From Russia With Love
Bond: Sean Connery
Release Date: 1963
Previous Film: Dr. No (1962)
Next Film: Goldfinger (1964)
Original Story: From Russia With Love
Publication Date: 1957
Previous Story: Diamonds Are Forever
Next Story: Dr. No
Villain: Rosa Klebb (Lotte Lenya)
Heavy: Donovan “Red” Grant (Robert Shaw)
Bond Girls: Tatiana Romanova (Daniela Bianchi), Sylvia Trench (Eunice Gayson)
Other Notable Characters: Kerim Bey (Pedro Armendáriz), Major Boothroyd/Q (Desmond Llewelyn), Kronsteen (Vladek Sheybal), M (Bernard Lee), Moneypenny (Lois Maxwell)
Gadgets: Watch garrotte, used by Grant. Briefcase with survival rifle, hidden knife, hidden currency, hidden ammunition, and tear gas cannister disguised as a tin of talcum powder, used by 007. Bug detector, used by 007.
Plot of Original: SMERSH tries to kill 007 with an eye on embarrassing the British Secret Service.
Plot of Film: SPECTRE tries to steal a Soviet decryption machine using 007 and a Soviet cypher clerk while still embarrassing 007 and British intelligence..
The biggest change is who the opposition is. The novel had SMERSH acting against 007. The studio changed that to SPECTRE, keeping SMERSH involved but as one of the agencies being played by Blofeld’s organization. All of the Soviet senior staff mentioned in the novel – General Grubozaboyaschikov, General Vozdvishensky, Colonel Kikitin, and General Slavin – are gone, replaced by Blofeld. Rosa Klebb is now a defector from SMERSH to SPECTRE, and Grant is an assassin under her command.
The movie also rearranges and collapses the first third of the novel. A briefing by the head of SMERSH works in a book but not in a film. Audiences know how meetings go and are watching the movie to escape them. Kronsteen still gets his chess championship, but it’s now at the international level, not just for supremacy in Moscow. The scene also changes the focus, by showing Kronsteen’s planning ability by defeating the Canadian MacAdams instead him having to worry about not leaving the chess match against the Russian Markhov because of his summons.
Bond’s first appearance also gets changed. In the novel, he is first seen in his apartment, reminising, the only woman around being his housekeeper, May. In the movie, Bond is enjoying an afternoon off with Sylvia Trench, who he met in Dr. No, something not possible in the film continuity since that was the first book adapted.
The movie follows the novel more or less as wrtitten with minor changes. Darko Kerem becomes Ali Kerem Bey, for example, but nothing major. Bond meets Tatiana, gets information out of her, and takes her on the Orient Express out of Turkey. On the train, Grant makes his move. That’s where the movie diverges from the book. In the book, Bond’s Q-branch briefcase has the hidden knife, but not the talcum powder tear gas. In the movie, Bond bluffs Grant into opening the briefcase. Not knowing the special way to get in, Grant gets a face full of tear gas, allowing Bond to act. The hidden knife does come out; Checkhov’s gun comes in many forms.
The fight between Bond and Grant in the book is followed by arrival in Paris, the delivery of Tatiana, and a final appearance by Klebb, who gets one kick in at Bond before being taken away by France’s Deuxième Bureau. The movie adds an escape from the train, a helicopter chase with Bond on foot and a boat chase before reaching Venice. Klebb gets her last appearance, but instead of poisoning Bond with her shoe despite her best efforts, Tatiana shoots her, ending her story.
There were minor changes because of the different format. What can be done in a book might not be allowed in a movie. In particular, the nudity in the novel, not explicit but there, gets covered up. Topless women get bras; the nude men get towels. One other change that does stand out is 007’s choice of pistol. In the book, Bond has his Beretta. His movie counterpart is using his signature Walther PPK. Movie Bond received the pistol in Dr. No because his Beretta had snagged on his holster in a previous mission. In the original Dr. No novel, Bond was forced to change pistols for the same reason, except that previous mission was in From Russia With Love. It’s a minor change, but thanks to the movies being in the wrong order, creates an interesting switch.
There are two actors making their first appearance here. First, Desmond Llewelyn appears as Major Boothroyd/Q. Major Boothroyd was a character in Dr. No, but was played by Peter Burton in that film. Llewelyn will appear in the most 007 films, his last time as Q in The World Is Not Enough, working alongside five different James Bonds in that time. Walter Gotell makes his first appearance, playing Morzeny, a SPECTRE trainer. Gotell reappears in the main line of 007 as General Gogol in The Spy Who Loved Me, and reprises the role in Moonraker, For Your Eyes Only, Octopussy, A View to a Kill, and The Living Daylights.
With the change from SMERSH to SPECTRE, Ernst Blofeld makes his first appearance, albeit without revealing him. The white Persian cat becomes the villain’s signature. Blofeld takes over the role General Grubozaboyaschikov had, the head of the organization. This time, the organization is a private one, beholden to no government. SPECTRE is shown to be able to infiltrate even the highest ranks of Soviet intelligence, getting Klebb to defect.
From Russia With Love isn’t quite yet the classic 007 movie. The seeds are there, though. Suave Bond, beautiful women, fast car chases, gadgets, the only missing item is the set piece at the villain’s lair. The fight between the Gypsies and the Bulgars hint at what is to come in that respect. Audiences, though, turned out for the movie, sustaining the demand for more.
Sherlock Holmes is a character that has lasted in the imaginations of readers for well over 130 years. Created by Sir Arthur Conan Doyle in 1887, Holmes and his partner, Dr. John Watson, solved many a mystery. Each of Holmes’ adventures were written from Watson’s point of view, a filter through which Holmes could explain his deductions to readers. Over time, Holmes has been adapted in many ways from theatre to television, the most recent being Elementary. It was only a matter of time before he was adapted as a garden gnome.
Watson wasn’t the only character that remained in the pop subconscious. Other of Doyle’s creations are as well known, including Irene Adler, Sherlock’s brother Mycroft, and the Napoleon of Crime, Professor Moriarty. An equal match to Holmes’ intellect, Moriarty appeared in the story, “The Adventure of the Final Problem”, published December 1893 in Strand Magazine and with the collection of short stories, Memoirs of Sherlock Holmes, in the same year. In it, Holmes had already deduced who the Napoleon of Crime was and had plans to arrest him and key members of his gang. Moriarty, though, worked out who was behind all his recent setbacks and promised Holmes mutual destruction if the detective continued to work against him. Holmes sees no problem with that, with a career of detective work behind him that bettered London. The chase is afoot, and Holmes and Moriarty meet again at the Reichenbach Falls in Switzerland. After a fight, both tumble into the Reichenbach Falls, never to be seen again.
Doyle meant for “The Final Solution” to be the last Sherlock Holmes adventure. He was getting tired of writing about the character. Fans, though, demanded more, despite the apparent death. Doyle obliged with The Hound of the Baskervilles in 1902. Professor Moriarity returned in The Valley of Fear, published in 1915 as a lead up to the events in “The Final Solution”.
Moriarty intrigued fans of Sherlock Holmes. Despite having just the two appearances, Moriarty challenged Holmes on a intellectual level, an equal match for the detective where their final meeting resulted in their demise. Not just a villain, but a foil, a nemesis. One that can be expected to appear in an adaptation of Sherlock Holmes. Even one where the detective is a garden gnome.
When Gnomeo & Juliet was released in 2011, the movie exceeded box office expectations. When a movie does that well, sequels are expected. Since Shakespeare never wrote a Romeo & Juliet: Part II, mostly because the titular characters died in the original play, there’s not much to build from there. However, low-hanging puns are easy to build upon, leading to Sherlock Gnomes. Gnomeo & Juliet managed to hit most of the beats of the Shakespearean play, changing only near the end. Could the creative team do the same with Sherlock Gnomes?
Most of the cast of Gnomeo & Juliet returned, the main exception being Jason Stathem as Tybalt. Joining the cast are Johnny Depp as Sherlock Gnomes, Chiewetel Ejiofor as Dr. Watson, Mary J. Blige as Irene, and Jamie Demitriou as Moriarty. Once again, the music of Elton John and Bernie Taupin form the bulk of the soundtrack, with the exception of a piece by Jacques Offenbach. The crew comprised of people from Gnomeo & Juliet who weren’t otherwise busy with other projects.
The movie opens with Sherlock Gnomes and Watson foiling the plans of Moriarty to smash some helpless garden gnomes at the museum. Gnomes and Moriarty have been matching wits for some time, with the villain leaving clues to taunt and test the detective. This time, though, it appears that Moriarty himself is smashed.
Elsewhere, Ms Montague and Mr. Capulet move together from 2B and Not 2B Verona Drive in Stratford-upon-Avon to a brownstone on Baker Street in London. The garden gnomes are put out in the small garden. Once alone, they animate once again. Lady Bluebury (Maggie Smith) and Lord Redbrick (Michael Caine) announce they will retire once the new garden is properly set up, with Juliet (Emily Blunt) and Gnomeo (James McAvoy) appointed the new gnome leaders. The scene lets audiences familiar with the first movie catch up on the characters, with Benny (Matt Lucas) having his hat repaired between movies. As the garden work goes on, Juliet is spending less time with Gnomeo. Feeling neglected, he decides to go on an adventure to find the flower that brought him and Juliet together in the first place, the purple Cupid’s Arrow Orchid.
Juliet discovers Gnomeo’s foolish adventure and goes out to save his butt. She is not impressed; she wants the garden in top shape. As they argue, they hear Benny call for help. When they return to the garden, the rest of the gnomes have disappeared. However, Gnomes and Watson are on the scene. With very little explanation, Gnomes begins searching for clues on the disappearance, ignoring questions from Gnomeo and Juliet. The detectives find Moriarty’s calling card and leave, with Juliet and Gnomeo on their heels.
Gnomes may not want meddlesome assistants with him, but he’s stuck with the newcomers. The clues lead through London, meeting a variety of ornaments from Chinatown to a toy store where Irene is in charge. All leads to a final encounter with Moriarty, who managed to escape his apparent smashing with just minor, reparable damage, at the Tower Bridge. The final battle sees Sherlock and Moriarty fighting then falling from the Bridge much like the illustration shown at the beginning of the movie.
Sherlock Gnomes takes a few liberties with “The Final Solution”, though the movie isn’t really an adaptation of the story, just the characters in it. Still, key beats from the story show up, such as Gnomes travelling to various locations to keep a step ahead of Moriarty. Much like Holmes, Sherlock Gnomes is brusque and lacking in social skills. In the literature, Watson acts as the filter between Holmes and the reader. In the movie, Watson fills the same role, not just to the audience but also with the gnomes the two meet. Gnomes is also a master of disguise, much like his progenitor, including disguising himself and Juliet as a squirrel in order to retrieve one of Moriarty’s calling card from the cutest Hound of the Baskervilles to be on screen. Being a family film, Sherlock Gnomes elides Holmes’ addictions, though as a garden gnome, it’d be hard to show his heroin habit.
The movie borrows an idea from the Robert Downey, Jr. in showing how Sherlock’s thought processes work. Instead of slowing down the action, Sherlock Gnomes uses black and white animation, showing how the detective works out problems. The processes aren’t that easy to understand, being meant more for comedy than actual problem solving tips. Gnomes also has Holmes’ eye for detail and observation, able to tell that Gnomeo and Juliet are having a lovers’ quarrel within seconds of meeting them.
With the basic premise of telling an adventure of Sherlock Holmes as a garden gnome, the movie could have taken an easy route of having just a gnome that looks like Holmes solve a mystery set to the music of Elton John and be done with it. Instead, Sherlock Gnomes brings in Holmes as he is in Doyle’s stories, intelligent, arrogant, and dismissive, and still highlights what would have been his last adventure if Doyle had his way while turning the character into a ceramic ornament. Gnomeo & Juliet demonstrated that the creative team could keep to the beats of a tragedy while still making a feature for the entire family. Sherlock Gnomes follows in the same footsteps.
Lost in Translation has looked at a couple of Batman adaptations in the past, one for the Fluxx card game and once for the Adam West series. Created by Bob Kane, the character has been around since 1939, with his first appearance in Detective Comics #27, and has gone through many iterations, from World’s Greatest Detective to the always prepared Bat-god. Batman is one of DC Comics’ Big Three alongside Superman and Wonder Woman. Naturally, a popular character will be noticed by Hollywood, leading to Batman’s first silver screen appearance, the 1943 fifteen-chapter serial Batman, starring Lewis Wilson as Bruce Wayne, Douglas Croft as Dick Grayson, Shirley Patterson as Linda Page, William Austin as Alfred, and J. Carrol Naish as Dr. Tito Daka.
The US in 1943 had just entered World War II after the bombing of Pearl Harbour in December of the previous year. The United States had maintained official neutrality despite sending materiel to the Allied Forces in Europe until the bombing. After the attack, the American war effort redoubled. Propaganda produced during the war wasn`t subtle. Even such notables as Dr. Seuss and Walt Disney weren’t above making unflattering caricatures of Axis leaders. Serials, being a way to pull in an audience to the movie theatre, took advantage.
The 1943 Batman serial is a product of its time. The villain, Daka who was created for the serial, is a racist stereotype, plotting against the US. In the first chapter, “The Electrical Brain”, the narrator all but cheers the decision to place Japanese-Americans into internment camps. Even Batman calls Daka a “Jap”. The racism isn’t always front and centre, but it lurks under the surface.
That said, the war does provide the villain a motive. Daka has a new weapon, a radium-powered disintegration ray. Coupled with a device that turns people into his own controlled zombies, Daka is a credible threat to the US. Worse, Daka is getting help from the criminal element in Gotham City. Needing help, the American government calls in secret agent Batman who brings along his youthful sidekick Robin to find and stop the Japanese agent.
Each step of the investigation in each chapter of the serial brings Batman and Robin closer to Daka. Criminal lairs are found, crooks are defeated, all leading up to finding Daka’s lab. Daka, though, needs a larger source of radium. Despite losing one of the ray guns to Batman, Daka has extras, larger models, and a source of radium to power them would let Japan bring the war to the US. Complicating matters, Bruce’s girlfriend, Linda, needs his help to clear her uncle’s good name. Daka kidnapped her uncle and turned him into a mind-controlled zombie. Worse, Linda also suffers the same fate. It’s up to Batman and Robin to stop Daka and help his zombified victims.
Lewis Wilson’s Batman is nothing like Adam West’s, Kevin Conroy’s, or Christian Bale’s. His is a detective first, not a martial artist. Criminals are afraid of him, but will attack him if the odds are in their favour, around three-to-one or better. Douglas Croft’s Robin, though, is the youthful ward, similar to Burt Ward in the 1966 series. The Dynamic Duo of the serial reflects the Batman and Robin of the comics of the time, with some changes imposed by the change in format.
As mentioned above, Batman is a secret agent working for the US government. Vigilantism wasn’t allowed by film censors of the the day. No taking the law into your own hands. But government agents fighting against the Axis threat? Perfectly fine. The line comes up once in the first chapter; for the rest of the serial, there’s no mention of the government connection. The Gotham City Police Department aren’t sure of Batman, wanting to arrest him.
Serials have limited budgets. They’re backup features, not the main draw, though a popular serial can bring an audience back week after week. Columbia, the studio behind Batman, took a risk and had it run fifteen chapters, the longest serial they had to date. This meant stretching a budget a bit longer than normal, even if the budget is bigger overall. This means that some elements need to get dropped. The Batmobile was once such victim. While Batman had a car, he had to share with Bruce Wayne. The difference – Bruce had the top down on his convertible while Batman kept the roof up.
The costumes are recognizably the Dynamic Duo’s. While black and white film doesn’t allow for checking that the colours are correct, both Batman and Robin and wearing costumes that come from their comic counterparts. Spandex isn’t yet available, and fabrics like nylon are being rationed due to the needs of the American armed forces. Batman’s costume starts looking a little baggy at times; chalk that up to the nature of the times. Despite that, the costumes are accurate.
The serial looks off when compared to today’s Batman media – comics, cartoons, and movies – but there isn’t a way to adapt a work that hasn’t yet been made. Batman works with the material DC released up to 1943 and reflects that time in both the US and the character’s history.
As mentioned during the History of Adaptations series, the Eighties were a strange decade for entertainment. Music videos entered their hey day. Music ran the gamut of genres. From New Wave to Heavy Metal, from Rockabilly to Hip Hop, Top 40 charts had a mix of them all.
Popular music filtered into other areas. Television shows, while never one to discount pop music, adopted more as characters listened to their radios. This wasn’t new; even older series like Peter Gunn worked in music. In the case of Peter Gunn, jazz music at a jazz club where some of the action occurred weekly was a natural fit. But most shows used a variation of their theme song for background music when a radio wasn’t in the scene. That changed thanks to one show, Miami Vice.
In 1984, the head of NBC wanted to get in on the popularity of music videos, not just the videos themselves but the esthetics. To this end, Anthony Yerkovic created and Michael Mann produced Miami Vice. Set in, naturally, Miami, the look reflected the scene there, with pastels and neons dominating. However, for the focus of the show, the nascent War on Drugs came into play. Miami was and is a natural port for bringing in illicit and illegal drugs from Central and South America into the US. Drug dealers and drug smugglers could make in a week as much as a vice cop made in a year*. The difference between what a vice detective could live on and the high life of people in the illegal drug industry made for a easily exploitable conflict.
With Don Johnson as Miami native Detective James “Sonny” Crockett and Philip Michael Thomas as New York transplant Detective Ricardo “Rico” Tubbs, the series delved into the Miami underground, the seamier side of the city. However, Crockett is seen with a boat, a fancy car, and an alligator. How can he afford that on his salary? Thanks to the War on Drugs, civil forfeiture and the Comprehensive Crime Control Act of 1984 allowed law enforcement agencies to make use of items impounded as a result of a criminal investigation. Crockett’s boat and car belong to the Metro-Dade Police Department; one early episode involved an departmental auditor questioning his use of the equipment and threatening to take it all away.
Once the early episode oddities, including comedic elements, settled down, the series became a police drama. Popular music was used not just for radio but as background music, to set the mood of a scene. The pilot episode made good use of Phil Collins’ “In the Air Tonight“, setting the mood for the climax in a way that a variation of the main theme couldn’t. One song, Glenn Frey’s “Smuggler’s Blues“, was adapted into the episode of the same name, with Frey himself guest starring as a pilot smuggling drugs from Central and South America.
Miami Vice made its mark on television, lasting until 1989. Other series began to use techniques pioneered by the show, like using popular music to set the mood of a scene. Many singers and groups got a boost by being featured on the show. Having a song on Miami Vice was a sign of a singer making it big. Anytime a visual cue to the Eighties is needed in a movie or TV show, the fashion comes from Miami Vice.
Fast forward a bit to 2006. The War on Drugs has led to the militarization of American police departments. Drug dealers countered by getting their own heavier weapons. Miami is still a conduit for drugs into the US. Illicit drugs are big money makers at all levels. In this climate, Michael Mann brought Miami Vice to the big screen. The film version of the show starred Colin Farrell as Crocket and Jamie Foxx as Tubbs.
The film opens with Crockett and Tubbs getting a call from a former informant, now informing for the FBI, that he’s in trouble. One of the cartels threatened to kill the informant’s wife if he didn’t confess to the killing of Russian agents that tried to infiltrate the organization. Tubbs races off to try to help the wife, but is too late. The informant takes his own life by stepping out in front of a semi with Crockett watching. The detectives head to the murder scene, only to be called off by Lieutenant Castillo (Barry Shabaka Henley), which just piques their curiosity. The investigation leads to Crockett and Tubbs infiltrating the cartel to find who was responsible.
The movie version could fit in as a two-part episode of the original series, or a series of episodes spread out over the series’ run, much like the Calderone saga, which began in the pilot and appeared through to the third season. The difference is what could be filmed. Even in the watershed time slot of 10pm, television can only go so far. The MPAA rating of R allowed for sex, violence, and language that could not appear on even the most lenient broadcaster in the Eighties. However, the movie didn’t get self-indulgent with the freedom the rating provided. Michael Mann had a distinct vision in mind.
Mann realized there was a difference in how digital cameras picked up light compared to traditional film. Knowing the difference, he came in with an eye to how things would look when shot on location. The result is that Miami can be dramatic all on its own, with colours that would put the original series’ pastels to shame. The skies above the city added to the mood in ways even the soundtrack could not, and there was no way to plan for such ideal conditions yet they occurred. Mann shot on location; there was no way Vancouver or Toronto could be a stunt double for Miami.
Casting worked for the most part. The main quibble would be Henley as Lt. Martin Castillo, a role that Edward James Olmos owned. In the original, in a squad wearing pastels, Castillo wore simple black and white. He stood apart from his detectives. Henley’s Castillo may have been better as Gregory Sierra’s Lt. Lou Rodriguez, though that character survived only four episodes. This is more to the credit of Olmos, who brought an intensity to the character, then anything that Hanley did or did not do.
One thing Mann wanted to do was to separate the film from the original. Not even the original theme made an appearance. However, one song made a return. Mann used a cover of “In the Air Tonight” performed by Nonpoint. In the film released to theatres, the song is played over the end credits. However, the director’s cut moves it to just before the climax, where it fits in to set the mood of the characters, much like how the original Collins version of the song did.
The movie made its budget thanks to the international release. It came out strong in 2006, bumping Pirates of the Carribbean: Dead Man’s Chest out of the top spot at the box office, but faded away. The film was an update to the TV series, moving it to then-modern times where the War on Drugs was entrenched. However, the movie is now becoming a cult favourite thanks to Mann’s cinematography. It’s not the TV series from the Eighties because it wasn’t made in the Eighties, it was made with the sensitivities of 2006.
* This was an issue during Prohibition in the Roaring Twenties. The high rate of corruption among Prohibition agents came about because bootleggers could slip them $50 or $100 and not feel the loss while giving the agents a large bonus. Eliot Ness and his team were called the Untouchables because they weren’t susceptible to bribes, making them rare agents.
Universal Studios had a success with their 1999 remake of The Mummy. The movie had two sequels, an animated spin-off series, and a prequel series. There was interest in the classic monster. Why not go back to that well?
In 2017, Universal released a new remake of The Mummy, this time with Tom Cruise. The remake brought the setting from the 1930s to today. Things have changed greatly over time, especially in the Middle East. Will the change affect the movie?
The film begins in England of 1127 as Crusaders bury one of their own with a red gem. Jump to now, and an excavation for a subway tunnel breaks into the tomb, showing yet again that England buries important people in odd spots. The construction team is told to go elsewhere as Dr. Henry Jekyll, played by Russell Crowe, and his team take over the site. Jekyll begins a narration, flashing back to Ancient Egypt and Princess Ahmanet (Sofia Boutella), heir to the Pharoah’s throne, learns that she’s been bumped when her baby brother is born. Scorned, she performs a rite in the name of Set and is reborn a monster, killing her father and brother. All she needs is a mortal man to become the living vessel of Set, but before she can complete the ritual, she’s discovered, mummified alive, and taken to be buried as far away from Egypt as possible, in Mesopotamia.
Modern day Mesopotamia, now known as Iraq, is not the best place to be. Thanks to the American invasion in 2003, insurgents abound. Two American soldiers allegedly on long-range recon but, really, searching for antiquities, i.e., looting, observe a village. Sergeant Nick Morton (Cruise) and Corporal Chris Vail sneak in to see if there are any antiquities. However, they’re spotted and get pinned down. Vail calls in an airstrike; the appearance of an armed drone firing missiles scatters the insurgents. The missile strike also collapses the building Morton and Vail are trapped on and opens a long-lost tomb, one Morton expected to find.
The owner of the map Morton stole, er, hunted as an antiquity, arrives with the rest of Morton’s unit. Colonel Greenway (Courtney B. Vance) orders Morton and Vail to accompany Jennifer Halsey (Annabelle Wallis) down into the tomb. She makes not of the burial arrangements, how they differ from what has been found in Egypt. Morton and Vail are looking more at the antiquities. During the investigation of the tomb, mercury drips on to Morton. In Ahmanet’s time, mercury was used in a ritual to reduce the will of men.
Word filters down of the return of the insurgents. Halsey wants to bring up the tomb, despite it being deep underwater. Greenway wants everyone to leave ASAP. Morton shoots the Gordian knot and the chain keeping the tomb in place. It comes up, as do thousands of spiders. They shouldn’t be aggressive, but Vail is bitten. Ahmanet worms her way into Morton’s mind, cursing him to be the new vessel of Set.
With the tomb hauled up and flown out by helicopter under the eyes of a murder of crows that just arrived, the next obstacle is a massive sandstorm. The tomb is loaded in to the airplane fast, and the craft takes off as the sandstorm hits. The flight gives Halsey time to read the inscription on the tomb, showing that she has never watched a horror movie in her life. Morton gets drawn back into the dreamscape with Ahmanet; when he returns, Vail, who has been showing signs of illness during the flight, is at the tomb, trying to open it. Greenway tries to stop him only to be stabbed for the effort. Morton winds up shooting Vail. Which is when the bird strike happens.
Over England, the aircraft is hammered by a murder of crows, killing the flight crew, damaging the plane’s engines and weakening the structure. Morton helps Helsey into a parachute and gets her away safely. She is the only survivor. As such, Halsey is called in to identify the remains found in the wreckage. Ahmanet’s tomb is missing, though the crash happened near a bog. In the morgue, Morton wakes up in a body bag. Vail appears and gives a spectral, cryptic warning before disappearing as Halsey enters.
At the crash, Ahmanet’s tomb is found. The crash site investigators open it up and become her forst victims in millennia. She drains their life force, gaining strength from them, then animates their remains to begin her undead army.of minions, the first of many. Ahmanet knows what she wants, and what she wants is to make Set a living god.
Morton understandably tries to get drunk after all the weirdness that has happened. Helse finds him and brings him up to speed on what’s going on, with Ahmanet and with him. Vail reappears, only to Morton, and tries to get him to follow. In the women’s washroom, Vail provides more details, how Ahmanet is the source of the curse. While Morton is missing, Helsey calls in Dr. Jekyll.
Morton manages to get out of the bar and into a back alley. Rats under Ahmanet’s control swarm him but somehow escapes and gets to the main road with Halsey. Ahmanet uses her influence to summon Morton to the bog, where she attacks him. She raises her dagger to plunge it into his chest and sees that the gem stone is missing. Halsey catches up and tries to get Ahmanet off Morton. He grabs the dagger and stabs her. Helsey grabs the dagger out of Ahmanet and runs off with Morton. They try to escape in an ambulance, but with Morton driving and Ahmanet in his head, he drives in a circle. Her minions try to break into the ambulance, and don’t stop moving when they lose limbs.
Dr. Jekyll has a sense of timing. As things look dim for Morton and Halsey, he and a team arrive to stop Ahmanet. He takes everyone back to to his headquarters, where it is shown that Dr. Henry Jekyll is, indeed, that Dr. Jekyll. He his the head of the Prodigium, from the Latin phrase, monstrum vel prodigium, or “a warning of monsters” (maybe; a check with an instructor at the University of Alberta, Dr. Kelly A. MacFarlane, shows a something along the lines of “monster or ports”, which could be massaged into what the movie uses). The organization exists to contain evil, something the good doctor is all too personally familiar with. The Prodigium is keeping Ahmanet neutralized by injecting her with mercury and freezing it so she can be dissected for examination. Ahmanet isn’t dissuaded. She continues to seduce Morton, promising him an eternal reward, one he doesn’t understand.
At the Crusaders’ tomb, a Prodigium technician finds the missing gem stone. Ahmanet feels it and sends a spider to take over one of the techs to break her free. Loose, she wreaks havoc. During the chaos, Dr. Jekyll needs to take his injection, but Morton interrupts that in a bid to negotiate. Jekyll becomes Hyde and throws Morton around. Morton manages to inject Hyde with his serum, but it’s too late.
There’s now a race to get the gem stone. Dr. Jekyll wants the stone to stop Ahmanet and study her. Morton wants the stone to try to break his curse. Ahmanet wants the stone to bring Set to Earth. The princess has an advantage; she can call upon the dead to do her bidding, including the Crusaders. She gets the gem first and puts it back on the dagger. Finding Morton, she tries to complete the ritual again. Morton steals the dagger and stabs himself, opening him up to being possessed by Set but not under Ahmanet’s control. Using Set’s power, Morton fights Ahmanet, then disappears. He’s last seen in the movie in the desert, a restored Vail by his side, searching for a cure for his curse.
The orignal 1932 film was gothic horror with a doomed romance. Boris Karloff had top billing as The Mummy. The 1999 remake was a pulp action/horror starring Brandon Fraser as Rick O’Connell and Arnold Vosloo as the title monster. The movie focused more on O’Connell, but Imhotep had a presence through out the film. The 2017 version was action-adventure. Tom Cruise got top billing as Nick Morton. The title monster was the threat but didn’t maintain a presence throughout the film. And that may be the movie`s biggest issue.
The tone of monster movies have changed over the history of cinema. Once just creatures in a horror film, over time, monsters became less creatures of the night to fear and more something that could be defeated. The Fifties and the advent of nuclear power and weapons meant that humanity could be far more destructive than just one monster. Radiation because both the cause and the cure. Slasher movies replaced the monster with a monstrous human. Films like The Terminator and Tremors hearkened back to classic monsters, unrelentless and alien, and the sequels to both started to go back to action over horror. With the 2017 The Mummy, the tone fit in with those sequels.
The remake also tended to bounce around, unsure of what it wanted to be. There was action, but not enough to be a true action-adventure. It flirted with horror, but shied away before getting too serious, leaving jump scares behind. It hinted at a gothic romance, but the heavy-handed narration hammed home that Ahmanet didn’t want a lover, she wanted a vessel for Set. Cruise’s character had no agency; Morton was dragged from plot point to plot point. In the 1999 remake, Rick O’Connell made decisions, sometimes bad ones, and chose to fight to stop Imhotep. Morton was cursed and couldn’t escape it. He was a damsel in distress. Ahmanet was the mover and shaker of the film, but she was relegated to the background.
Nick Morton was not the character to focus the film on. Several characters could have carried the remake far better, including Ahmanet, with her quest to bring Set in to walk the Earth, and Dr. Jekyll and the Prodigium, including Halsey. Yet both were pushed to the side. The studio was counting on the star power of Tom Cruise, which meant putting Nick Morton front and centre instead of someone who moved the plot instead of being dragged along by it.
Setting the film in the now may have also hurt it. The original was made just ten years after the discovery of Tutenkhamun and could take advantage of the alleged curse opening Tut’s tomb placed the on archaeologists. The 1999 remake went with the same era, allowing for an easier suspension of disbelief. Films like Raiders of the Lost Ark were in the public’s consciousness, so similar films could lean a bit on what it had done for modern pulp. Placing the film into the now meant touching on urban fantasy, but there’s no evidence of the tropes in that genre. Tropes are not bad; they act as shorthand for the genre. Blindly using them causes problems. Ignoring them outright also causes problems. Urban fantasy deals with what lurks behind the shadows of cities. Ahmanet, though, didn’t lurk.
Ultimately, the 2017 remake took its cues from the action parts of the 1999 remake. Like a photocopy of a photocopy, the fine details of the original version of The Mummy got blurred and lost.
Star Wars has been covered three times already here at Lost in Translation. The first time was for the prequel/reboot, Star Wars: Episode I – The Phantom Menace; covering how the film brought back the Galaxy Far, Far Away. The second time was for the CG animated series, Star Wars: The Clone Wars, showed how the TV show strengthened Star Wars: Episode II – The Attack of the Clones by filling in details between that film and Star Wars: Episode III – Revenge of the Sith. The third time was for the pilot for Star Wars: Rebels, “Spark of Rebellion”, showed the potential of the recent TV series. What’s left with Star Wars?
Richard Toscan, in an attempt to revive radio drama in the US, worked at getting several works produced at KUSC, the University of Southern California’s campus radio station. One of Toscan’s students suggested adapting Star Wars as an episodic series, a natural fit given that similar serials like Flash Gordon and Buck Rogers inspired the film and were themselves adapted as radio serials. Getting the clearances to produce such a series, though, looked expensive. However, George Lucas had gone to USC, so the rights to produce the radio series was sold to KUSC and National Public Radio (NPR) for one dollar. Lucas also made the music by John Williams and the sound design by Ben Burtt available to the production. That just left paying for the script, the actors, and the studio.
NPR turned to the one radio network with extensive experience in radio dramas, the BBC, for assistance. In return for the British rights to the series, the BBC provided the budget needed to get the production done. The adaptation was written by Brian Daley, a science fiction author who had written the earliest of the expanded universe novels, The Han Solo Adventures (Han Solo at Star’s End, Han Solo’s Revenge, Han Solo and the Lost Legacy). Daley worked from early drafts of Lucas’ scripts for Star Wars, adding material as needed to fill in the thirteen episode run, for almost six hours of radio drama.
Casting became a problem. While Mark Hamill and Anthony Daniels returned as Luke Skywalker and C-3P0, respectively, the rest of the cast wasn’t. Harrison Ford was busy with Raiders of the Lost Ark. The new cast included Ann Sachs as Princess Leia, Bernard Behrens as Obi-Wan Kenobi, Perry King as Han Solo, Keene Curtis as Governor Tarkin, and Brock Peters as Darth Vader.
The debut of the series in March of 1981 saw NPR’s audience increase to three-quarters of a million new listeners, with the number of young adults and teenagers increasing four-fold. With Star Wars: The Empire Strikes Back having been in theatres the previous summer, fans were looking for more Star Wars. How well did the radio drama adapt the first film?
A series, whether on TV, on radio, or even as a B-reel serial, still runs longer than most films. The Star Wars radio drama is no exception; it ran for just under six hours over thirteen episodes, about three times longer than the movie. Radio also can’t rely on visual effects to show what’s happening. Given that Star Wars pushed the limits on what can be done with special effects, the radio drama would have a steep task in front of it.
As mentioned above, Brian Daley used early drafts of the film’s script while writing his own. He expanded details from the movie. Episode 1 starts with Luke hanging with his friends, racing with them, including through Begger’s Canyon. The audience meets Biggs Darklighter, voiced by Kale Browne, and hears his plan to jump ship to join the Rebellion. Episode 2 begins with Princess Leia on Ralentiir, using her consular ship, the Tantive IV, to smuggle goods needed by the Rebellion. It’s where she learns about the Death Star and runs into Darth Vader for the first time. Leia convinced her father to let her take the Tantive IV to intercept the plans for the Death Star at Toprawa. The space battle between the Tantive IV and the Star Destroyer that begins the movie begins in Episode 3 as Leia arrives at Tatooine to find Obi-Wan Kenobi.
After Episode 3, the drama follows the action in the movie. Dialogue gets changed or added to help describe the setting and the action. Scenes get added to provide depth and motivation. Han has a rougher edge than he does in the movie, but there’s still a heart of gold. At the same time, some relationships are shown just as quick on radio as in film; C-3P0 and R2-D2’s friendship comes out in their first two minutes of air time in Episode 3. Vader benefits from the medium; it is difficult to loom and menace through sheer height on radio. Instead, Vader comes across more as a fallen paladin, philosophical and a believer in his version of the Force, thanks to added dialogue.
Sound effects carry most of the battle scenes. There’s no way to show a flight of X-Wings diving down to the Death Star’s trench, nor is there a way to show a lightsaber other than dialogue and sound effects. The production had full access to the sounds from the movie, but it still fell on to the actors to convey a sense of determination and wonder as needed. Luke’s training on the trip to the former Alderaan had Ben coaching him at each step. For added fun, the scene with Greedo threatening Han could not have subtitles, so there was no attempt to translate “Oota goota, Solo?” into English. Han understood Greedo, so the audience had to work out what the Rodian said from the reactions, like, “Tell Jabba I’ve got his money.” And Han shot first.
The climatic battle to destroy the Death Star took up most of the last episode. While the snubfighter battle was a visual feast, the chatter between pilots gave the drama a way to show what was happening without video. The first half of the battle was presented as Leia and the Rebellion command staff on the jungle moon of Yavin listened to the pilots’ chatter, unable to do anything when Vader came out in his prototype ship. The last half of the battle was from Luke’s perspective starting just before his run through the trench.
Is it possible to have Star Wars without the visuals? Yes, as the radio drama demonstrated. The drama was Star Wars and provided depth that the movie couldn’t. The drama was successful, leading to Empire being adapted two years later. The adaptation of Star Wars: The Return of the Jedi was delayed until 1996 and released on CD due to disagreements, mainly financial. The radio plays carried the feel of the movies while expanding on what was shown.
Comic book adaptations are still an ongoing concern. Many have already been renewed for the 2018-2019 TV season. The CW has been doing well with DC’s TV universe, with Supergirl, The Flash, Black Lightning, and Legends of Tomorrow. Today, a look at the first season of the first superhero series on the CW, Arrow, the story of how Oliver Queen becomes the Green Arrow.
The Green Arrow first appeared in the pages of More Fun Comics #73 in November 1941, fighting crime with his sidekick, Roy Harper, aka Speedy. Instead of superpowers, the pair used archery, though Queen’s wealth allowed for a variety of gadget arrows. Creator Mort Weisinger and designer George Papp were inspired by the serial The Green Archer, based on the books by Edgar Wallace. They modified the idea to be more superheroic, pulling in ideas from Batman such as the Arrow-Cave and the Arrowcar. Despite the influences, Weisinger kept with a Robin Hood approach, which Papp emphasized with the costume.
The first origin story was published in More Fun Comics #89. However, Jack Kirby updated the origin in Adventure Comics #250, having Queen get shipwrecked on a desert island. Andy Diggle added to the origin with Green Arrow: Year One, adding in smugglers trying to protect a slave-labour operation. Neal Adams gave Oliver his Van Dyke in The Brave and the Bold #85. Mike Grell aged Oliver for his mini-series, Green Arrow: The Longbow Hunters, showing a maturation and a move away from the gimmick arrows. The Green Arrow was also one of the first to deal with the effects of drugs, despite the Comic Code’s blanket ban. In Green Lantern #85-86, Roy was revealed to be a heroin addict, needing help to break the hold.
Through the years, the Green Arrow’s focus became social justice. However, the character was never one of DC’s A-listers, having been relegated to backup stories in various titles when his own were cancelled because of lack of readership. Still, the Green Arrow has enough of a hook for television without the massive public expectation that Batman or Superman have.
Arrow first aired in 2012, with Stephen Amell starring as Oliver Queen. The idea behind the series was to show Oliver becoming the Green Arrow while further exploring what happened when he was shipwrecked. Greg Berlanti is using Green Arrow: Year One as a launching point. The series starts with Oliver returning home after being missing on the island for five years after the family yacht, Queen’s Gambit was lost at sea. While the family reunion looks happy, there is a current of unrest beneath the surface. Oliver’s father, who killed himself so that Oliver could live after the shipwreck, left him a list of names, people who have failed Starling City, and a mission. To hide who is he is, Oliver creates a costume, one that includes a hood that hides his face in shadow and a painted green mask.
After Oliver kills a corrupt millionaire on his father’s list, the police get involved. Detective Quentin Lance (Paul Blackthorne) becomes the lead investigator trying to find the vigilante known as The Hood. Complicating things, Det. Lance is the father of both Laurel (Katie Cassidy), Oliver’s ex-girlfriend, and Sara (Jacqueline MacInnes Wood), who was on the Queen’s Gambit when it was lost and the reason why Lauren is an ex. Adding to the complications, Oliver’s mother, Moira (Susanna Thompson) insists that he have a bodyguard, John Diggle (David Ramsey).
As the season progresses, Oliver realizes that he can’t handle his mission alone and recruits some help. Diggle joins, reluctantly at first, and acts as a humanizing element for Oliver. Felicity Smoak (Emily Bett Rickards) gets pulled in because she realizes that some of the odd requests Oliver gave her just don’t make sense and starts asking awkward questions. As a team, they figure out that there is a plot against Starling City, one that would destroy the Glades, the city’s version of Gotham’s Crime Alley.
Oliver isn’t the only Queen getting into trouble. His little sister, Thea (Willa Holland), who Oliver calls “Speedy” is acting out and getting into trouble. After she crashes her car two days before her eighteenth birthday with drugs in her system, Thea is sentenced to community service, helping Laurel at her legal office. While working there, she meets Roy Harper (Colton Haynes), a young small-time thief. Roy at one point is kidnapped by another vigilante who is going after people who let the Glades become what it is. After the Hood rescues him, Roy wants to meet the him, and does what he can to find him.
However, that’s just half the series. The other half is told in flashbacks and covers Oliver’s time on the island. He wasn’t alone after he arrived; he was first found by Yao Fei (Byron Mann), who taught Oliver how to hunt and how to kill. A group of mercenaries hunting for Yao Fei find Oliver but can’t get him to talk. Eventually, the mercenaries do find Yao Fei, but Slade Wilson (Manu Bennett) is also looking at takes in Oliver. The mercenaries’ plan is to shoot down a civilan airliner. Oliver, Wilson, and Yao Fei’s daughter Shado (Celina Jade) work to stop the mercenaries. The climax of the flashback plotline coincided with the climax of the main story, ending Oliver’s first year on the island.
At this point, Oliver Queen isn’t the Green Arrow yet. He’s still more vigilante than hero, but he’s beginning to show the social justice side of the the original character. But that’s the goal of the series, to show Oliver becoming the hero. As such, liberties are being taken. Yet, such is the nature of cinematic universes. Once the base has been set, a story will go in its own direction. Yet, /Arrow/ still is the story of the Green Arrow. It’s not just the trappings, poor adaptations still use the trappings, but present them badly or just wrong. With Arrow, while Oliver isn’t the Emerald Archer seen in comics, he’s heading in that direction. Every hero has a backstory; Arrow is Oliver Queen’s.
While adapting from one visual medium to another may seem to be a simple process, both media may rely on shorthand unique to it that can’t translate well. Today, Lost in Translation looks at that process using Mark Millar, Dave Gibbons, and Matthew Vaughan’s Kingsman: The Secret Service.
Image Comics published The Secret Service #1 in 2012. The first issue opens with celebrities having gone missing. A Secret Service mission locates and rescues Mark Hamill from the kidnappers, whose ends don’t include ransom. However, budget cuts and faulty equipment turn a 007-style chase scene tragic.
In a South London housing estate, Gary “Eggsy” Unwin, a chav, is trapped by circumstances into a dead end existence, living with his mother, his younger brother, and his abusive step-father. His life revolves around hanging around with his chav friends, drinking, toking, and joyriding. Eggsy’s driving skills are more than a match for the local police, but a loose dog and Gary’s unwillingness to just run it over ends the chase. Enter Gary’s uncle, Jack. Jack is more than the Fraud Squad computer analyst he pretends to be. Jack is a super spy, one of the Secret Service, and he sees potential in Gary. He arranges for Gary to go to Gosford, the spy school.
A mass wedding in Hawaii becomes the test bed for Dr. James Arnold’s new device, leaving no survivors. Arnold is concerned about global warning and overpopulation. To save the Earth and one billion people, five billion must die. Arnold is hand picking the core of his future society, mostly notable actors and directors from science fiction and fantasy. He has managed to get people in top positions in many organizations, too. It’s how he found his bodyguard, Gazelle, a man with prosthetics below both knees.
Gary’s training progresses. He’s picking and excelling in the physical aspects of being a super spy. None of the other trainees can match him in firearms accuracy. Eggsy outdoes the trainee who stole a drug dealer’s Maserati by nicking Her Majesty’s Rolls Royce. His only problem is social; thanks to growing up in the estates, he doesn’t have the breadth of interaction or knowledge that his fellow trainees do. Frustrated, Gary wants to quit, but Jack manages to convince him to stay, promising an apprenticeship.
When Gary regains consciousness, he’s in a town in Columbia wearing his boxers and a bracelet. Jack has moved up Gary’s final exam. The goal, find his passport and airline tickets back to Britain, with the plane leaving at midnight. Gary’s solution is unorthodox; while he doesn’t make his flight, he does return to Britain in time bringing along a couple of souvenirs, a Columbian drug lord and his private jet, earning a pass and becoming Jack’s apprentice. The apprenticeship doesn’t last long. Jack seduces Arnold’s girlfriend, getting her to explain the nefarious plot. Afterwards, though, Jack is killed by Gazelle.
Gary discovers just how deep the conspiracy goes. Seeing that the top echelons cannot be trusted, he heads to the bottom of the hierarchy, his fellow trainees. They work out where Arnold’s lair is, a hollowed mountain, and come up with an assault plan, with limited time until Dr. Arnold’s cell phone signal . One of the trainees gets to take a hot air balloon up twenty-three miles to shoot down Arnold’s satellite. Two other trainees are tasked with finding the source of Arnold’s killer signal. Gary takes on tracking Arnold for himself. The satellite never appears, but the signal still goes out. The second group of trainees, instead of finding the shutdown switch, reprogrammed the signal. Gary finds Arnold and ensures that doctor cannot try again, ending the six issue story..
Vaughan wanted to make a fun spy movie after having seen a number of grim ones in recent years. He took the story in The Secret Service and adapted it as Kingsman: The Secret Service, released in 2014, becoming the movie’s co-writer and the director. With one of the original creative team on board in two key areas, it’s worth looking at the final outcome.
The film opens in 1997, with a mission in the Middle East to recover information going wrong after Galahad (Colin Firth) missing an explosive on a prisoner. If Lancelot, Eggsy’s father, hadn’t noticed and dove on the prisoner before the explosive detonated, none of the agents would have survived. As it is, Lancelot sacrifices himself. Galahad delivers the deceased agent’s Medal of Honour to the widow, Michelle (Samantha Womack) and young son, pointing out the telephone number on the back. If there is ever a problem, all either have to do is call that number and use the code, “Oxfords, not brogues.”
Seventeen years later, the new Lancelot, who looks a bit like George Lazenby, Bond in On Her Majesty’s Secret Service, takes a quick side trip for a rescue mission. The rescue plays out like the one in the comic. The difference is that instead of rescuing Mark Hamill, Lancelot is rescuing Professor James Arnold, played by Mark Hamill. The scene diverges before Lancelot can lead Arnold out of the cabin. Instead, he is taken by surprise by Gazelle (Sofia Boutella) and is cut in half by her, lengthwise. Gazelle covers her mess so that her boss, Richmond Valentine (Samuel L. Jackson, playing against type) can enter without being violently ill. Valentine believes in the Gaia Theory, where the Earth is a living organism and global warming is a natural response by the planet to get rid of an infection, and wants Prof. Arnold to help him.
Eggsy isn’t have a good life. He gets kicked out of the housing estate he, his mother, his baby sister, and his abusive stepfather live in so the parents can have alone time. At the pub with his mates, he gets on the wrong side of his stepfather’s cronies. Eggsy decides to let things be and leaves, but only after lifting the keys for one of the gangsters’ new car. The police give chase, only catching up when Eggsy crashes to avoid a dog in the road.
At the gaol, Eggsy refuses to give up his mates and, as a result, is looking at eighteen months behind bars. Eggsy uses his one call to dial the number on the back of his father’s medal. The voice answering the call thanks him for calling the Complaints Department and tells him he has a wrong number, but Eggsy uses the code phrase and gets his complaint registered. He walks out of the gaol, wondering what happened and is met by Galahad, Harry Hart. Hart offers him a chance to turn his life around. Eggsy was doing well in many subjects – school, gymnastics, even Royal Marine training – before dropping out of each. Hart still sees the potential in Gary.
Eggsy is the last to show up at the training facility. He joins eight other candidates to become the next Lancelot. Merlin (Mark Strong), the head of the technical branch and the lead trainer, explains how the training will work; trainees will succeed in tests or wash out. The training differs from the comic; what works as a montage in sequential art doesn’t in a film. Included in the training is the training of a dog from a puppy; Eggsy takes a pug thinking it will become a bulldog.
The cinematic Kingsmen were created after World War I after noble families lost several sons in the trenches. The Kingsmen are an independant intelligence agency, separate from political pressure, and pulled from the scions of nobility. Galahad, though, nominated Gary’s father, someone not from a blue blood line, believing that it is the man, not the family that is important. Eggsy is the outsider in the group of trainees, yet he is one of the final two, the other being Roxy (Sophie Cookson), after Charlie (Edward Holcroft) breaks under pressure in a test of loyalty. Roxy ultimately wins the position of Lancelot after Eggsy is unable to shoot his dog.
Meanwhile, when not training the next Lancelot, Merlin discovers Prof. Arnold walking around on a traffic camera despite having been kidnapped. Galahad heads off to discover why Arnold is free. During the questioning, Arnold’s head explodes. Examination of the video from Galahad’s eyeglasses shows that Arnold had a subcutaneous device on his neck that caused the explosion. Further investigation leads Galahad to Valentine. Valentine is offering a SIM card that will allow people to make calls and use the Internet for no cost. However, nothing comes for free. The SIM card is set to carry a wave that will trigger rage in the device’s owner.
Valentine’s test location is a hate group, the South Gate Mission Church, instead of the mass wedding. Galahad heads there to see what Valentine has in mind. Instead, he is caught up in the SIM card’s wave and gets involved in the fighting. There is only one survivor, Hart. Valentine, flanked by Gazelle and a couple of mooks, greets Galahad before shooting him in the head.
Eggsy returns to the Kingsman Tailor Shop to speak with the head of the Kingsmen, Arthur (Michael Caine). While talking about Galahad, Eggsy notices a scar on Arthur’s neck, much like the one Prof. Arnold had pre-explosion. Arthur, who had nominated Charlie, is very much a believer in maintaining class distinctions and sees Eggsy as a pretender. He tries to poison Eggsy, but the younger man sees it coming and switches the glasses around. Once Arthur is dead, Eggsy removes the chip in his neck and brings it to Merlin.
Merlin works his magic and determines what the chip does. First, it nullifies the carrier wave Valentine uses to turn people into unthinking, raging beasts. Second, it can get hot enough to superheat the implantees brain, leading to an explosion. With the countdown to the launch fo Valentine’s free cell network, capable of carrying the rage enducing carrier wave, started, there isn’t time to recall Kingsman agents in the field. Merlin has Roxy and Eggsy, the latter not officially an agent, to stop Valentine.
There are two steps to the plan to stop Valentine. The first is to shoot down one of Valentine’s satellites, giving more time to execute the second part, which is shutting down the signal at the source. Roxy is given the first part, going up with the aid of hot air balloons with a missile launcher. Meanwhile, Merlin flies Eggsy to Valentine’s mountain lair to use Arthur’s invitation to infiltrate and access a laptop, giving the technical branch head access to Valentine’s computer network.
Eggsy, now in his bespoke suit, purchased by Hart before dying, easily fits in with the crowd. He wanders through the main lounge and finds the Swedish Prime Minister on a laptop. A quick knockout dart, and Eggsy gets the laptop and Merlin on to the network. Unfortunately, Eggsy is discovered by Charlie, in the lair with the rest of his family. Valentine speeds up the countdown, but Roxy takes out his satellite.
Trying to escape, Eggsy is led back to the plane by Merlin. Unknown to Eggsy, Valentine borrows time from another satellite to re-establish his cell network, and the countdown is on again. The signal is sent through the network, causing mass riots around the world. Eggsy is sent back out, armed appropriately, to get Valentine’s hand off the computer. Back in the main lounge, Eggsy has to fight Gazelle before getting to Valentine and ending the threat once and for all.
For the most part, the movie follows the comic beat for beat, though some beats are moved around. The differences come up due to the differences in media. Comics, being a sequence of still pictures, have their own language. The reader is expected to fill in the gaps between panels. Movies can’t do that; being motion pictures, the film has to fill in those gaps. What can be a two page fight becomes a ten minute scene. Let’s take a look at some of the differences.
First up, characters. James Arnold went from main villain to villain’s henchman, replaced by billionaire philanthropist Richmond Valentine. Valentine, though, keep the motive, saving the Earth and one billion people by culling five billion. The method is the same, causing people to become raging monsters who kill each other. Even the lair remains more or less as seen in the comic. Eggsy is still the same, though his younger brother becomes a baby sister and his mother’s name changes from Sharon to Michelle. Minor change, really, one that doesn’t affect the storyline. Eggsy’s Uncle Jack, though, does change in a major way. Jack becomes Harry Hart, not related to Gary or his mother at all. The change came about because Vaughan saw issues with the My Fair Lady approach the movie plays with. If Jack remained, questions would come up why he didn’t do anything sooner. These questions get answered in the comic, but there isn’t time in the movie.
Time is another factor. The film runs 129 minutes. The same story ran six issues, giving the comic more space to expand ideas. Visual shorthands can make up for time, like letting Eggsy show what he can do instead of just hinting at it. But time in a film is still finite; audiences will only sit for so long before getting restless. Related to time is cast. Budgets can only go so far. The nature of training in the movie eliminated trainees, leaving just Roxy and Eggsy to deal with Valentine. In the comic, Eggsy leads ten trainees in an assault on Arnold’s lair, with another trainee, who isn’t Roxy, off to try to shoot down the satellite. Roxy doesn’t even get named in the comic, though there is a trainee who could pass as her.
Speaking of cast, the comic had artistic renderings of famous people who had been kidnapped by Arnold to restart society after his culling. Cameos, though, get complicated when using real people. The only person who appeared in both the comic and the movie was Mark Hamill, and he played a character other than himself in the film. Hamill’s first scene was much like his cameo in the comic, though his character survived the experience in the movie.
One other problem comes from a cultural difference. Mark Millar, Dave Gibbons, and Matthew Vaughan are all British. The comic and the movie have roots in the different classes in British society. These don’t always translate well to something that North American audiences can understand, though TV series like Doctor Who, Coronation Street, and Eastenders have helped introduce the concepts. Chavs and housing estates have equivalents in American culture, but the matching isn’t one-to-one. The movie had to make sure the concepts in use could be understood by an American audience without dumbing them down too much that the themes get watered down.
The end result, though, is that the movie Kingsman: The Secret Service is very much the comic, despite the differences. The story matches, though scenes differ. The clash of classes, the over-the-top villainous plan, the maturation and the understanding of what makes a gentleman, all of that remains. A Kingsman is a Kingsman, no matter the path taken.
Archie Comics, the third of the Big Three American comic book publishers, has survived since 1939 on the slice of life, laugh a panel stories of its characters. Sure, the company has dipped into other genres, like superheroes, but the company’s bread and butter has been the lives of teenagers in Riverdale, a town caught in a perpetual now that has incrementally changed over the years. Among the cast of characters are Josie and the Pussycats, an all-girl band from the neighbouring town of Midvale.
Josie didn’t start as the lead singer of her own band. Creator Dan DeCarlo was inspired to create the character after seeing his wife, who he named Josie after, in a cat costume on a cruise. After shopping the character and her strip around, DeCarlo sold the idea to Archie Comics. Josie debuted in Archie’s Pals & Gals #23, in 1963, followed by her own title, initially called She’s Josie. The title became Josie with issue 17.
The initial cast of characters included redhead Josie, who was essentially a gender-flipped Archie Andrews, her friends Melody, a blonde ditz, and Pepper, a dark-haired cynic. In the supporting cast, Josie had her beatnik boyfriend Albert, Pepper’s brawny boyfriend Sock, Alexander Cabot III who vied for Josie’s affection, and Alexandra Cabot, Alex’s skunk-haired twin sister. Josie would also appear in Archie titles, and the regular Archie cast would make cameos in hers.
The comic changed its title again in 1969, becoming Josie and the Pussycats. Josie started a band, becoming the lead singer and lead guitarist with Melody joining as the drummer. The Pussycats recruited Valerie as both bassist and songwriter. Alex became the band’s manager. Alexandra discovers that her cat, Sebastien, is a reincarnation of an ancestor who was executed for witchcraft, giving her some limited magical abilities. With the comic’s new direction, Pepper, Albert, and Sock disappeared. Alan M. stepped in to fill the role of Josie’s boyfriend, with Alexandra becoming a rival for his affections, and becoming a rival for Alex for Josie’s. The comic featured stories of the band on tour as well as day-to-day life as teenagers.
Archie had some success with a Filmation cartoon adaptation and a Billboard #1 hit, “Sugar Sugar“. Hoping to duplicate the success, Hanna-Barbera reached out to Archie Comics to adapt another title, getting Josie and the Pussycats. The first season of the cartoon saw the band on the road, getting involved in Scooby-Doo-like mysteries, with several characters taking on Scooby roles. In particular, Alan M. filled in for Fred and Alex, voiced by Casey Kasem, in Kasem’s Scooby role, Shaggy. The second and final season of the cartoon, Josie and the Pussycats in Outer Space sent the band on tour in space.
The comic ended publication in 1982, though the characters continued to appear in other Archie titles and in various Archie digests, including Pals & Gals. In 2001, Universal released a live action movie adaptation of the comic and characters, with Rachel Leigh Cook as Josie, Rosario Dawson as Valerie, and Tara Reid as Melody. The film updates the Pussycats to what was current in 2001, giving the band a new sound without losing the core that people would remember from the cartoon.
The movie begins as the boy band, Dujour (Donald Faison, Alexander Martin, Breckin Meyer, and Seth Green), arrives at the airport to perform their latest hit to a screaming mob before getting on their jet to go to Riverdale. In the air, though, all is not smooth with Dujour as little annoyances have built up. Their manager and promoter, Wyatt (Alan Cumming), is more their babysitter. He smooths the rifts over, but the band brings up a concern on the latest remix. Wyatt’s denial could only fool the very gullible, so Dujour is placated. However, Wyatt heads to the cockpit to tell the pilot, “take the Chevy to the levee“, and they both bail out. The plane goes down near Riverdale.
In Riverdale, Josie, Valerie, and Melody are working hard to break into the music industry, working odd jobs so that they can perform anywhere that will let them, including a bowling alley. The Pussycats want to be rock stars with their own style. During the down time, Josie hangs around with Alan M. (Gabriel Mann), where both are having a problem getting out how they feel about each other to each other. Josie and the other Pussycats also try to find out where their manager, Alexander Cabot III, was during their bowling alley gig. Alex’s twin sister, Alexandra (Missi Pyle), reveals that he was in line for Dujour tickets. When the news breaks about Dujour’s disappearance, Josie decides that the band has to work harder to gain a following, something that can’t be done by sitting on a couch. The Pussycats go out to busk in downtown Riverdale, but a confrontation with a store owner forces them to flee.
Wyatt has been busy. He’s managed to get news of Dujour’s disappearance out, their last hit song out for listeners, and has been given new orders by the owner of Megarecords, Fiona (Parker Posey), to find a new band. Downtown Riverdale isn’t exactly bursting open with random bands just crossing his path. Except, he has to hit the brakes to avoid hitting the Pussycats. He offers the girls a contract and flies them out to New York. The roses have a few thorns. Wyatt renames the band to Josie and the Pussycats. But the thorns are ignorable as the band begins to chart.
Fiona has what she needs, the new band to replace Dujour. She takes a group of foreign investors on a tour of her underground facilities. Megarecords, in conjuction with the American government through Agent Kelly, is working on a massivie subliminal message project. Hit bands under the Megarecords label have had extra tracks laid under the music with suggestions narrated by Russ Leatherman, Mr. Moviefone himself. Said suggestions include fashion trends, what slang is hot, what colours are in, and what to buy. Dujour had made this same discovery and were silenced. But now, Megarecords has Josie and the Pussycats, who are the number one band in America.
Valerie, though, still sees the thorns. She sees the media focused on just Josie. She sees how she and Melody are being shifted away. Most movies in this genre – band climbing to fame – sees the lead singer arguing with her bandmates and letting her ego get away from her. The live action Jem and the Holograms is a good example of this plot. However, Josie cares too much about Valerie and Melody to just toss them aside; they’ve worked too hard together to get where they are. Nothing will get in between them.
Wyatt and Fiona realize how close the Pussycats are, so arrange to turn Josie into a solo act. First, Valerie and Melody are lured to a fake taping of Total Request Live where the real Carson Daly and a fake Carson Daly (Aries Spears) try to murder them. With Josie alone, Wyatt passes along a new remix of a new song to Josie to listen to, one with subliminal messaging telling her that she’s far better than Melody and Valerie. Valerie and Melody manage to escape both Carson Dalys and return, only to be driven away by Josie.
Alone, Josie storms off, still listening to the remix with the subliminal messaging. She winds up skipping Alan M.’s gig as a solo guitarist, leaving him to the tender mercies of Alexandra. Josie does break through the brainwashing, though, and realizes what happened. With help from Alexander and Alexandra, Josie gets the proof she needs that Megarecords, Wyatt, and Fiona are up to no good. Fiona catches her in the act, though, and forces her to go to the Sega Megarena to perform.
Melody and Valerie catch up at the Megarena. Josie tries to make up for her bad behavior to them, but the bridges are too badly burnt. Fiona threatens to kill Valerie and Melody to force Josie to go on stage, to the point of having an MTV news bulletin already created reporting the deaths of the bandmates in a firey explosion. Josie acquiesces, but still tries one more time to make up with her friends. All looks lost, until the deus ex puer cohortem arrives, in the form of Dujour. They had managed to land their private jet. Unfortunately, they set down outside a Metallica concert and only escaped the fans because of one of Dujour knew “Enter the Sandman“. Dujour isn’t up for a fight, but they are the distraction Josie needs to try to free her friends. Too bad the car Valerie and Melody are in are on a turntable, letting Fiona catch Josie in the act.
Josie, though, has had enough and launches herself at Fiona. With chaos breaking out, Valerie and Melody break free and help out. Valerie takes on Wyatt leaving Melody to deal with Fiona’s bodyguards. The latter fight isn’t fair; Melody knows kung fu. Valerie manages to clothesline Wyatt. Josie goads Fiona into swinging a guitar at her; the miss destroys the machine controlling the subliminal messages. Agent Kelly arrives with several other G-Men. Josie reveals the plot to them, telling them that Fiona and Wyatt were brainwashing teenagers. Kelly has little choice but to throw Fiona under the bus and takes her away.
The Megarena is still filled with an audience who wants to see Josie and the Pussycats play. The Pussycats are blown away by the size of the crowd, but still go on with the show, even without the subliminal messages, giving the audience a chance to make its own decision on whether to like the band. The Pussycats bring down the house.
The movie is a satire of the music industry and consumerism. Dujour is the boy band of the day. Product placement is everywhere, obvious and obnoxious, none of it paid placement. There’s even an Evian ad in a whale tank. The Pussycats get co-opted to sell everything, even themselves. There are times when the movie is cynical about the music industry. At the same time, the movie understands its target audience. Teenagers are media savvy and know when they’re being pandered to, with some extras for fans of the cartoon. Fiona’s plot is comically over the top to satisfy a very human need, the need to be accepted. All from Archie Comics’ film studio, Riverdale Productions. Josie and the Pussycats isn’t what is expected from the company*.
The characters from the comic are critical to making the movie about the Pussycats instead of any other all-girl band. Josie is the ambitious one, wanting to become a rock star, the one pushing her bandmates. Valerie is the rock, the one still anchored to reality that her friends can count on. Melody is still the ditz, not quite all there and capable of completely missing the obvious. Josie and Alan M. are trying to be a couple, with Alexandra trying to insert herself into Alan M.’s life. Alexandra remains true to her comic book incarnation, unpleasant but willing to let herself be dragged along when the going gets tough. She even keeps her skunk stripe. The effort is there to keep the characters true to the original. Again, it helps that the owners of the property are involved; that’s one less separation between the original work and the adaptation.
The movie has had an effect on the characters in the comics. The names given in the film – Josie McCoy, Melody Valentine – have been accepted as canonical. Valerie‘s last name was Smith in the comics, though it changes to Brown when Pepper Smith returns. With the New Riverdale line of comics, with new but still familiar designs for all of the Archie characters, the Pussycats get a look that fits in with the movie, though Melody is less a ditz and more living in her own comic book that just crosses over with Josie and the Pussycats.
The live action Josie and the Pussycats is an evolution for the characters. They were brought up to date, given a new sound that resonated with the era, and yet remained true to their comic book forms. While the movie didn’t do well in theatres, it provided satire of an industry while delivering a comic book-style plot that would fit in with the animated adaptation of 1970.
* Then again, the publisher has released such titles as Archie Meets Kiss, Archie Meets the Punisher, and Archie vs Sharknado, so maybe the movie isn’t all that unexpected.
My Little Pony: Friendship is Magic was originally meant to advertise a new line of My Little Pony toys. Instead, it became a massive hit, not just with the intended audience of pre-tween girls but with people of all ages. Toys and other merchandise sold well, enough that Hasbro showed gains while other toy companies were struggling, but audiences tuned in because of the characters. Within the Mane Six alone – Applejack, Fluttershy, Pinkie Pie, Rainbow Dash, Rarity, and Twilight Sparkle – there is a pony to appeal to everyone. Their core natures meant that any episode featuring two of them would have a conflict that the ponies would have to work out. No one pony is given preference, so resolving the conflict means finding a compromise that works for both. For the target audience, it’s a lesson in how to get along with friends who act differently.
The Mane Six aren’t the only characters in Equestria. Applejack and Rarity have younger siblings, Apple Bloom and Sweetie Belle, who, along with Scootaloo, form the Cutie Mark Crusaders, a trio of young fillies who want to grow up. Parallels to younger siblings and to puberty may be intended with them. Other ponies have made appearances, as regulars, such as DJ Pon-3 and Big Mackintosh, or as visitors to Ponyville, such as Trixie and Cheese Sandwich, the latter based on and voiced by “Weird Al” Yankovic.
With a series that mixes fantasy adventure with slice of life, there is plenty of room for ponies other than the Mane Six to get together and save Equestria. Online roleplaying fora exist for just that. With people wanting to play in Equestria, an official licensed role-playing game should have been expected. In early 2017, River Horse released* Tails of Equestria, the official My Little Pony: Friendship is Magic RPG.
Tails of Equestria comes as a single hardback book. The cover features art by Amy Mebberson with three ponies on an adventure, none of whom are part of the Mane Six. The unicorn on the cover is the sample PC (Pony Character) in character creation. Inside, stills from the show are used to illustrate the rules being explained on the page. There’s even a full spread map of Equestria and surrounding lands. PCs aren’t stuck in Ponyville; they can travel to such places as Manehattan and Vanhoover.
The game’s mechanics are easy enough to learn. There are three attributes – Body, Mind, and Charm – rated at a die type, from the four-sided die to the best die, the twenty-sided die. Most rolls will involve one of the attributes, though talents may modify the die type rolled. The Gamesmaster (GM) sets the difficulty anywhere from 2, very easy, to 20, “has anybody ever done this?” A roll of 1 results in bad luck; something goes wrong and hinders the pony. If the pony’s player wishes, he or she can use one or more Tokens of Friendship, the game’s drama point mechanic, to reroll the die, roll the next larger die and take the better result, or even succeed without rolling, depending on how many Tokens are spent. Other ponies can help, reducing the number of Tokens of Friendship needed to get a result. Teamwork makes tasks easier.
Character creation is quick. There’s ten steps, but each step only requires a simple choice. Players just have to decided on type of pony, whether to be brainy or brawny, what their Cutie Mark talent is, a quirk, and a name. Pony portraits are encouraged, either drawn by hand or through an online pony creator, the latter with parents’ permission and supervision. The unicorn on the cover, Firebrand, has a hand-drawn pencil portrait as an example. River Horse also has character sheets with pony outlines to fill in available for sale. If players prefer, they can use MLP toys as miniatures.
The game is aimed at the younger audience of the TV series. The writing is simple and direct, well illustrated when needed. The game reinforces the main theme from the cartoon, friendship is magic. Even if a player doesn’t give another a Token of Friendship to help in a task, ponies are encouraged to work together and give a helping hoof. The quirks, minor drawbacks that limited what a pony can do, help show how two ponies are different but can still work together. The game gets a little heavy-hoofed with the message, but the target audience won’t notice. There are helpful hints for the GM through out the game, with more in the GM’s section on how to run the game. There’s even an option to run a Cutie Mark Crusader-style game, with players being young colts and fillies trying to discover what their cutie mark talent is.
Tails of Equestria also has an adventure for beginning players. The Mane Six need to find out what’s turning ponies into statuettes but they promised to give their pets a party. The players are recruited to watch over the pets while the Mane Six are gone. Given that Fluttershy’s rabbit, Angel, is the complete opposite of his name, things don’t go smooth for the PCs. And while it seems like the Mane Six are off having an epic adventure while the PCs are rounding up wayward pets, the end of the adventure leads into the first expansion set, The Curse of the Statuettes.
Mechanics alone do not determine the tone of a game, though matching them to the setting helps greatly. MLP:FIM has its own themes, the big one being the power of friendship. Violence doesn’t solve problems; friendship does. Tails of Equestria follows this theme. The combat section takes just two pages and is called “scuffling”. Ponies who lose all their stamina need to rest; they get to see stars around their head when stamina reaches zero. Ponies that help each other see the difficulty of their tasks get reduced. One pony might not be able to lift a heavy table; four ponies can easily move it to where they want it. The focus of the game is on friendship. Even the number of Tokens of Friendship depends on the number of friends, including the GM, who are playing. A new player means a new friend, so everyone else gets an extra Token while the new pony gets a number equal to everyone playing, even the people who couldn’t make it. After all, a friend is still a friend, even if they’re not at the table.
The only real problem with Tails of Equestria is how it handles the Elements of Harmony. Every Pony Character must choose one, but there isn’t much on how the Elements are used. The idea is that if a task fits one of the Elements well, a pony with that Element can succeed without having to roll. Fortunately, the adventure included in the book shows how it works, but there isn’t much else.
Tails also has a small bestiary, just containing the creatures needed for the introductory adventure. The same section also has the Mane Six fully statted out plus generic ponies of all three types. The expansions should have more details; The Bestiary of Equestria has far more if players are interested, including new character types like Griffons and Buffalo. River Horse is supporting the Tails of Equestria line with a wide range, including a sourcebook for the MLP:FIM theatrical movie.
Game designers have a difficult task when adapting a work to a game of any sort. With tabletop RPGs, the goal is to take what has been shown and expand it so that players can have fun in the setting. Tails of Equestria took My Little Pony: Friendship Is Magic and presented the setting as a place for players to play in and have fun, much like the cartoon invites audiences to do. With only small problems, Tails of Equestria gets to the heart of MLP:FIM and makes it possible for players to do the same thing the Mane Six do, have adventures with friends helping each other out.
* In North American, the game and its supplements is distributed by Ninja Division.