Thank you, Peter Graves. Airplane! forever amuses; Biography ever educates. You lived well.
Sex
Male
Relationship Status
Single
Location
Not selected (USA)
Work/School
deliveryman and writer; former college instructor
Links
Facebook
#1 Movie of All-Time
#1 Comedy
#1 Action
#1 Sci-Fi
#1 Horror
#1 Romance
#1 Animated
#1 Fantasy
#1 Romantic Comedy
#1 Actor
#1 Actress
#1 Director
#1 Hottie
#1 Movie Character
Thank you, Peter Graves. Airplane! forever amuses; Biography ever educates. You lived well.
GRELBER37'S LATEST ACTIVITY
Who has seen Horrorfest IV films? Which ones are must-sees?
Remakes are perhaps odd texts. We cinephiles can watch the same stageplay w/ different casts, multiple adaptations of the same book, constant retellings of a myth. But, a film re-presenting a previous film? That throws us.
Was just discussing this at length t'other night. I think the big difference between adaptation and remakes of films are that adaptations allow for a totally new vision within a different medium whereas remakes are stepping on toes within the same medium.
It's kinda like if someone were to take a classic novel such as Tom Sawyer and re-write it. Doesn't really work.
Art on the other hand seems to enjoy and promote all the different ways a classic painting or image can be re-interpreted within pop culture (ex. Andy Warhol, Kozik, Shepard Fairey).
Tis a very interesting topic that could be discussed at length in so many different ways...
GC, you offer a good hypothetical example. An author can make a different version of Tom Sawyer (e.g. sci-fi version) or an homage to Twain's novel. However, an actual "remake" or rewriting seems impossible and sacrilege.
Sentimentality plays majorly into our remake antipathy. We respect the original version so much that we dislike any original details disturbed. For example, we want Freddy to be Englund, not a talented imitation. We have so much memory--especially emotional memory--staked in films that alteration disturbs us deeply. Thus, we do not want another Fright Night or Halloween. We loved (on some level) those films the first time. Probably when still kids. Certainly, some time in the past.
Still, we enjoy seeing reinterpretations of plays and books. Within certain strong limits. We cherish watching Hamlet after Hamlet, but we may hate a modernization of the play's setting and dialogue. We accept gladly the 60s, Burton, Kids' WB, and Nolan Batmans. They are all legitimate. But, the Schumacher version irked us despite emulating the 1960s TV show (of course, American culture changes. And, cultural change influences likewise the remakes offered. For example, can a remake remain as misogynistic, racist, and exploitive as its source material?).
Thanks for replying. You provided substantial food for thought.
The modernization of Shakespeare is a great example of how people are slowly warming up to modern influences on classic material. I for one remember being precisely mortified by the idea of Romeo & Juliet in a modern setting with pop music. I thought it was the shittiest idea but after I saw it, I was able to appreciate the idea that Shakespeare doesn't need to be relegated to the olden days and I think a writer of his caliber would be pleased to know his work remains incredibly relevant all these years later.
The whole process will just need a few more generations before the uproars die down on remakes but there will likely remain several pieces of film/writing/art whatever that will always be untouchable based on a variety of reasons including popularity but sooner or later, nothing is sacred and it's all fair game.
As far as I'm concerned on remakes in general though, the real problem for me isn't that Freddy is being taken on by a new actor because characters are made to be played.
The problem I have is that I hate the business of it. I hate that 8 out of 10 times, $$ is at the heart of all remakes and they are nothing more than business prospects. Necessary evils if you will.
I would far more prefer new films, new shows, etc. For every GD remake coming out of the pipeline there are several great scripts lying around in limbo that studios big and small just don't want to bite the bullet on and that is a fucking shame.
Unfortunately, the whole indie wave that began in the 90's has morphed from an interesting trend into just another facet of the business and we're right back where we started when it comes to anyone taking a chance on something potentially wonderful. "Oh yeah, we'll buy that script, but we probably won't produce it because we'd rather make another fucking SAW picture"... stuff like that or better yet, studios buy the rights to a foreign film and spend their budget RE-filming it instead of releasing the original to new audiences. It's no wonder Americans are still such friggin twats about subtitles. But I digress...
You other point about whether or not a remake can remain as misogynistic/racist/exploitative as its source is a much deeper conversation but my short answer is most often NO but sometimes maybe... it depends on who is creating the remake and what their intention is: money or art.
The long answer is:
Obviously, if the reason is money, the film is going to very likely NOT achieve anything more than cheap thrills and if art is the driving force, the outcome depends on how talented/intelligent the filmmakers are.
The recent slew of torture-porn-horror all fall flat for me on many levels because, for example, they want to emulate the kind of claustrophobia and fear that was relevant in movies from the 60's, 70's, 80's, which is something that the present day simply CANNOT reconcile.
The uneasiness and terror that audiences felt while watching Last House on the Left or TX Chainsaw back when they came out doesn't even exist these days so those remakes are ultimately nothing more than gore flicks. Again, titillation, the kind you seek out when you're young and can stomach anything, that's why the phrase "torture porn" was coined in the first place because the old labels aren't sufficient.
This topic could keep me blabbing for a while as I used to discuss it at length with a good friend of mine who is an equally huge movie/horror buff who is about 15 years older than me. I actually used to shoot the movie shit with a lot of older folks and their recollections have really allowed me to experience as best I can, what it was like to see controversial and sensational films so many decades ago and in turn compare it to current films and trends.
Amazon has shipped my DVDs. Bitch Slap and Li'l Abner (1940) arrive here soon. I might post a b.s. BS review.
Okay. Here's one. If Chuck Norris solo played the Canadian hockey team, who would win?
Website Superhero Hype polled. Does 3-D a better superhero flick make? Visitors replied "not necessarily."
A person might be gullible. However, El Superbeasto's credits indicate a sequel called The Man With the Golden Thunderballs arriving Summer 2010. Is Thunderballs an actual future release?
"Take away the right to say 'fuck' and you take away the right to say 'fuck the government'" --Lenny Bruce
Today is Presidents Day. I forgot that when posting. The Bruce quote is either highly appropriate or highly not. Oh well, George Washington would approve of the words. Abe Lincoln would perhaps not. Afterall, what did the Confederacy say?
Matt Withers posted recently about good potential remakes. I await gladly 2011's Captain America. The 1979 film was but-okay--for TV. The 1990 experience was more endurance test than adventure. The next Thor should surpass his TV version too.
Fox's Human Target ain't bad. I give it a six out of ten. Unlike the comic, the Human Target does not constantly impersonate his client. Instead, he replaces them (without impersonating) or acts as a bodyguard. The show is more plausible. Perhaps, watch the fun on Wednesdays just to mellow-out and veg. Jackie Earle Haley is in it; it won't hurt a bit.
Human Target premieres tonight. Hopefully, this adaptation is as brave and bold as the character's DC appearances.
I buy Halloween 2 and rent Moon soon. I have seen the former and await viewing the latter. Both should be phantastic belles lettres. Otherwise, this week, I read Marvel comics, discuss All Quiet on the Western Front, and write/edit a short story. Have fun watching, reading, posting, and writing.
Have you time to thrill? Check-out Mental Scars on DVD. This B-horror, this cinematic junkfood (set in a junkyard) offers all the goodies: gore, violence, tacky dialogue, cheesy plot, and T&A. The story? Mental Scars is about this dude whose mentally-scarred--such as we.
Rented Paranormal Activity and 9 this week I did. Burton's 9 is more scary and intense than PA. Yes, the animated puppets create more experiential peril. However, as y'all know, PA has its remarkable qualities. First, congratulations to its marketing. An on-line hard-sell campaign got fans to see it and to attain a wide release for it. Two, congratulations for its style. Not every horror work displays subtlety and patience. Less is sometimes more. Little gore and slow pacing worked here much as they do in The Mothman Prophecies or Blair Witch Project. And, congratulations on some originality within a small budget. What occurs around you while you sleep? SPOILWhat if the house is not what's haunted? What if the "ghost" isn't a "ghost"?SPOIL What if the film requires no big-budget effects? PA is not a great horror experience, but it is certainly still an admirable effort. I pat its head.








I don't know but you must share that information with me as well.