Book vs Movie: Oldboy – What’s the Difference?

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This month in CineFix’s series What’s the Difference? they cover Oldboy. Live octopus not included.

Not having read the Manga, I don’t really have much to add to the above video. The film is amazing. It redefined “off-the-wall” and managed to make it compelling watching.

Let’s not talk about the Spike Lee remake. Because it wasn’t very good. Although, because it is an American adaptation of a South Korean adaptation of a Japanese work, it can be interesting in an intercultural sense. This article is very interesting in that regard.

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Best Adaptations of All Time?

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In keeping with my monthly series of posts on book adaptations – Book vs Movie – I thought I’d share this CineFix video as my last post before the Festive Break. They cover a lot of great adaptations, even mentioning a few I was unaware were adaptations.

Thanks to my readers and commenters for dropping by this year. I hope you all enjoy whatever Holiday tradition you celebrate. Best wishes from me to you.

Now let’s argue over whether this video has missed any of our favourite movies based upon books.

Book vs Movie: Silence of the Lambs – What’s the Difference?

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Do you prefer a Chianti or an Amarone to accompany human liver and fava beans? This month CineFix ask the question in their What’s the Difference? on Silence of the Lambs by Thomas Harris.

I’m going to be controversial here and say that the movie, Silence of the Lambs, was better than the book. That’s right. I’ll give you some time to warm up the tar and pluck the chickens.

That isn’t to say that the novel is bad, far from it. In my original reviews of Red Dragon and Silence of the Lambs, I noted that they were great stories, very interesting and layered (thematically, compositionally, etc), and gave us a charismatic villain for the history books. But I wasn’t a fan of the writing. Some passages were on point, especially some of the dialogue that was pretty much lifted straight into the movie, but other parts felt like they were letting down the team.

Compare that with the cinematic classic and you can see which one stands taller. The themes, particularly the sexism, are more subtle yet more omnipresent (camera angles and shot staging vs inner monologue). The tone of the film is brought to life, and how could it not be with Anthony Hopkins’ Lecter exuding menace and demonic magnetism, and the brilliant cinematography – the night vision scene is unmatched.

It’s a pity none of the movie sequels managed to capture the same magic. I’m yet to read the rest of the Hannibal Lecter novels, so it would be interesting to hear if they managed to continue the magic, or if they slowly drained of life with each thin slice.

Book vs Movie: The Sex of Game of Thrones – What’s the Difference

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This month CineFix do the episode of What’s the Difference? you’ve been waiting for. No, not The Game of Thrones differences. The sex scene differences of The Game of Thrones.

People are often surprised when I tell them I’m not a fan of The Game of Thrones. But after abandoning both the first book and first season, there isn’t much that could get me interested in coming back.

Some people have tried to convince me that there is plenty of nudity and sex in the books and show. I like to point out that 4% of the internet is porn. When I’ve tried pointing out that most of the characters either die or aren’t protagonists you want to follow, the response is always Tyrion Lannister is awesome…. So that’s one character. I can see why many people love both the books and TV show, but just not for me. Unless it is in a highlights reel format.

Thug Notes summary and analysis of A Song of Fire and Ice.

Wisecracks comparison to The Sopranos and Interregnum

Book vs Movie: Shawshank Redemption – What’s the Difference?

Nothing quite like comparing one of the best movies of all time with its source material. This month CineFix do with What’s the Difference? on The Shawshank Redemption.

It’s odd that I have read Stephen King’s The Body but haven’t read Rita Hayworth and the Shawshank Redemption, given that they shared space in the same collection. But then I don’t often read novellas and short stories, as I prefer novels. I often think that shorter stories make for easier movie adaptations as the filmmakers don’t have to trim material the same way. Of course there are two problems with that thinking:

  1. It assumes that filmmakers actually read the source material (see here, here, herehere….)
  2. It assumes that filmmakers aren’t quite content to stretch source material out to fill as much cinema time as possible, no matter how bad an idea that is. *cough* The Hobbit *cough*

I recently saw a listicle that suggested Shawshank was one of the movies you should have in your collection. That is clearly wrong. If you can’t turn on the TV and catch it on rerun then your TV is broken or you have found Die Hard on instead. Why own it? Which brings me to possibly the only real gripe there is to be had with Shawshank, and that is its over-popularity. Exactly how many times can it play on TV before people start becoming annoyed? At what point does the audience start to groan at what was once a great movie? Can great art remain timeless if you beat everyone over the head with it? I fear the answers.

Book vs Movie: A Clockwork Orange – What’s the Difference?

Time for some ultra-violence with this month’s instalment of CineFix’s What’s the Difference?

I can’t remember if I read the book or watched the movie first. A Clockwork Orange was a novel in my parents’ collection of novels, which is why I turned out so well. I do remember the novel wasn’t as easy to consume as the movie, mainly because you can interpret spoken language more easily than understanding the lexicon employed in Burgess’ written words.

This may be a somewhat shocking statement, but I’m not much of a fan of Stanley Kubrick’s films. I always found them somewhat bland, as though there were a lot of empty space on the screen. As such, there are parts of the film I find to be bordering on dull, and others that strike me as weird and hammy (such as the scene with Alex’s parol officer). Meanwhile, the book managed to be entertaining and yet critical of youth culture whilst discussing free will.

It is ironic that I would enjoy a book that is critical of “kids these days”. But the fact that it was written in 1962 only further proves my point that complaining about the younger generation has been a popular pastime for old people since the invention of young people. Oh, and free will probably doesn’t exist.

Book to Movie: The Bourne Identity – What’s The Difference?

This month the Cinefix team are covering the differences between The Bourne Identity movie and book. So this will either be a super short episode or a super long one.

I read The Bourne Identity not long after seeing the movie. Yeah, I’m that guy. I’m frequently that guy. Anyway, I have always referred to the movie as being nothing like the book at all. Aside from a few names and the amnesia thing, there is virtually nothing similar about the two works. I have often wondered if the screenwriters got handed the book and only got as far as the blurb on the back cover before producing their screenplay. Let’s just hope Ludlum was able to cash his cheque* before he typed his last ‘The End’.**

Apparently Robert Ludlum was inspired to write a spy novel involving an amnesic because he briefly suffered from the condition himself. There’s a joke here somewhere about the screenwriters forgetting to read the novel, but I wouldn’t stoop that low. I mean, who is to say they even realised they were being asked to do an adaptation, this is Hollywood after all.

Most action fans love the Bourne movies. At a time when there was a move away from gritty and realistic action, Bourne came along and gave us a tense, gritty, and “realistic” action movie. The book is not heavy on the action and gives us a more traditional spy story about flushing out an assassin with counterintelligence and operations. Comparing the two is really quite unfair. But one area I think the book is superior is in the answer to “Who is Jason Bourne?” In the movie we see Matt Damon struggle to come to terms with not knowing and wondering what sort of man would have his skills. But we know. And he knows. The answers he finds don’t really give him any new information: yeah, you were an assassin dude. In the book the answers are more complicated and more satisfying for the hero: yay, I was bait to capture an assassin.

Without this film we would have not had Matt Damon bringing Mark Watney to the screen. Let’s celebrate by rewatching one of the best car chase scenes of all time:

*now there’s a saying that is appropriate to the time being referenced but is now as apposite and relevant as a broken record.

** Robert Ludlum died in 2001.