OK, I’m cheating a little bit with the title. 2003 isn’t what I’d call modern, but The Modern Movie sounds more exciting than The Most Recent Movie and a lot of the changes made by this adaptation do reflect a modern sensibility as opposed to the old fashioned spirit of the original and other adaptations.| The Adaptation Station.com
This post is going to be a bit different from my usual. I’m going to be discussing a certain kind of adaptation, which I’ll call “the adaptation as commentary,” its advantages and disadvantages. As examples, I’ll be using two movies I’ve written about in the past. Hopefully, it’s been long enough that my regular readers won’t groan and say, “not this again!” While there will be some overlap with my past discussions, I will be looking at the films from a different angle. Th...| The Adaptation Station.com
It sounds crazy to say this now, so many decades since Disney’s 1953 animated movie of Peter Pan, especially when the character of TinkerBell has become such a Disney icon, but J. M. Barrie’s book and play don’t lend themselves to a Disney movie that well. Disney animated movies tend to have very clear cut good guys and bad guys, or at least they did in the 50s.[1]Modern Disney animated movies tend to be a bit more morally complex. For example, while repressing emotion is portrayed as u...| The Adaptation Station.com
As I’ve mentioned on this blog before, not one but two movie adaptations of Jane Austen’s Emma came out in 1996. This makes them rather a pain to talk about since while both follow the book’s plot fairly closely, they take very different approaches, and you don’t want to get them mixed up. Since one was made for cinemas by Miramax and the other for television by the BBC, I could call them Cinema Emma 1996 and TV Emma 1996 or Miramax Emma 1996 and BBC Emma 1996, but that strikes me as ...| The Adaptation Station.com
Both Charles Dickens’ novel, Little Dorrit, and Andrew Davies’ 2008 miniseries adaptation of it tell the story of Arthur Clennam (Matthew Macfadyen), who returns to England after two decades of exile, working on the family business in China. He tells his stern mother (Judy Parfitt), a sort of proto-Miss Havisham, bitterly secluded in her home, that his father has died, burdened by some terrible guilt. Clennam wants to know what this guilt was, so that he can make any amends he can. But hi...| The Adaptation Station.com