I totally agree with Ben Shapiro and Andrew Klavan about movies that pervert the original author’s intent

winona_ryder_little_women_us_dvdThis is me, writing back in 2008 about Winona Ryder’s adaptation of Little Women:

Two of my favorite 19th Century books have very pronounced moral lessons indeed, and they remain enormously popular despite (or maybe because of — but more of that later) those lessons.  The first is Jane Austen’s Pride and Prejudice, and the second is Louisa May Alcott’s Little Women.  Both of them, no doubt, are familiar to you too, although the latter is likely more familiar to the girls than the boys reading this.

[snip]

In Little Women, Jo March is a wonderful, enthusiastic, energetic girl (and, eventually, woman) who gets into a lot of trouble because she runs off half-cocked all the time.  Indeed, her impetuosity results in her being denied her heart’s desire:  an all-expenses paid trip to Europe.  However, she learns that life has consolations and that they may be much better than merely getting what one wishes.  By subordinating her own uncontrolled desires to the demands of hearth and home, she enriches her own character, learns better to appreciate those around her and, of course, is entitled to her reward — marrying a good man.

The lessons in both books are pretty clear to anyone who bothers to read them.  You don’t need an advanced English degree, and hours spent analyzing symbolism and myth, or even more hours deconstructing whatever is written, to figure out the moral lessons Alcott and March were making.  Those lessons lie at the core of each book, with the stories around them intended both to entertain and to accentuate the moral the reader takes away.

If Elizabeth just had a frivolous romance with Wickham, and disliked Darcy to the end, the story would be morally stagnant, and would fall in the category of junk romance, rather than great literature.  Austen’s charming writing is made worthwhile only because of the moral steel that underlies it.  Likewise, if Jo simply frolicked from one misadventure to another, Little Women would probably remain an unknown, shallow work of 19th Century children’s fiction.  What makes it interesting are Jo’s epic struggles to subdue her immature self to realize a truly fulfilled adult life.

What irks me is that so many remakes of these two books work assiduously to hide from the reader or viewer these core moral lessons — lessons that have kept these books vital for centuries. I’ve grumbled for years about Winona Ryder’s adaption of Little Women, which is a visually beautiful movie but which completely reverses the story’s moral underpinnings.  Jo goes through the movie just trying to do what she wants, and the viewer is given to understand that it’s just so unfair when events stop her.  At one point, she explains to Professor Baehr that her father’s philosophy was something along the lines of “if it feels good do it” (and I’m quoting liberally here, because I can’t remember the actual line in the movie, just the sense of it).  At that moment in the movie, I simply shut down.  No beautiful costumes or charming scenes could make up for the fact that Winona Ryder had turned on its head the book’s actual message, which is that, if it feels dutiful, morally appropriate and mature, do it.

Yeah!  What I said way back when.  There are few things more offensive than a movie that, rather than exercising artistic license on a book to adapt it to a visual medium, turns the author’s core lesson on its head.

Noah-2014-Movie-Poster-650x962And this is Andrew Klavan, writing about Noah:

Ben Shapiro is a devout Jew, and I’ve heard him speak with real and revealing insight into Torah — something that’s not all that common. In a genuinely sharp essay at Truth Revolt, he took the film apart as a “perversely pagan mess” that replaced God with Gaia to deliver a muddled environmentalist message. You can read the whole excellent thing here, but one point struck me particularly:

It is one thing for a movie adaptation to stray from the source material. Adding characters or scenes, crafting details that vary from the strict text – all of it is in bounds when it comes to adaptations. Critics of Noah who have focused on the extra-Biblical magic of Methuselah or the lack of textual support for instantaneously-growing forests are off-base.

The far deeper problem is when an adaptation perverts the message of the source material. If the movie version of To Kill A Mockingbird had turned Tom Robinson into a villain and Mr. Ewell into a hero, that would rightly have been seen as an undermining of the original work. The same is true of the Biblical story of Noah and the movie version of that same story. It isn’t merely that Aronofsky gets the story wrong. That would be forgiveable. It’s that Aronofsky deliberately destroys the foundational principles undergirding the Bible, and uses Biblically-inspired story to do it.

[snip]

Now all three of these guys are friends of mine, true men of faith, and big brains — and Nolte’ll let the air out of your tires if you even look at him sideways — but I have to admit, without having seen the film, without being able to judge of its quality, it’s Shapiro’s point that sticks with me. If, as I say, Aronofsky is a declared atheist, if he intended to deliver “the least biblical film ever made,” I can’t help but wonder: why make a biblical film at all? No? I mean, the Bible is the sacred book of gazillions of people. If you disagree with it, if you have a different message than, you know, God’s, well, fine, but then why not make up your own story, why twist and gut and dishonor this one?

It can’t be because Aronofsky is a radically courageous teller of truths. Attacking the Bible doesn’t require any courage in America and certainly no radicalism. Read those comments above. Is Shapiro going to hunt Aronofsky down and behead him? Sure, Nolte might (the man’s a savage), but he’ll probably think better of it in the end. And hell, Moeller’s practically inviting the guy to tea.

What do you think the reactions would have been if Aronofsky’s film had been called “Mohammed?” If Aronofsky had said, “This is going to be the least Koranic movie ever made?” Do you think the reactions would be so civilized, so thoughtful, so interested in “facilitating important conversations.” Now there’s a film that would take courage. There’s a film that would be radical. And there’s a film that Aronofsky is never going to make!

The idea of using the Bible to make a non-biblical film just seems wrong in and of itself — mean and small-hearted and bullying, and cowardly too when you consider he could’ve taken on the Koran. Regardless of the movie’s quality, it just seems like the wrong thing to do per se. Unneighborly you might call it. UnChristian.

But then, maybe that’s the whole problem.

Yeah. What he said!

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  • http://ymarsakar.wordpress.com Ymarsakar

    There’s nothing new in Leftist propaganda. All of these methods of mind rape have been studied and copied for decades for a select group.

  • http://ymarsakar.wordpress.com Ymarsakar

    As for why they steal ideas and make bank deposits of them, it’s mostly because Hollywood is a money laundering scheme in macro. That includes the MPAA’s fight against what they call internet pirates.
     
    They have never been given permission to generate actual creativity, as actual art necessitates a fair degree of autonomous self independence. Been seeing any of that coming from Hussein? If the Democrats and the other Leftist members don’t like individuality, why would Hollywood be able to acquire that native talent.

  • Mike Devx

    I still think the worst example of this is Jim Carrey’s ‘How The Grinch Stole Christmas’.
     
    The moral of the original story is completely perverted in the movie.  180 degrees.  In the movie, the Grinch saves the people of Whoville!  There’s not one ATOM of the Christian forgiveness and fellowship, from the book, that saved the Grinch.
     
    The movie is an utter and complete perversion of morality.

  • http://photoncourier.blogspot.com David Foster

    Equally bad: movies representing themselves as historical fiction that portray real, historical people in ways totally alien to the real person.
     
    An egregious example of this was in Tom Cruise’s film “Valkyrie,” about the German military resistance to Hitler. Overall, it was a pretty decent movie and worth seeing, but the portrayal of conspirator Erich Fellgiebel, who commanded army communications, was unjust and historically inaccurate. Fellgiebel is portrayed in the film as a man who joined the conspiracy only after being browbeaten into doing so by Stauffenberg, and is also portrayed–alone among the conspirators–as showing evident terror at the time of his arrest. In essence, the film positions Fellgiebel as an unwilling conspirator and a coward.  The real Fellgiebel was already involved with the conspiracy in 1939 (four years before the time period shown in the film.) Following his arrest, he behaved with exemplary courage, withstanding torture for weeks, in order to protect subordinates who had not yet been arrested. At his trial, he told the judge (the loathsome Roland Freisler) that he’d better hurry up with the hangings, or he himself would hang before the accused. There were plenty of real cowards in the Third Reich: it was not necessary to portray a genuinely courageous man in this way.
     
    I reviewed the film here.

  • http://ymarsakar.wordpress.com Ymarsakar

    Paying Hollywood money for these movies is morally the same to me as drug running, Yeeland gun running, Fast and Furious, and International sex trafficking.
     
    But that’s probably just me on a personal level.

  • Libby

    Dr. Ben Mattson seems to have an interesting take on what Aronofsky was up to: Punking Christian leaders with a Gnostic subversion of the bible’s Noah story:
    “Darren Aronofsky has produced a retelling of the Noah story without reference to the Bible at all. This was not, as he claimed, just a storied tradition of run-of-the-mill Jewish “Midrash.” This was a thoroughly pagan retelling of the Noah story direct from Kabbalist and Gnostic sources. To my mind, there is simply no doubt about this….
    I believe Aronofsky did it as an experiment to make fools of us: “You are so ignorant that I can put Noah (granted, it’s Russell Crowe!) up on the big screen and portray him literally as the ‘seed of the Serpent’ and you all will watch my studio’s screening and endorse it.”
    Much more detail here:  http://drbrianmattson.com/journal/2014/3/31/sympathy-for-the-devil

  • http://ymarsakar.wordpress.com Ymarsakar

    The other reason they use recycled myths and stories other people made successful is that it saves on the Leftist propaganda bill. They don’t have to drive up the hype, since certain legends have their own name brand. Since nobody has copyrights on them, they’ll just steal it while making money off of it.
     
    The Leftist propaganda is reserved mostly for attacking Romneys, Palins, and other half breeds, sub humans, roaches, and racists. That’s what the Leftist propaganda arms are for. Hollywood, if it can save some bucks to torture more humans, will do so. After all, capitalism is only the means to an end, the point was never to be a for profit organization. Profit, or money, is merely necessary to wage a war on clueless slaves. It’s much easier to conduct a war or insurgency for 100 years if you got some businesses selling prostitutes and children into a perpetual money maker.