With students now done with the school year, why not look at an adaptation set in a school? Like fingerprints, no two fictional schools are the same. Some are prestigious, accepting only the best and the brightest. At the other end, there is St. Trinian’s, a school for girls that takes in juvenile delinquents known for terrorizing rival schools and even the locals.
St. Trinian’s started as a panel cartoon gag strip by Ronald Searle. The first St. Trinian’s appeared in 1941, but, with the Second World War looming, Searle enlisted and was stationed in Singapore, where he was taken prisoner by the Japanese. After the war, he resumed the St. Trinian’s strip, though his time as prisoner meant that the cartoon took a darker turn. Searle wrote the strip between 1946 and 1952, compiling the collections in five books. The girls of St. Trinian’s were delinquents, as the various cartoons showed. Field hockey matches against the school were bloody, closer to guerilla warfare than actual sport. The older girls dressed provocatively, modifying their uniforms for effect. However, the teaching staff wasn’t much better, and shared their young charges’ interests is smoking, drinking, and gambling.
Two years after the last of the St. Trinian’s strips, a film adaptation was made. Directed by Frank Laudner and written by Laudner, Sidney Gilliat, and Val Valentine, The Belles of St. Trinian’s brought the wretched hive of scum and villainy to the British silver screen. With the St. Trinian’s strip consisting of gag-a-day cartoon panels, a plot had to be created for the movie. However, given the nature of the school, even a wild plot would fit.
The movie opens with the Sultan of Makyad looking for a boarding school for his young, impressionable daughter, Fatima. Fatima’s governess suggests St. Trinian’s as she knows the headmistress there. The Sultan agrees as his race horse, Arab Boy, is in Barchester County, the same location as the school, and would be able to visit both his horse and his daughter at the same time.
In Britain, the back-to-school trains are busy as students head off to their boarding schools. The screaming from the girls never ends, terrifying everyone in between them and St. Trinian’s. Streets clear out as everyone, from storekeepers and shoppers to hens and the police constable, hide from the returning menace. The girls of St. Trinian’s are well known in the county and are avoided. The police superintendent wants something solid to pin against the school to shut it down, but the Ministry of Education hasn’t sent inspectors after losing two assigned to the school.
However, St. Trinian’s is facing a problem that would see the school closed – a lack of funds. Headmistress Millicent Fritton, played by played by Alastair Sims in drag, returns from her much needed summer vacation only to be told by her accountant that the school has too many outstanding bills to pay and nowhere near enough money to pay them. To add to Millicent’s headaches, her twin brother bookie Clarence, also played by Alastair Sims, returns with his daughter Arabella, played by Vivienne Martin. Bella is upset about being expelled unfairly; after all, her class mate destroyed the library and was allowed to stay. Millicent explains that the library was insured. Clarence, though, isn’t so much interested in Arabella’s education as he is in getting information about Arab Boy.
The school’s sixth form, led by Arabella, and fourth form, including Fatima, take the time to find out more about Arab Boy. In a trial run, the horse wins with a large margin, impressing both sets of girls. Arabella is concerned, though; her father could wind up paying out too much money if Arab Boy wins. The fourth form, though, sees a chance at winning big, and call in Flash Harry, played by George Cole. With their limited funds, even at ten-to-one odds, the fourth form girls wouldn’t get much, unless they can get some of the £100 cash that Fatima’s father gave her.
Millicent, while appearing somewhat doddering, knows exactly the type of people – students and staff – she has at the school, and had put away Fatima’s money for safekeeping. The fourth form girls explain the situation but get nowhere. Millicent, though gets an idea. St. Trinian’s needs £4000, but only has £400. Ten-to-one odds would pay the bills and keep the school open another year. She calls on Flash Harry and lays down the bet.
The sixth form, though, wants Arab Boy to lose. Their plan is to steal the horse until after the race is over. However, Florrie, another girl of St. Trinian’s overhears, and taunts the fourth form with the news. Florrie eventually does tell the younger girls the details after being subjected to a makeshift rack. When Arabella and her form go to steal the horse, they find Arab Boy already gone.
Arab Boy’s whereabouts are discovered the next morning by the sixth form; the horse was enjoying the morning sun through the window of the fourth form’s dorm. This triggers a war between the fourth form, the sixth form, and the teaching staff, who just want to be paid. The fourth form smuggle the horse out the window while the teachers distract the sixth form with a frontal assault.
The film takes pains to keep authenticity with the comic strip. The uniforms worn in the film are modelled after the ones drawn Searle. Several scenes come directly from the strip, including Florrie’s torture and the field hockey match, where the referee, the opposing team’s coach, and the opposing team are taken off the field one by one on stretchers. The opening and closing credits include a a parade of St. Trinian’s drawings by Searle. The result is a movie that incorporates the essence of the cartoon strip while fleshing it out for the needs of a longer work.
The Belles of St. Trinian’s was popular, enough so to have three direct sequels and a continuation of sorts in 1980 with The Wildcats of St. Trinian’s. In 2007, the film franchise was given a reboot with St. Trinian’s, with an eye to updating the setting while still keeping to the roots. The new movie was based on both Searle’s work and The Belles of St. Trinian’s, with Rupert Everett taking on the Alastair Sims roles as both Headmistress Camilla Fritton and her art dealer brother, Carnaby.
The movie begins with Carnaby driving his daughter, Annabelle, played by Talulah Riley, to her new school, St. Trinian’s. Annabelle is horrified at what she sees on the way on to the grounds – burnt out car, a shrunken head, and other dire warnings. The school itself has seen better days. Carnaby is transferring Annabelle from her old school, the Cheltenham Ladies’ College, because he thinks he can get a good discount on his daughter’s tuition. He does manage to haggle Camilla down to £2300, which really doesn’t help her out. Annabelle has no choice but to start school at St. Trinian’s.
Head Girl Kelly, played by Gemma Arterton, gives Annabelle a quick tour of the school and introduces the new girl to the different cliques — the chavs, the geeks, the emos, the posh totties, and the first years. Annabelle doesn’t fit in right away with any of the cliques. Later in the evening, she is the victim of a prank pulled by the entire school. She tries to get her father to come pick her up, but he blows her off. Frustrated, Annabelle slaps her cell phone hard enough with her field hockey stick to shatter a bust down the hall. The act of destruction is seen by Miss Cleaver, played by Fenella Woolgar, who, instead of punishing Annabelle, recruits her for the field hockey team.
In London, the new Minister of Education, Geoffrey Thwaites, played by Colin Firth, wants to make his mark on the position. Formerly in charge of prisons, Geoffrey wants to bring the same approach he used there on schools, by taking the worst school in the nation and forcing it to reform. One of his aides has flashbacks to when he was undercover at St. Trinian’s, showing the PTSD he picked up from the time in country. But, since St. Trinian’s is the worst school, both in academics and in behaviour, that is where Geoffrey will start his reforms.
The banks, though, have other ideas. St. Trinian’s is £500 000 in debt, and after having had six final notices ignored, a representative hand delivers the final final notice, giving Camilla four weeks to raise the money, or else have the school turned over to the bank. Making matters worse, Carnaby tries to convince Camilla to just let the school shut down so it could be sold. The girls of St. Trinian’s, though, have mastered the art of electronic surveillance and learn about the looming debt. Kelly comes to the conclusion that, since the adults look to be useless, the girls will have to save the school. If they don’t, they’ll have to go to normal schools.
The Minister arrives in the morning, hoping to find the excesses at St. Trinian’s during the field hockey match between the school and Cheltenham, where his daughter, Verity (Lucy Punch), is the star player and terror. He is surprised to see his former flame, Camilla, as headmistress, though. The match is viscious, with casualties on both teams. Geoffrey takes advantage of the chaos to sneak around. He discovers the various unauthorized extracurriculars the St. Trinian’s girls have, including the religious education teacher crucified, the distillery for knock-off vodka and the pay-per-minute chat line run by the posh totties. However, he’s caught and is shown the way out, though a third story window.
The different cliques have to work together to keep the school open. They enlist the help of Flash Harry, played by Russell Brand, who is their main contact with other criminal elements. He gives the girls a crash course in crime, but Kelly comes up with the master plan – the theft of Vermeer’s “Girl with a Pearl Earring” from the National Gallery. A field trip to the Gallery lets the girls find the security systems and map out how to get in and out. The biggest challenge, though, is getting into the museum. That problem is solved by the new teacher, Miss Dickinson (Lena Headey), who has been trying to get a School Challenge team together. The finals would be held at the Gallery. All the girls need to do is get a team to the finals to get in with security distracted.
However, Geoffrey is still a threat. He returns to St. Trinian’s with the press in tow. His goal is to expose the school’s nefarious activities on camera. The girls are ready for him and go to Code Red, even with ten-year-old twins Tara and Tania (Cloe and Holly Mackie) testing their homebrewed explosives. There is no sign of the problems he found earlier, with a nun teaching the religion class. Worse, Geoffrey flings Camilla’s dog out of the school and into a mulcher in front of cameras, leading him to be the headline, not the St. Trinian’s.
The posh totties become the School Challenge team. While they aren’t necessarily the brightest girls, though they do get the occasional flashes of brilliance, they are the most photogenic. Through means mostly foul, they defeat their opponents, impressing the show host, Stephen Fry. In the finals, they will face Cheltenham. But this does let them get the break-and-enter team a way in.
With The Belles of St. Trinian’s, the memory of Searle’s strip was still fresh, only having ended two years prior to the film’s release and the fifth complilation, Souls in Torment having been released in 1953. The reboot, though, came out fifty-five years after the last published St. Trinian’s cartoon. Times had changed. What was once shocking for movie audiences became quaint. Technology offered more opportunities for mischief. However, St. Trinian’s made efforts to keep to the essence of both Searle’s work and the 1954 film.
First, the uniforms, while updated to take advantage of modern fabrics and sensibilities, were still recognizably St. Trinian’s. The older girls modified the outfits, but even in Searle’s work, they did the same. The definition of scandalous has changed over time, so the uniforms reflected the modern meaning.
The 2007 St. Trinian’s also showed more dead girls than the 1954 film, keeping in line with the strip. Movie ratings systems grew more granular over time, allowing for a difference between a younger teen audience and an older teen audience. A St. Trinian’s girl floating in a fish tank isn’t as unsettling to the older audience. The school itself is far more chaotic in the reboot, reflecting Searle’s work a little closer. The school grounds also showed the dangers more, from the burning car to the various warnings with graffiti.
/St. Trinian’s/ also carries on the tradition set by The Belles of St. Trinian’s, having a male actor play the headmistress and her brother. Alastair Sims’ version of Headmistress Fritton was more dowdy and just getting into the sorts of activities her girls were familiar with. Everett’s Headmistress Fritton encouraged her girls to explore themselves and become the threat the merciless world needs. Both versions cared about the school and the students.
Finally, to show the plan to both the girls and the audience, Polly (Lily Cole) created an animation. The animation is in Searle’s style, though with charicatures of the cast. It’s a nice nod to the original, with some Easter eggs to be found, without confusing new audiences. The animation also furthers the plot, showing the obstacles during the heist.
St. Trinian’s took on the challenges of being both a reboot and an adaptation with two sources, one of those being an adaptation as well, with the added difficulty factor of updating a setting that, while not tied to its time, was shocking for its era. The smoking may have gone, but the attitude remained. In the reboot’s favour, it returned the focus to the students. St. Trinian’s updated the source while remaining true to both the cartoon strip and The Belles of St. Trinian’s.
With the recent death of Adam West, it’s past due to take a look at his most endearing role, the 1966 Batman TV series and feature film.
Lost in Translation covered the origin of Batman back while analysing Batman Fluxx. Created in 1939 in the pages of Detective Comics, Batman represents the crossover from mystery men to costumed crimefighters, with a dash of Zorro. Since then, the character has evolved, going from grim hunter of criminals who used pistols to master detective who refuses to kill. Batman’s rogues gallery includes some of the most colourful villains in comics, including the Joker, the Riddler, and Catwoman, all of whom emphasize different aspects of the hero in their clashes.
Superhero adaptations have tended to lag about a decade behind the events in the comics themselves. The general audience isn’t as familiar with current events in titles, either having read the books when younger or just picking up on the better known storylines after the fact. Studios want a wide net when adapting, so minutiae in continuity, always a pain with comics, is often the first to be trimmed. Thus, during a time when DC Comics was turning Batman into the dark detective he’s best known as now, Fox and producer William Dozier were going a different direction, one more in tune with the Batman of the Fifties.
Today, the 1966 Batman TV series is seen as pure camp. Adam West starred as the Caped Crusader, with Burt Ward as Robin, the Boy Wonder. Together, they fought crime that the Gotham City Police Department was unable and incapable of handling. Deep underneath Stately Wayne Manor, the Batcave contained crime fighting equipment that predated many techniques now in use, including DNA analysis.
The series was a comedy, one without a laughtrack. For the first two seasons, Batman aired twice a week, with the first episode ending on a cliffhanger, typically a death trap where Batman and Robin faced certain doom, a doom that would be resolved at the beginning of the second episode. The villains, guest stars all, threatened the safety of the citizens of Gotham City and only Batman and Robin could stop them, usually in a climactic fight in the villain’s hideout filmed with a dutch angle.
Despite, or possibly because of, the series being a comedy, West played Batman serious, which heightened the comedic aspects but also gave the series and the character gravitas. The TV series didn’t shy away from why Bruce Wayne became Batman. Likewise, Ward, Stafford Repp (Chief O’Hara), Neil Hamilton (Commissioner Gordon), and Alan Napier (Alfred) all approached their roles as if the series was a drama. The odd situations and brightly coloured villains stood out in the contrast.
Batman attracted guest stars. Regular villains included Caeser Romero’s Joker, Burgess Meredith’s Penguin, Frank Gorshin’s Riddler, and Julie Newmar’s Catwoman, all playing against type. Romero kept his signature mustache, not quite hiding it under the Joker’s white make up. Other actors who appeared on the series include Victor Buono as King Tut and Vincent Price as Egghead. Even if they couldn’t get a role as a villain, other actors appeared during the weekly wall-climbing sequence, commenting on the oddness of two costumed crimefighters walking on their walls.
After the first season, the studio wanted to sell the series to foreign markets. To help with the sales, the studio made the Batman the Movie. The goal of the film was to introduce the series and its stars. To further intrigue audiences, the movie included four villains – the Joker, the Penguin, the Riddler, and Catwoman. With one exception, all were played by their regular actors. Julie Newmar wasn’t available for filming, so Lee Meriweather filled in. With four key villains, it wasn’t just Gotham City in danger, but the entire world, as they scemed to kidnap the delegates to the United World Headquarters.
The movie kept to the tone of the TV series. Helping there was being filmed between seasons, with the same cast and crew. Lorenzo Semple Jr*, who had also written several of the episodes, wrote the script for the movie, keeping the tone consistent. With the added time allowed by a film, 105 minutes instead of two 24-minute episodes, the story could be given time to unfold and the Bruce Wayne side of Batman could be explored. Just like the TV series, Commissioner Gordon and Chief O’Hara were stymied by the villains and had to turn to Batman and Robin to save the day. The film includes some now-classic lines, including, “Some days, you just can’t get rid of a bomb.”
The third season of the series saw several changes. The first was going to a more episodic approach, with each episode self-contained. No more cliffhangers to be resolved at the beginning of the next episode. The other major change was the introduction of Batgirl, played by Yvonne Craig. Barbara Gordon, the Commisioner’s daughter, joined the Dynamic Duo in their crusade against crime to keep Gotham City safe. Eartha Kitt stepped into the role of Catwoman when Julie Newmar was again unavailable. The episodes felt a little more rushed as the plot needed to be wrapped up at the end instead of allowing for the usual two parts. However, the change in approach gave the actors a bit of a break; the episodes were still meant for a half-hour time slot, which now aired once a week. There were some two- and three-part episodes, but they were still aired one part a week.
The TV series reflected an older version of Batman, one that was more camp than the current version. Yet, the actors treated the characters seriously. The commentary with the movie by Adam West and Burt Ward showed that, even with the problems they faced – Ward especially – they still realized that they were playing Batman and Robin. The series was a comedy; the roles were still important to them and to the actors playing the villains. This approach is why the series is still beloved even today.
The movie of the series is a perfect example of adapting properly. In its favour, the goal the studio had was to give international audiences a taste of what the TV series offered. Changing that focus would have created problems for keeping the new audience. The movie’s budget also allowed to film on location instead of in studio and for the use of new bat-gadgets, including the Bat-copter and the Bat-boat. Footage of both would appear in the following seasons as needed.
Combined, the Adam West TV series and movie are an important part of Batman lore. Later adaptations would still pay homage to the work. Batman: The Animated Series introduced one of Bruce Wayne’s childhood heroes, the Grey Ghost, voiced by West himself. Elements of the TV series can be seen even in Tim Burton’s Batman of 1989. DC Comics even released a continuation comic for the series, Batman ’66. Adam West has left a legacy that will be remembered fondly.
Technological progress has a way of making older works show their age. In many adaptations, updating the technology to modern ideas of the near future doesn’t harm the work. But what happens when an iconic item becomes outdated?
Case in point, the 1965-70 TV series, Get Smart. Created by Mel Brooks with Buck Henry, Get Smart was a parody of the spy thrillers of the time, including 007 and The Man from U.N.C.L.E, and featured outlandish gadgets that never quite worked properly. The series starred Don Adams as Maxwell Smart, Secret Agent 86, and Barbara Feldon as Agent 99, two agents of CONTROL who fought against the machinations of KAOS, run by Siegfried, played by Bernie Kopell, and his right-hand man, Shtarker, played by King Moody. Max’s boss, the Chief of CONTROL, played by Edward Platt, suffered as Max investigated nefarious schemes, but admitted that CONTROL wouldn’t be half as effective without 86. The opening of the first episode provides a perfect example of how technology changes the intent of a scene. As a stage production is about to start, a phone begins to ring, and Max excuses himself to go to the lobby to answer his shoe. In 1965, this is an unusual situation, something that is absurd. Today, even with warnings and request to turn off all phones, someone in the audience will still take a call.
Get Smart, though, was more than the gadgets. Like many good parodies, like Airplane!, the characters took the situations seriously. That’s part of the humour, the dichotomy between the absurdity of the situation and the seriousness of the characters. With a TV series, the characters also have to be engaging enough for people to keep watching week after week. Max knew his spycraft, even if there were times he stumbled into saving the world or times that 99 came through in the clutch.
As the series progressed, the relationship between Max and 99 grew closer, resulting in a wedding and adding a domestic side to the series. Still, even with the domestic episodes, the series was still a spy spoof, with all the comedic aspects of the core coming through. The in-laws are in town? Great time for KAOS to wreak havoc, just to see how Max and 99 handle both.
There were several attempts at revivals. The first was the theatrical release, The Nude Bomb, with Don Adams returning as Max and 99. Edward Platt’s death in 1974 meant that a new actor, Dana Elcar, had to be brought in as the Chief. The movie took advantage of not being on television and went risque. A second made-for-TV movie, Get Smart, Again reunited Adams and Feldon. A short-lived revival TV series in 1995, also called Get Smart, brought back Adams and Feldon, with Max now the Chief of CONTROL and his son Zack, played by Andy Dick, a field agent. Even Inspector Gadget could be seen as Get Smart aimed at children, with Adams voicing the eponymous character, who was a walking gadget malfunction, who bumbled around while his niece Penny did the hard work.
In 2008, Warner Bros. released Get Smart, a remake/reboot starring Steve Carell as Max, Anne Hathaway as 99, and Alan Arkin as the Chief of CONTROL. Instead of being a period piece, the movie was set in the current era. The movie changed things up, with Max being a very thorough analyst who wants to be a field agent. His briefings run 600+ pages and gets down into what the subjects of investigation like to eat. In a “blink and you’ll miss it” moment, his notes on one potential threat is shown on screen; “The Claw” was another villain from the TV series.
Max’s arrival at work takes him through a museum dedicated to espionage, with one section set aside for CONTROL. In the section, several of the old gadgets from the TV series are on display, including the old cone of silence, Max’s car, and the shoe phone. The entrance to CONTROL itself is through a set of doors, much like the opening credits to the TV series, complete with the classic theme song playing. The gags through the doors change, as should be expected, but the sequence does hammer home the idea of being in CONTROL’s headquarters. Max’s briefing is dry but thorough, but that thoroughness prevents him from becoming a field agent; the Chief needs him as an analyst.
KAOS escalates its total war against CONTROL, first bombing CONTROL’s HQ then going after field agents. Max and 99 are the first to respond after the bombing, investigating the ruins of the headquarters to find the perpetrators. Max’s quick thinking and knowledge of the fire suppression systems lets 99 go deeper into the headquarters, but that same quick thinking and knowledge leaves the Chief with a dent in his forehead. Because of the shortage of field agents, Max’s request to become one is approved, with the idea that KAOS won’t know who he is.
The Chief pairs rookie 86 with experience field agent 99 and sends them to Russia to investigate Ladislas Krstic (David S. Lee), the munitions supplier for KAOS. The flight to Russia, though, has Siegfried’s heavy, Dalip, played by Dalip Singh aka the Great Khali. Max and 99 use a hidden escape from the plane, though Max wasn’t able to get his chute on in time. Dalip follows, taking the now spare chute. Agent 99 does what she can to get rid of Dalip and prevent Max from plummeting to his death.
At Krstic’s manor, the pair discover the location of stolen nuclear material and bomb-making facility, a bakery in Moscow. Max and 99 head directly there, sneaking in and looking for the yellow cake uranium. Max finds it plus actual yellow cake at a birthday celebration, and plants explosives. During this, though, Siegfried, played by Terrance Stamp, finds him and takes him prisoner. The two men try to get the details of what each other know, with Max getting details about Siegfried’s plans to bomb the president. Siegfried leaves Shtarker, played by Ken Davitan, in charge to finalized preparations, which gives Max a chance to escape.
The bakery explodes. During the chaos, Max and 99 run into Dalip again. Fighting the KAOS heavy gets nowhere, so Max uses his knowledge from analysing tape after tape to convince Dalip to stop fighting and help them escape. He’s mostly successful, but he and 99 do get away from the exploding bomb factory/bakery and return to Washington to report in. The Chief sends Agent 23, Max’s idol played by Dwayne Johnson, to make sure that the facility is gone. Problem is, Agent 23 reports that there’s no sign of the uranium. All evidence that there’s a cover up points to Max, who is taken into custody. While in his cell, he hears a coded message for him relayed through Ryan Seacrest; the bomb is in Los Angeles.
Max executes an escape from CONTROL’s prison cells. The escape leads through the espionage museum. Max takes the suit, the gun, the shoe phone, and the car. The roaring escape ends not far from the museum as the car runs out of gas. He tries to commandeer a car, driven by Bernie Kopell in a cameo, but that car is rear-ended. Max does find a car and heads to L.A, where he finds the Chief, 99, and 23. Agent 86 works out who the double agent is and reveals his identity. In the process, he prevents the bomb from exploding and ends the KAOS plot to kill the president.
In a Get Smart adaptation, several elements are expected. The gadgets, as mentioned above, are important, not only in being used but not working correctly. The cone of silence received an upgrade but still didn’t work properly. The shoe phone, though, is outdated thanks to cell phones. Yet, the movie managed to work it in, thanks to call forwarding. Even the new gadgets, like Max’s Swiss Army knife, don’t work right.
Casting was also key. Steve Carell played Max much as Don Adams had, straight, allowing the absurdity of what was happening carry the comedy. Anne Hathaway has a more-than-passing resemblance to Barbara Feldon, and there are several scenes where Hathaway is a dead ringer for Feldon. Terrance Stamp took a darker tone to Siegfried, but Ken Davitan’s Shtarker blunted the darkness by being a comedic sidekick and punch-clock villain. Even Fang, Agent K-13, had a counterpart in the remake – a puppy that Max wanted to adopt but only if he became a field agent.
The writers were able to work with the original material well. The original series had a number of catch phrases that would recur, most of them Max’s but some from 99 and even Siegfried. It’d be easy to just have Max spout them; instead, the script worked the catch phrases in organically. Siegfried did get his, “This is KAOS. We don’t ‘ka-fricking-boom’ here,” thanks to Shtarker. Max had, “Missed it by that much,” “Would you believe?” and “Sorry about that Chief,” in situations where it made sense. The last phrase came up after Max hit the Chief with a fire extinguisher. Even 99 got in a, “Oh, Max.” Anyone not familiar with the lines wouldn’t have seen these shoehorned in while fans of the original series could laugh.
Even some of the TV series’ gags were reused. Along with the malfunctioning gadgets, other staples that appeared included Agent 13. In the TV series, the agent, played by Dave Ketchum, would appear in the oddest, tightest locations. Bill Murray played 13 in the film, appearing inside a tree near CONTROL’s safe house near the Washington Memorial, his complaints about his assignment and the problems of being stuck in the tree echoing Ketchum’s 13 and his issues. The movie is also book-ended by scenes of Max arriving and leaving CONTROL, much like the opening and closing credits.
Updating Get Smart meant having to change update the sensibilities of the times. The nature of spy thrillers has changed since 1965, with the tone turning darker as the nature of the business and the tools of the trade became more known to the general audience. Adding to the difficulty, Get Smart was a comedy set at work, where work was a top secret organization dedicated to the security of the US. Overlooking that aspect would have lost part of the nature of the series. The movie, though, kept both the spy spoof and the work-com aspects, with enough scenes showing how dysfunctional CONTROL’s office is and still making fun of bureaucracy at all levels. Inter-agency rivalries were added, with the Chief butting heads with the directors of the other agencies, including the CIA and the Secret Service.
The movie remake of Get Smart had a difficult task in front of it; paying homage to a series and a character that is iconic. The result, though, shows that the challenge was met. Get Smart was a well done adaptation that managed to update the setting without losing the core of the original TV series.
After last week’s look at works that adapt characters instead of stories, it’s a good time to examine such a work. Today, Deadpool.
The character Deadpool was created in 1990, with his first appearance in New Mutants #98, written by Rob Liefield and Fabien Nicieza. Deadpool’s main ability is much like Wolverine’s, a heightened healing factor, though with the Merc with the Mouth, it’s offset by cancer. The two characters are linked through the Weapon X project, the one that gave Wolverine his adamantium skeleton and Deadpool his accelerated healing. This combination has seriously unhinged Deadpool to the point where he thinks he’s a comic book character. His appearances are marked by his ability to break the fourth wall and talk to the readers directly. In his video game appearances, he has cheered on the player.
Deadpool’s first cinematic appearance was in X-Men Origins: Wolverine. The problem there, though, was that his mouth was sewn shut, so he couldn’t speak. He was also decapitated in the movie, though a post-credit sequence shows him picking up his head and telling the audience to “Shh.” Ryan Reynolds, who plays the Merc with the Mouth, admitted that it was wrong, so was eager to play him again, this time properly. Thus, the Deadpool movie released shortly before Valentine’s Day, 2016..
Deadpool set out to correct the problems with the character in X-Men Origins: Wolverine. Where the character had his mouth sewn shut previously, this time around, he talks non-stop, to the point of providing narration even into the post-credit sequence. The core plot hinges around Wade Wilson, Mr. Pool himself, trying to get the experiment that turned his Ryan Reynolds good looks into something that repulses people reversed. The man responsible, Francis, credited as Ajax*, played by Ed Skrein, provided the a treatment that halted the spread of cancer through Wilson’s body, but didn’t remove it.
However, the core plot isn’t the only part of the story. There’s a romance as well, with Wade getting engaged to Vanessa, played by Morena Baccarin. Vanessa is the reason why Wade went into the Weapon X program – he didn’t want to leave her mourning him. This connection, though, puts Vanessa in danger near the end of the movie.
The movie is a superhero comedy that, instead of taking refuge in audacity, revels in it. Deadpool is also one of the most comic book movies made, alongside Scott Pilgrim vs the World. The film opens with the cinematic version of a two-page splash page. The credits that appear wouldn’t be out of place in one of Marvel’s lighter titles, like What The–?!, credits like “A Moody Teenager” – Negasonic Teenage Warhead played by Brianna Hildebrand, “A CGI Character” – Colossus voiced by Stefan Kapicic, and “A British Villain” – Francis. Deadpool himself narrates the story, stopping the action several times to address the audience directly. Not only does he break the fourth wall, at one point, he does so while breaking the fourth wall during a flashback.
Deadpool is an origins movie, though the character’s background isn’t as well known as Superman’s or Spider-Man’s. The movie retells Deadpool’s background. However, remember that cinematic superhero universes are a thing. The movie isn’t accurate, but given it’s Wade narrating it and he believes he’s a comic book and, for the film, a superhero movie character, variances are allowed. Deadpool is structured much like a comic book. The opening shot, as mentioned above, acts as the two-page splash. Flashbacks fill in details. Narration adds extra information. The opening splash is revisited several times, once in the regular narrative flow, and at least once with a flashback.
The writers, Rhett Reese and Paul Wernick, pulled together the information on Deadpool’s origins and focused on his personality. Deadpool is more about the character than getting details of his history correct and presents Wade as the unhinged mutant seen in the comics. Any problems from X-Men Origins: Wolverine were erased, even called out and ridiculed by Wade himself. To emphasize that he believes he’s a character in a movie, Deadpool often comments on the film. A scene at the X-Men’s mansion has him commenting that, “It’s a big house. It’s funny that I only ever see two of you [Colossus and Negasonic]. It’s almost like the studio couldn’t afford another X-Man.”
The main potential point of failure was not getting Deadpool translated over to film. The movie managed to take the character concept and bring it from the pages to the silver screen while still keeping the core that made Deadpool popular.
* The name Ajax is used once. Even the DVD subtitles refer to him as Francis.
Time again to try to fix an adaptation. Previous attempts to figure out what went wrong and how to fix the problems include the Dungeons & Dragons movie, Street Fighter: The Legend of Chun Li, and the 1998 American Godzilla movie. This time out, the 2015 Jem and the Holograms film.
The biggest problem the 2015 Jem had was obvious – it wasn’t the cartoon. Not that it wasn’t animated; the movie only shared names with with cartoon, going in its own direction, one that the potential audience wasn’t interested in. The obvious solution is to build a time machine, go back to 1986, and prevent the cartoon from airing. Of course, doing that means there’s no reason to adapt the series as a movie, thus the film is never made, so there’s no reason to go back in time. Depending on the theory of temporal mechanics, this could destroy the universe from paradox; create two timelines, one with the cartoon, the other without; or have some grumpy man in a blue police call box step in grumbling how amateurs shouldn’t mess with the space-time continuum.
Given the complexities of time travel, the obvious solution isn’t workable. Given that the audience was expecting something like the cartoon, what could have been done? Simplest, and doable barring problems with rights, is to just adapt the first five episodes of the series as the movie, with the music and technology updated to reflect what’s possible now. The episodes, “The Beginning”, “Disaster” (aka “Setbacks”), “Kimber’s Rebellion”, “Frame Up”, and “Battle of the Bands”, are one story, each but the last ending with a cliffhanger and set up the premise well. Along with Jerrica/Jem, the Holograms, and the Misfits, there’s a corrupt corporate executive in Eric Raymond as the villain.
“The Beginning” introduces everyone, sets up the relationships, shows the need that the Starlight Foundation has, brings in the love interests, and puts Jerrica in the position of having to fight to keep control of her father’s company. Even Synergy is brought in before the first commercial break, to introduce Jem. The difficulty may lie in the updates. Holographic technology is better understood now, but miniaturization will still let Synergy use Jem’s earrings as projectors. The fashions are dated, but with the likes of Lady Gaga performing today, outrageous outfits shouldn’t be a problem. The music needs a careful hand; Jem and the Holograms should have a different sound from the Misfits. In the cartoon, the Misfits had a harsher tone in their music, with Jem being softer for the most part, as the song “Click/Clash” demonstrates. Given that the sequel hook had Kesha as Pizzazz, the difference between the two bands would happen.
The last of the first five, “Battle of the Bands”, provides a natural climax, as Jem and the Holograms face off against the Misfits in a battle of the bands that will determine who owns Starlight Music and will live in Starlight Mansion, with the added threat of the life of one of the Starlight Girls in the balance, thanks to Eric. A race against time for the final act should pump up the audience, with the added benefit that the Holograms succeed thanks to Jerrica’s thinking and actions.
Casting the above is easy – keep the same cast, just let the actors playing Jem and the Holograms get a little older. They had chemistry with each other and deserve a proper shot. Ke$ha as Pizzazz had promise, and Juliette Lewis as Erica Raymond nice flipped the villain’s gender without losing any of the sliminess of the corrupt exec.
That isn’t to say that the 2015 Jem movie is bad. Unlike the other movies featured in the Adaptation Fix-it Shop, Jem‘s biggest sin was not being what people wanted. The movie did get a number of items correct. The writers understood that while the Misfits were rivals, Eric Raymond was the villain. He used the Misfits for his own ends. The movie also remembered Eric’s thug, Zipper, who played a supporting role in the first five episodes of the cartoon. The fan videos that appeared deserves a look just for how the creative crew managed to fit them in. The Jem movie deserved better than a two-week run in theatres. It may have been better served by airing on a family programming channel instead, where the expectations of the audience who will be paying for the fare would be low to non-existent. As it stands, the movie made only half its $5 million budget, a rounding error for Universal in a year that included Jurassic World.
The 2015 Jem and the Holograms wasn’t a bad movie. It was just not what people wanted, and fixing that happens not on screen, but in marketing. Sometimes, misreading the audience leads to missteps.
A while back, Lost in Translation reviewed the 2015 Jem and the Holograms film. Today, let’s look at the cartoon that people were expecting to be the base of that film.
As mentioned in the movie review, the Eighties saw rules and regulations over children’s programming relaxed, allowing toy manufacturers to create animated series that were effectively ads for the toys. Hasbro saw success with both Transformers and G.I. Joe, thanks to the collaboration with Marvel Productions and Sunbow Productions. With the boys’ line of toys comfortable, Hasbro turned to its girls line.
The fashion doll industry is dominated by one company, Mattel. Mattel’s Barbie line dominates the doll aisles at stores. Hasbro decided to try to get a piece of the action by introducing its own line of fashion dolls, Jem and the Holograms. The initial line in 1986 featured Jerrica Benton, her rock star alter ego Jem, her younger sister Kimber, and foster sisters Aja and Shana, all of whom made up the band. A rival band, the Misfits, also received dolls – Pizzazz, Roxy, and Stormer. To round out the line, Jerrica/Jem had a boyfriend doll, Rio. The dolls and fashions were inspired by the music videos of the time, with wild coloured hair and pastel tones. The initial dolls came with music cassettes with two songs each from the Holograms and the Misfits.
The doll line lasted two years before Hasbro discontinued it due to lack of sales. Mattel’s introduction of the Barbie and the Rockers line the same year Jem and the Holograms debuted didn’t help matters. However, by the time the Jem line wrapped up, twenty-four dolls were released, including two releases each of the Holograms, the Misfits, and Rio and three sets of Jem and Jerrica.
To help with sales, Hasbro went with the Marvel/Sunbow team up that had success with G.I. Joe and Transformers. Christy Marx, who had written scripts for both prior cartoons. became the story editor for the new series, Jem and the Holograms. The series revolves around Jerrica Benton, Starlight Music, and the foster home, Starlight Girls. Jerrica starts the series as co-owner of Starlight Music, her late father’s company, along with Eric Raymond. Eric, though, sees Starlight as a means to an end, getting rich, and is using the company to line his pockets. To this end, he backs the Misfits, a punk band made up of Pizzazz, Roxy, and Stormer. Jerrica discovers Eric’s duplicity and tries to find a way to take full control of Starlight Music. The answer is a contest highlighting new bands.
Jerrica, though, doesn’t have one immediately available. She discovers, though, that her father had been working on a secret project and tracks it down to an abandoned drive-in theatre. Inside, her father’s computer, Synergy, reveals itself and its advanced holographic capabilities to Jerrica, allowing her to become Jem. Her sisters Kimber, Shana, and Aja, join Jerrica and become the Holograms. The contest boils down to one between Jem and the Holograms and the Misfits.
Pizzazz wants to win. She’s in music for the fame and has no scruples in how she gets it. She’s perfect for Eric’s purposes, sabotaging Jem’s public appearances. However, the key element is performance, and Jem and the Holograms edge out the Misfits, letting Jerrica get the money to fully own Starlight Music and fund the Starlight Girls. Thus ending the first five episodes of the series. Eric is arrested and the Misfits are looking for a new label as a result.
The series continues in a similar vein. Eric gets out thanks to being able to afford the best lawyers money can buy. The Misfits become rivals to Jem and the Holograms, trying to sabotage the latter group’s efforts any time they can. Eric continues to try to retake Starlight Music, using evvery avenue of attack he can, at least until he starts up Misfits Music with the Misfits. Meanwhile, Jerrica’s relationship with her boyfriend Rio Pacheco becomes complicated thanks to Jem. As much as Jerrica wants to tell him the truth,. Synergy insists that her technologies remain secret. The lives of the Holograms are no less complex. Kimber has her own love triangle develop between a British singer and an American stuntman, while she tries to live in the dual shadow of her sister and her alter ego.
In the third season, a new band appears. The Stingers, comprised of lead singer Riot and musicians Rapture and Minx become a rival to both Jem and the Holograms and the Misfits. Working with Eric, the Stingers take over Mistfits Music and rename it Stinger Sound. The third season ran shorter than the first two, in part because the Hasbro had discontinued the toy line. No toys, no need to advertise. However, the cartoon was a ratings success.
Each episode featured two or three songs, either as a montage related to the scene it appears in or as a more traditional 80s music video. The Misfits appear in most of the episodes, one key exception being the anti-drug “Alone Again“. Some of the draw for the series was the music; the show revolved around two bands, after all. Each band had a distinctive sound, with the Misfits having a harsher tone than Jem and the Holograms.
Ultimately, while the series was popular, that popularity didn’t translate into sales. The sheer size of the line of dolls, which included three of the Starlight Girls, Synergy, and two friends of Jem, Danse and Video, may have spread what sales there were. Availability was an issue in some areas, where the cartoon aired but the dolls weren’t in stores. Mattel’s Barbie and the Rockers may have also eaten into the sales, having a known name despite the lack of cartoon. From this view, Jem and the Holograms failed on what it was supposed to do, sell dolls. However, a cartoon that still draws in viewers over twenty-five years later, that is truly outrageous.
Lost in Translation has analyzed the two American-made Godzilla movies, both the 1998 version and the 2014. The history of Godzilla and Gojira are expanded in those, but the short version is that title kaiju began as a message about the horrors of the atomic age, espeically the atomic bomb. As the franchise progressed, Godzilla became the defender of the Earth, though not necessarily of humanity has he rampages through Tokyo leaving massive collateral damage in his wake. The 2014 Hollywood version changed the message, from the dangers of the atomic era to the dangers of climate change.
However, the 1998 and 2014 versions were not the first American adaptations. Prior to them, the animation studio Hanna-Barbera licensed the character in 1978 from Toho to create the Godzilla cartoon. What better way to entertain young children on a Saturday morning than watching a giant monster rampaging through the cities of the world? Considering that local stations, particularly in the UHF band, had more control over their time slots than today and had more hours to fill with local programming, both weekend afternoons and late-night and overnight hours, the very same young children watching the Godzilla cartoon would be able to watch an older Godzilla movie later the same weekend.
The series followed the crew of the Calico, a research vessel travelling the world’s oceans. While Captain Carl Majors was in charge of the ship, Dr. Quinn Darien was the head of the unspecified research project. Quinn had two members of her team, Brock, her research assistant, and Pete Darien, her nephew. Rounding out the team is Godzooky, Godzilla’s young nephew. When the crew of the Calico is in a tight spot, they summon Godzilla himself.
A typical episode would have the Calico in a location by the ocean making a new discovery, usually related to the giant monster of the week. The crew investigates, with Pete and Godzooky often told to remain behind because of the danger. If they were told, eventually they disobey and follow. The giant monster is found and Godzilla is summoned. The first fight between titans is a draw as the newcomer’s abilities either force Godzilla to back down or allows it to run away. The team tracks the giant monster and summons Godzilla one more time for the final fight. The draw of the show, though, is the battle between giant monsters, and the cartoon does deliver.
While the crew of the Calico was created for the cartoon, Godzooky is based on an existing character in the Godzilla mythos – Minilla. First appearing in Son of Godzilla, Minilla, known as Minya in some dubs, is the son of Godzilla. Both Minilla and Godzooky share some traits, including blowing smoke rings instead of fire and being young giant monsters. Godzooky was in the cartoon to appeal to the kids; he is very much a lovable pet who gets into trouble but is too cute to be angry with for too long. He is also very much child-like in that he wants to help even if he isn’t able to be effective.
The animation of the rest of the cast is along the lines of Hanna-Barbera’s own Jonny Quest. Techniques developed with the various Scooby-Doo series can be seen, particularly as the crew runs as a group. Godzilla is very much in line with his cinematic appearances. However, one of the draws of the movies, the casual destruction of cities as Godzilla stomps through, was reduced or completely removed, thanks to Broadcast Standards and Practices.. BS&P had strict guidelines on what could and could not be shown, and things like breathing fire on people and crushing buildings and cars underfoot were against the guidelines. As a result, Godzilla tended to use laser beams from his eyes more this is atomic breath, which was turned into a flame breath.
While Toho licensed the character, they didn’t license Godzilla’s roar. The studio worked around that limitation by hiring Ted Cassidy, best known as Lurch on The Addams Family and Ruk on the Star Trek episode, “What Little Girls Are Made Of”, to give voice to Godzilla. Cassidy’s work, combined with the animation of the title character, gave weight to the monster, keeping the fierceness associated with Godzilla.
Given that the cartoon was meant for a younger Saturday morning audience, Hanna-Barbera succeeded in what they set out to do. Godzilla lasted two season, and ran until 1981 on NBC. While not the best adaptation it could have been, the studio’s limitations, imposed from within by format and target audience and from outside by Broadcast Standards and Practices, meant that the production was going to hit diminishing returns. It’s not a perfect adaptation, but the Godzilla cartoon did remember the key elements to the kaiju‘s fame.
Mighty Morphin Power Rangers‘s history starts in Japan. Toei, developed Sentai, a series about masked heroes fighting monsters, in the Sixties. After a deal with Marvel to bring over some of the comic company’s heroes resulted in mecha getting added to sentai series, Toei continued to add giant robots, creating Super Sentai. The sixteenth series, Kyōryū Sentai Zyuranger, caught the attention of Haim Saban, owner of Saban Entertainment. Saban worked out a deal to get the footage from Zyuranger to which he’d use the action scene and create new stories to go with them. Mighty Morphin Power Rangers debuted in 1993.
The original Power Rangers, Jason Lee Scott, Kimberly Hart, Zack Taylor, Trini Kwan and Billy Cranston, were recruited after the sage Zordon ordered his robot aide, Alpha 5, to find “five teenagers with attitude.” Zordon needed a team to stop Rita Repulsa, an alien sorceress who escaped imprisonment after 10 000 years. To help fight Rita and her monsters, the Rangers received Zords, mecha that can combine into the MegaZord. The Rangers defeat Rita’s monsters regularly, but the sorceress has a new plan – defeat the Rangers with one of their own. She kidnaps the Green Ranger, Tommy Oliver, and turns him against the others. Tommy does break free of the brainwashing and aids the others against her. The series sold a number of toys, from action figures to Zords. The effects at times were weak, the result of being a weekly series in Japan. However, the series had a following. The franchise is now in its twenty-fourth season with Power Rangers Ninja Steel.
As is the way of Hollywood, a popular TV series will be adapted. Despite being in its twenty-fourth season, the studio went back to the beginning, Mighty Morphin Power Rangers. There is a tendency for film makers to turn a children’s series darker and grittier to the point where the feel is off. With a series featuring martial arts, the potential for a grimdark remake existed. Instead, the movie took a different approach, acting as an origin for the Rangers.
The movie starts at the beginning of the Cenozoic Era with a battle going badly for the Power Rangers. Red Ranger Zordon, played by Bryan Cranston, orders Alpha 5, voiced by Bill Hadar, to send a meteor on his position. This desperate act of self-sacrifice is to protect the Earth’s Zeo Crystal and the Rangers’ Power Coins from Rita Repulsa, played by Elizabeth Banks. The meteor wipes out the dinosaurs, and buries not only the Zeo Crystal and the Power Coins, but sends Rita deep into the ocean.
Millions of years later, Jason Scott, played by Dacre Montgomery, makes a bad decision in trying to steal a mascot and winds up injuring his leg, destroying a potential career in football, placed under house arrest, and sent to detention. While serving detention, he meets Billy Cranston, played by RJ Cyler, and Kimberly Hart, played by Naomi Scott. Billy is in detention for blowing up his lunch box. Kimberly is there because she forwarded an image of her cheerleader friend throughout school. Jason becomes Billy’s friend after stopping a bully from tormenting him, though the feeling isn’t immediately reciprocated. Billy is a genius with electronics and is able to fool the tracker Jason wears as part of his house arrest.
In return for the help, Jason drives Billy up to a gold mine. Billy’s father had been trying to locate something hidden at the mine, and Billy continued the search after his death. He sets up the explosives and detonates them, getting the attention of Kimberly and two other classmates, Trini Kwan, played by Becky G, and Zach Taylor, played by Ludi Lin, are also at the mine and are drawn to the explosion. While Jason, Kimberly, Trini, and Zach argue about why they are all at the mine, Billy realizes that the rock wall is collapsing. The collapse reveals five unusual rocks, red, blue, pink, yellow, and black. Each of the teens grabs one and, with sirens approaching, runs away. Eventually, they all make it into Billy’s van. Jason tries to out run a train to escape both mine security and the police.
Out on the ocean, a fishing boat drags in its last haul of the day. Within the net of fish is the body of a woman. The boat’s skipper calls in for the police to meet the boat at the docks. The body isn’t quite so dead, though. Rita survived, frozen in the ocean until pulled on board. When one of Angel Grove’s finest arrives to investigate, he is surprised that the body not only isn’t dead but is trying to kill him.
Jason wakes up the next morning surprised to be alive and unsure of just how he got home. He gets out of bed, then notices that he isn’t wearing his knee brace. The red stone he discovered at the mine is still with him, even if he leaves it in another room. Jason also discovers that he has superhuman strength. He returns to the mine, where he sees the wreckage of Billy’s van. The other teenagers have also returned. More or less as a group, they explore the mine and discover a long buried spaceship deep under the rock. The ship’s caretaker, Alpha 5, rounds up the group and brings them to the central chamber to meet Zordon, who is now part of the ship’s computer matrix. Zordon welcomes the new Power Rangers and warns them that Rita will be at full strength again in eleven days. The new Rangers need to train and to learn to morph.
While their training, while painful, is difficult, the new Rangers do learn. Alpha 5 presents holographic versions of Rita’s Putties, the minions she uses as the first wave. Morphing, though, is another matter. None of the Rangers are able to morph at first. Even after Alpha 5 shows the Rangers their Zords, mecha that took the shape of the dominant life form of the Cenozoic Era, the teens aren’t able to morph. The closest any of them get is Billy, who morphs into his blue armour while breaking up a fight between Jason and Zack.
Rita keeps busy while the Rangers train. She collects gold to recreate her monster Goldar, who will be able to dig to retrieve Earth’s Zeo Crystal, dooming the world and giving her the ability to destroy other planets. Rita isn’t picky about where she gets her gold, either. Some of her victims have their gold fillings removed. She senses the other Power Coins and realizes that new Rangers have been discovered, in part because she had been the Green Ranger under Zordon’s leadership until she turned her back on her oath. Rita breaks into Trini’s home to have her send a message to the others to be at the docks.
Trini tells her fellow Rangers about Rita. Despite not being able to morph yet, Jason decides that this is the best time for them to take down Rita. Rita, though, is more than ready for them and easily defeats the group. She knows one of them has the location of the Zeo Crystal and threatens to kill the Rangers one by one until she gets it. Billy, who managed to work out where the Crystal is, doesn’t want to lose any of his new friends and gives her the key words without completely giving away the location.
It takes a tragedy to turn the Rangers from a group of teenagers into a proper team. The death of a teammate makes them realize that each of them would gladly sacrifice their life for the others. The Morphing Grid unlocks and instead of Zordon returning, the dead teammate does. The team morphs for the first time and heads out to fight Rita once again. Rita, though, sends her Putties against them at the ship. The fight is difficult, but when Zach brings out his Zord to even the odds, the others follow suit. The Putties defeated, the Rangers ride out to save Angel Grove from Rita and her monster.
Unlike the TV series, the movie has the advantage of being written as one whole instead of having to incorporate existing footage from Zyuranger with a new script. The formular of the series – Rita hatches a scheme, sends out her Putties and her monster of the week, Putties get defeated, monster forces the Rangers to call their Zords, Rita makes her monster grow, and the Rangers summon the MegaZord – is in the movie, but the movie isn’t just the formula. Instead, the formula provides a scaffold to build on, and gets reshaped in the process. The heart of the movie is the team and how the Rangers come together.
Each Ranger has a problem to overcome. Jason’s is that he is impulsive and prone to self-sabotage. Kimberly was a mean girl who had to face up to what she did. Zach is worried about his mother and being alone if anything happens to her. Trini is discovering that she is a lesbian and feels that she’s an outsider even in her own family. Billy is on the autistic spectrum and is well aware of the problems he faces as a result. By being able to move past their problems and open up to each other, they turn from a group of teenagers to a team of Power Rangers. Each of the Rangers’ problems comes from a real place. None of them are sensationalized. Billy’s autism is one of the more realistic portrayals around, as is Trini’s feeling of being an outsider because of her sexuality and Kimberly’s reaction to what she had done to her friend.
The casting worked. As mentioned above, RJ Cyler’s portrayal of Billy was believable. Elizabeth Banks as Rita channelled J-horror movies, with her early movement similar Ringu`s Sadako. Rita went from evil sorceress to frightening villain. Bryan Cranston’s Zordon had wisdom fighting against desire, a mentor who demanded much but knew exactly what the stakes were. The movie also used colour as a symbol. When the Rangers first meet and while they`re still trying to morph, the colours are muted, dark, and murky. When they become a team, the colour turns bright and full. In part, this helps show off the Zords and the Rangers colour-coded armour, but it also works to show the transition from teenager to hero.
Power Rangers takes Mighty Morphin Power Rangers and expands on it, giving the Rangers depth of character and showing them becoming heroes. Rita’s villainy also expands, showing just how evil the sorceress is. Yet, the movie never forgets its heritage and embraces it. Power Rangers is a well-done adaptation of a beloved franchise’s beginnings.
Spunky girl detectives can be traced back to one source – Nancy Drew. The character first appeared in 1930 with the publication of The Secret of the Old Clock, sending the titian-haired sleuth into fame. The original Nancy Drew Mystery Stories series ran for 175 books from 1930 until 2003, with more books under new series since then, along with a series of video games from Her Interactive.
Nancy plies her trade as an amateur sleuth in the fictional town of River Heights, where she lives with her lawyer father, Carson Drew, and their housekeeper, Hannah Gruen. Nancy’s mother died long before her adventures started, leaving Hannah in the role of a surrogate mother. Carson’s work leaves him away from home for extended periods, giving Nancy a sense of independence that allows her to investigate. However, Nancy isn’t alone. She has her cousins, the feminine Bess Marvin and the tomboy George Fayne, and her beau, Ned Nickerson, along to help her. Nancy is self-sufficient, capable of not only getting into trouble but getting herself out on her own.
Behind the scenes, the Nancy Drew Mystery Stories was created as the distaff side for the Hardy Boys for the Stratemeyer Syndicate. Ghostwriters using the pen name Carolyn Keene wrote the stories based on plot outlines created by Edward Stratemeyer and his daughters. The early years saw new books published four times a year; these releases were always anticipated and sold well.
With a long history, Nancy inevitably would wind up on the silver screen. Warner Bros. released a series of four movies in 1938 and 1939. Nancy has also appeared on television, with a series in 1977 starring Pamela Sue Martin. Hollywood is attracted to popular characters, and Nancy Drew has maintained her popularity over the years since her first appearance.
With such a long history, adapting the character poses some problems. The biggest is the changes in culture since 1930. The racism of the Thirties just does not fly today. The expectations of young women have changed. No longer are teenaged girls expected to go to college to get degrees in Home Economics; instead, women are breaking through barriers in all walks of life. An adaptation would have to work out how to balance what is acceptable in entertainment today while still keeping the core of the character.
With this in mind, it’s time to look at the 2007 adaptation by Warner Bros, simply titled Nancy Drew. The movie starred Emma Roberts as the titian haired sleuth, with Tate Donovan as Carson Drew and Max Theriot as Ned Nickerson. The story starts in River Heights at the tail end of one of Nancy’s cases, inside a church as she talks a pair of crooks into surrendering to the police after they caught her. The commotion, though not only draws out the town to root for Nancy but also brings Carson out from work, which happened to be in court at the time. As a result, Carson gets Nancy to promise to no sleuthing while they are in Los Angeles.
However, Carson forgot that Nancy arranged for the housing arrangements in LA. She found a haunted mansion once owned by the famed actress Delilah Dreycott, who disappeared in mysterious circumstances twenty-five years prior. The mystery draws Nancy in, despite her promise to her father to not sleuth. What should be a simple investigation, though, leads to threatening phone calls and the discovery of Delilah’s illegitimate daughter, Jane Brighton, played by Rachel Leigh Cook. After meeting Jane, Nancy changes the direction of her investigation into finding the late actress’s will to help Jane and her daughter. As expected, Nancy does get kidnapped after finding the will, but she escapes on her own, and is able to reveal the mastermind behind the plot.
Emma Roberts as Nancy was able to carry the movie on her own, portraying the girl detective as competent and capable. While her classmates in LA made fun of Nancy’s fashion choices, the look was based on illustrations in the books, updated for today. Outside Los Angeles, Nancy wouldn’t look too out of place, eccentric but not decades out of date. The movie’s story was original but used elements from the books, including Nancy’s penchant for getting captured by the villain’s henchmen and for escaping. The movie also showed Nancy as a capable young woman, independent but still her father’s daughter. Just as important, Nancy’s hair was titian, not blonde nor brunette.
The movie also tossed in a few Easter eggs for fans. Several of Delilah’s old films took their names from the Nancy Drew Mystery Stories, including Mystery of the Lilac Inn. Nancy had a blue ragtop roadster, a Nash Metropolitan, the same colour as it had in the books. Bess and George made quick appearances at the beginning of the movie while it was still in River Heights, and it was possible to tell the cousins apart just by their clothes. Ned appears both at the beginning and comes back in the middle of the movie with the roadster.
While the movie wasn’t based on any one book in any of the various Nancy Drew series, it was based on an amalgamation of Nancys through the years, updating her while still keeping her true to her nature. Nancy Drew was aimed at the same audience that the books are, but made sure that the clues were there to be seen by viewers as well as Nancy herself. The result is a work that takes pains to bring a character up to date without losing what made her so popular in the first place.
After a few weeks of heavy works, it’s time to take a small breather. To celebrate the recently passed Ides of March, it’s a good time to look at the classic Wayne & Shuster sketch, “Rinse the Blood Off My Toga“.
The death of Julius Caesar at the hands of Roman senators led by Brutus became fodder for William Shakespeare, who turned the assassination into a tragedy. The play, Julius Caesar, was first performed in 1599 and has been a regular in the repertoire of many a Shakespearean company. Julius Caesar is also a common play taught in high school English classes, thus continuing the legacy of those fateful Ides of March.
Meanwhile, Johnny Wayne and Frank Shuster* created their duo, Wayne & Shuster, after working together since high school. They went professional in 1941 on radio with CFRB in Toronto. “Rinse the Blood Off My Toga” was released on LP in 1954, and was then used for their big break with American audiences on The Ed Sullivan Show. After the show, New York City bars were offering “martinus specials” after a line from the act**. Sullivan had the duo back a record sixty-six more times over eleven years.
“Rinse the Blood Off My Toga” is a hard-boiled detective story using Julius Caesar as the starting point. The obvious place to start is after the big murder, the assassination of Caesar. Wayne’s character, Flavius Maximus, is a private Roman eye, hired by Shuster’s Brutus to find who killed Caesar. As Brutus, Shuster is giving a wink and a nod to the role the character had in the play. The sketch plays out as advertised, a hard-boiled detective story, with the various suspects coming up and being interrogated, including Calpurnia, Julius’ wife. The play’s characters are treated as if they had Mob connections as Flavius looks for Mr. Big.
As a comedy sketch, “Rinse the Blood Off My Toga” toys with the source material, going for laughs instead of accuracy. Yet, the sketch does show another way to adapt a work, by taking a different angle, either through the eyes of a minor character on the edge of the events or by bringing in a new character as an observer. Flavius Maximus wasn’t in the original Julius Caesar, but the mixing of genres allows him to insert himself into the aftermath of the assassination and bring Brutus to justice.
* Frank Shuster’s cousin Joe also became famous, through Superman. His son-in-law, Lorne Michaels, also is famous, having created Saturday Night Live.
** Flavius: “I’d like a martinus.”
Cicero: “Don’t you mean a martini?”
Flavius: “If I want two, I’ll ask for them.”