. Hmm. Hey, if only Moore had thought of a bomb as a means to kill those people, I'm sure he would have used it, ;).

If only they'd dropped some big portion of the book, and done some other bit at all well.

Anything remotely challenging has gone, essentially: anything vaguely alienating and difficult; anything which questions the medium. There's nothing where you have to say "I'll have to think really hard to imagine / accept / believe / sympathise with this". Moore is a fan of Brecht, and this film isn't.

A good superhero film, though.

k

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