Alexander Hammond is an inveterate writer, traveler, cynic, occasional magician, sometime hypnotist and reluctant bon vivant. He’s passionate about fantasy, SF and humor writing, astronomy, quality cinema, the environment and wildlife and he occasionally pretends (normally unsuccessfully) to understand cosmology. Tales from the Edge of Forever is his third book but his first published work of Fantasy fiction under this name. His non-fiction has also been syndicated in many international newspapers and publications, but imaginative fantasy writing is his first love. He can be found at his blog, on Facebook and via his Twitter handle @ahammond2011.
Remakes, reboots and re-imaginings…
You know, there’s always a dichotomy inside me when I hear any of those words. One is normally an instinctive groan and a mental rant about the lack of originality in Hollywood, tempered by a hope that if they absolutely have to do it, they’ll do it right; if indeed it needs to be done.
I’m sure you know what I mean.
We tend to think of these ‘new versions’ as a relatively new occurrence, as the studios mine their catalogues for properties of proven provenance in the scramble to make money. Certainly The Godfather Part Two seemed to start a trend as the possibility of franchise features struck a chord with producers. Well, that’s what I’ve read, but in reality, James Bond had been running for years even at that point, so it wasn’t new even then.
Remakes, reboots and re imaginings are generally a sign that someone believes new life can be infused into a tired property, and persuade all of us to pay hard cash to see something about which we are already familiar. It’s a valid marketing concept. It’s the pace at which it’s happening today that’s astounding.
Case in point. The first Batman feature (cut together from a TV series) was shown in 1943. The next version was in 1965. A gap of 22 years. It was then rebooted 24 years later by Tim Burton in 1989 and then again by Chris Nolan in 2008…19 years later. A fairly healthy gap between re imaginings and, despite the negativity about Joel Schumacher’s work on Batman and Robin and Batman Forever, they worked.
Richard Donner’s 1978 version of Superman was then rebooted as Bryan Singer’s surprisingly lacklustre effort Superman Returns in 2006, a gap of 28 years. Within 30 months of its release, the studio announced yet another reboot!
Err 30 months???
Unseemingly hasty for the general public, I thought, but maybe that’s just me. And we all know about the Hulk. A mere five years between the release of both versions.
So the scramble to leverage assets is turning into an undignified stampede. Indeed Bryan Singer was yanked off X-Men 3 to helm Superman Returns. Clearly after the fiscal success of the first two X-men movies, the studios thought he had the super hero Midas touch. He evidently didn’t, and additionally his loss on X-Men 3 was apparent.
This strikes me as awfully simplistic thinking by studio heads. And of course the generally disappointing response to X-Men 3 gave us another reboot: X-Men First Class. A movie which, I have to say, I thought was rather good.
It’s happened before. Tim Burton, fresh from his success with Batman, took on the reins for the Planet of the Apes remake, and we all know how that turned out. Additionally, sometime before Singers appointment to Superman Returns, this was also a Tim Burton project with…Nicholas Cage slated for the main role. Nic Cage? Really? Seriously?
And yet, for all my hand-wringing and angst, sometimes these reboots work and work well. Burton’s two Batman outings were outstanding, despite the bizarre casting of Michael Keaton. Nolan’s Batman Begins was so damn good I felt too embarrassed to point out that you couldn’t actually see what was happening in some of the fight scenes. The Dark Knight was such a seminal superhero movie, I didn’t care that the third act really didn’t work that well. Both were just outstandingly fine movies on a property that needed a reboot.
The James Bond reboot is also a case in point. A totally reinvention of a property that was both anachronistic and archaic. Daniel Craig simply is a dangerous killer in the way that Heath Ledger was a psychopathic manic as the Joker. The filmmakers went back to the roots of what the properties were about, and put them up on the screen in a no nonsense fashion. It’s about quality filmmaking and not rushing. It’s about step-by-step craftsmanship in storytelling, production design and direction.
And yet we still get remakes like Rollerball and The Day the Earth Stood Still. Johnathon Frakes’ God-awful Thunderbirds, The Wicker Man, The Stepford Wives, the excruciating Invasion (originally Invasion of the Bodysnatchers, already remade once before). The Time Machine and…well, I could go on and on. I’m not really sure about Sonderbergs Solaris, though in its favour, it was certainly as boring as the original.
I’m literally almost physically sick that Forbidden Planet is under development. Dear God, no. Next they’ll be going after Silent Running and Dark Star…
However, it does occasionally seem that the planets line up and decisions are taken, which show the studio cares about the longevity and inherent value of their properties. Normally, it’s sadly after a long run of bad decisions, when it takes a master visionary to rescues a property. The Alien franchise is a perfect example of sanity finally prevailing.
Alien is very much like Star Trek insomuch as each subsequent outing (with a few very specific exceptions) seemed like a photocopy of a photocopy; i.e. the quality diminished each time the property was remade. Each was a pale refection of that which preceded it, each accordingly enjoying the certainly of diminished returns in terms of visual appeal and box office revenue. The family silver was literally being rubbed so hard it was foil thin.
Finally the owners of the franchise made the decision. As I write this, Ridley Scott, the august helmer of the first ever franchise entry for this fantastic property, is hard at work at Pinewood working on Alien Prometheus. I, for one, cannot wait. It’s not ‘just another one in the series’, it’s going to be an ‘event’.
Surely all movies should be treated this way?
Along with several million other people on the planet, I count myself as one of Star Trek‘s biggest fans. I pretended to like the last few outings…I really did…but I knew the truth…they were awful. Nemesis had me nearly cutting my throat. I even hung on for Enterprise having endured Janeway’s helium voice on Voyager and the occasional high points of Deep Space Nine but in reality I knew TNG was the last really good Star Trek.
So what was Abrams going to do with it? I knew his TV credits were beyond compare and he’d directed Mission Impossible 3. He’d also produced Cloverfield, which I rather liked. What would be his take? Would it be the ‘next next’ generation? Then I heard it would be some sort of reboot.
The day came and I settled myself nervously down to watch his effort.
So, what to say? A story that was as ridiculous as it was preposterous. Gaping plot holes and contrived co incidences that beggared the imagination. An Enterprise seemingly populated by a crew in their late teens. A starship bereft of any experienced senior officers, enabling a fresh-faced cadet, straight from the academy (after an mere three years study) to take command of the Federations newest flagship. Dear God!
Horribly stylised lens flare, running, shouting, insubordination, a cartoon villain with a vendetta so bizarre and unrealistic it made me slack jawed. Scientific stupidities and physical impossibilities. Abrams hadn’t just taken liabilities…he’d torn the whole thing apart and rebuilt it in his own image.
I loved it.
I absolutely loved it.
I shouldn’t have…but I did. Abrams destroyed the photocopier and charged everything with ridiculous energy, youthfulness and fun. He’d treated the source material with a nod of respect and in 100 minutes, created a new Star Trek universe without destroying the old one. A masterstroke. One which killed at the box office — it did six times the business of its predecessor. Six times!
Essentially he’d ignored my written exhortations in this piece about reverential respect for the original versions and fundamentals…and it worked…even on a die hard fan like me.
As William Goldman so rightly said…
No one in Hollywood knows anything.