spiderwort
Junior Member
@spiderwort
Posts: 2,101
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Post by spiderwort on May 31, 2019 15:19:41 GMT
Beyond the obvious Shakespearean adaptations, there are probably many films that have gone from the big screen to the small screen - often with not the best of results, imo.
Two come to mind for me immediately:
Splendor in the Grass (TV 1981)
- a maudlin, mediocre production, with Melissa Gilbert in the Natalie Wood role. She's not bad, but she has a lot to overcome in this production and certainly doesn't come close to what Wood accomplished. The script destroyed the beauty of William Inge's Oscar winning original screenplay, and Cyril Ritchard who played the Warren Beatty character, was just awful under the terrible direction of Richard Sarafian. It's the perfect example of why one should never remake anything that is already the best it can be.
That said, here's another redo that fared much better, for reasons that seem obvious, though it still can't compete with Arthur Penn's original masterpiece.
The Miracle Worker (TV 1979)
- with Melissa Gilbert as Helen Keller, and Patty Duke as Annie Sullivan. The script was written by William Gibson, who wrote the original play, and it had a wonderful director, Paul Aaron, who was exceptional with actors. It's a compelling and moving production. Patty Duke brings something special to it, in part because she played Helen in the original, and also because at her best she was a truly remarkable actress. It's interesting to see her shift gears and take on the Annie Sullivan role. And Melissa Gilbert does an excellent job, too, because she was very well directed, and also, I'm sure, because she got a lot of help and support from Patty Duke, her mentor and her friend.
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Post by bravomailer on May 31, 2019 15:25:22 GMT
All Quiet on the Western Front. I prefer the TV version.
Catch-22 has become a miniseries.
From Here to Eternity
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Post by Doghouse6 on May 31, 2019 16:33:20 GMT
Double Indemnity (1973)  Richard Crenna and Samantha Eggar try to fill the shoes of MacMurray and Stanwyck. Director Jack Smight appeared not even to have tried filling Wilder's.  Lee. J. Cobb was more than serviceable taking Edward G Robinson's place but, otherwise, the whole thing was flatter than beer left out all night. By 1973, even for TV, they could probably have gotten away with content in the novella that they couldn't 30 years earlier, thus giving the story some fresh twists audiences hadn't seen; instead, it's only a pared-down version of the Wilder-Chandler script.
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Post by teleadm on May 31, 2019 16:59:46 GMT
Regardless of the source, it was a movie that made them famous and endure:  1974, Loren and Burton might be great, but is no match to Howard and Johnson. As this is a poster it might have been showed a cinemas too, in select theatres.  1981  The Corn is Green 1979, Hepburn taking over Bette Davis' role. This was the last Hepburn-Cukor collaboration, too.  1976, Joseph Bologna and Renée Taylor in a TV remake of Woman of the Year, trying to fill the roles once etched by Tracy and Hepburn.  1989 |
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Post by mattgarth on May 31, 2019 17:44:11 GMT
-- There have been several versions of some of the following ten
-- Only using one set of casts for brevity
-- Most originally began as stage plays prior to the theatrical films
****************************************************************************************************
01) PICNIC -- Josh Brolin & Mary Steenburgen
02) SWEET BIRD OF YOUTH -- Elizabeth Taylor & Mark Harmon
03) THE DEFIANT ONES -- Robert Urich & Carl Weathers
04) A STREETCAR NAMED DESIRE -- Ann-Margret & Treat Williams
05) FAIL-SAFE -- Richard Dreyfuss & George Clooney
_________________________________________________________________
06) A MAN FOR ALL SEASONS -- Charlton Heston & Vanessa Redgrave
07) THE LION IN WINTER -- Heston again & Glenn Close
08) ON GOLDEN POND -- Julie Andrews & Christopher Plummer
09) CAT ON A HOT TIN ROOF -- Jessica Lange & Tommy Lee Jones
10) THE GLASS MENAGERIE -- Joanne Woodward & John Malkovich
***************************************************************************************
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Post by bravomailer on May 31, 2019 17:47:32 GMT
All Quiet on the Western Front. I prefer the TV version. Catch-22 has become a miniseries. From Here to Eternity Bravo, I really liked the tv version of WESTERN FRONT, so well directed by Delbert Mann with great performances, too. But personally I still prefer Lewis Milestone's almost silent version. Something about the "almost silent" aspect of it, for me, magnified the horrors of the war. But that's me.
I thought the FROM HERE TO ETERNITY mini-series was very good, but for me nothing could come close to being as good as the film was.
As for CATCH-22, I have a screener for it, but haven't watched it yet. It looks promising. But I didn't see the original film, so I'll have nothing to compare it to.
Oh, I think very highly of Lewis Milestone's All Quiet, but Mann's remake has better acting. The film Catch-22 is polarizing. I think it does a fine job with the irony, illogic, and mirth of the book. Haven't seen the miniseries which I believe Clooney is in charge of. That reminds me. He made a TV version of Fail Safe. (I see Matt has mentioned it.)
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Post by movielover on May 31, 2019 17:49:33 GMT
I was going to say The Miracle Worker (1979) and All Quiet on the Western Front (1979), but you guys beat me to it!  |
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Post by mattgarth on May 31, 2019 18:12:26 GMT
And a few more (sorry, no accompanying pictures)
**********************************************************************
01) A HATFUL OF RAIN -- Sandy Dennis & Peter Falk
02) EAST OF EDEN -- Jane Seymour & Timothy Bottoms
03) CAPTAINS COURAGEOUS -- Karl Malden & Ricardo Montalban
04) MIRACLE ON 34th STREET -- Jane Alexander & Sebastian Cabot
05) MRS. MINIVER -- Maureen O'Hara and Leo Genn
_________________________________________________________________
06) FOR WHOM THE BELL TOLLS -- Jason Robards & Maria Schell
07) A TREE GROWS IN BROOKLYN -- Cliff Robertson & Diane Baker
08) HIGH NOON -- Tom Skerritt & Maria Conchita Alanso
09) THE LETTER -- Lee Remick & Ian McShane
10) JOHNNY BELINDA -- Richard Thomas & Patricia Arquette
************************************************************************
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Post by mattgarth on May 31, 2019 18:31:33 GMT
HIGH NOON was pretty dreadful
CAPTAINS COURAGEOUS centered more on Malden's ship's captain (Lionel Barrymore in the film) than on Montalban's fisherman (Tracy's Oscar winner)
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Post by bravomailer on May 31, 2019 18:39:00 GMT
The Shining. (I haven't seen it.)
The Handmaid's Tale. (I've seen several episodes. Quite good but it jumped the proverbial shark and lost me.)
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Post by mikef6 on May 31, 2019 18:53:13 GMT
On tomorrow’s weekly thread, I will review “Step Down To Terror” (1958) a second feature programmer that borrows the plot of Hitchcock’s “Shadow Of A Doubt” without credit. “Step Down” no doubt played on television after its theatrical release but “Shadow Of A Doubt” got its own direct re-make for TV in 1991 with Margaret Welsh as Charlie and Mark Harmon as Uncle Charlie.  Hitchcock’s “Notorious” was also given the made-for treatment the next year, 1992, with John Shea as Devlin and Jenny Robertson as Alicia. Nevah hoid’a fum.  |
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Post by Doghouse6 on May 31, 2019 20:54:29 GMT
Didn't see this one, doghouse, but it seems like I'm better off for that. I agree with your comments, and I suspect that if it were done today it might have more of what you suggest. One can hope anyway.
It's not that it's execrable; just verrrrry run-of-the-mill, disposable '70s TV with no sense of style. Still, it provides a lesson in how even the best material can be rendered mundane by unimaginative treatment. I've always said a comparison of the novella and screenplay comprises a do-it-yourself class on screenwriting, from which the development of some story elements, the elimination of others, general tightening and focus, along with the translation of literary devices to cinematic ones, accomplished by Wilder and Chandler become clear. Maybe the '73 version provides one on pitfalls to avoid. We did. That's a literary device I have difficulty imagining being anywhere near as effective on screen. Even a simple visual representation of those two final words would be hard pressed to pack the kind of haunting wallop they do on the page.
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Post by mikef6 on May 31, 2019 22:23:21 GMT
02) EAST OF EDEN -- Jane Seymour & Timothy Bottoms
I thought this mini-series version was very good, much to my surprise, able to cover the entire length of the novel, unlike the film version. I don't think I've seen any of the others you mentioned, except A TREE GROWS IN BROOKLYN, though I don't remember it very well. Good cast though. Still, it's hard to beat that film.
Contemporary critics were very harsh on the mini-East of Eden. From that comes one of my favorite cruel critical put-downs. A reviewer, commenting on the futility of comparing the TV show to Kazan's film wrote, "To say that Sam Bottoms is not James Dean is like saying a Big Mac is not Chateaubriand."
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spiderwort
Junior Member
@spiderwort
Posts: 2,101
Likes: 9,421
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Post by spiderwort on Jun 1, 2019 0:26:50 GMT
I thought this mini-series version was very good, much to my surprise, able to cover the entire length of the novel, unlike the film version. I don't think I've seen any of the others you mentioned, except A TREE GROWS IN BROOKLYN, though I don't remember it very well. Good cast though. Still, it's hard to beat that film.
Contemporary critics were very harsh on the mini-East of Eden. From that comes one of my favorite cruel critical put-downs. A reviewer, commenting on the futility of comparing the TV show to Kazan's film wrote, "To say that Sam Bottoms is not James Dean is like saying a Big Mac is not Chateaubriand."
A great quote and very true! That said, I do love the ability of the mini-series to explore so many wonderful aspects of the Steinbeck novel - especially adding the Chinese cook, Lee, and the word "timshel," a critical component of Steinbeck's theme - "Thou mayest."
I love the novel so much. And I love the great, abbreviated Kazan film, so beautifully adapted by Paul Osborn. There's no comparison between the film and the miniseries in terms of greatness for sure. But I do appreciate that in the mini-series the scope and scale of the tale is a broader, more inclusive rendition of the Steinbeck novel with all its wisdom. (And now I've gotten carried away from your original point; sorry. There is absolutely no comparison between Timothy Bottoms and James Dean!)
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Post by bravomailer on Jun 1, 2019 0:34:04 GMT
I'd like to see a miniseries based on Norman Mailer's The Naked and the Dead – one of the finest war novels ever written. The 1950s film with Aldo Ray and Cliff Robertson was only so-so and committed the unpardonable sins of changing who lives and dies and patching on a happy ending. The filmmakers must have figured that Mailer didn't see the bright side of the Pacific war. Furthermore, there is a wealth of material in the 700-page book.
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Post by claudius on Jun 1, 2019 0:53:08 GMT
Now is this solely remakes or adaptations, because several of these were originally novels, which became major films. THE MARK OF ZORRO (1974) with Frank Langella and Ricardo Montalban. This version uses Alfred Newman's score for the 1940 film version. LITTLE WOMEN (1978) with Susan Dey, Meredith Baxter, Eve Plumb, Greer Garson, Dorothy McGuire, and William Shatner. LITTLE LORD FAUNTLEROY (1980) with Ricky Schroeder, Alec Guinness, Connie Booth, and Eric Porter THE DIARY OF ANNE FRANK (1980) Melissa Gilbert was everywhere! IVANHOE (1982) with Anthony Andrews, Sam Neill, Olivia Hussey, and James Mason. THE SCARLET PIMPERNEL (1982) with Anthony Andrews, Jane Seymour, and Ian Mckellen THE SUN ALSO RISES (1984) with Hart Bochner and Jane Seymour (mother and son in EAST OF EDEN- albiet the two never really share a scene, and later a couple in WAR AND REMEMBRANCE). I know this best from a promo/intro after a MICKEY'S CHRISTMAS CAROL broadcast on NBC December 1984. The recording changes into a Saturday Morning Broadcast of THE TRANSFORMERS. SORRY, WRONG NUMBER (1989) with Loni Anderson and Robert Urich. THE NIGHT OF THE HUNTER, with Richard Chamberlain as the Preacher. I saw the ending, which removes the second half and ends with the kids escaping and the Preacher meeting a watery end. I also saw the ending to the Mark Harmon SHADOW OF A DOUBT, which decides to do a trick ending. I remember the TNT promos for DINNER AT EIGHT, and this introduced me to the story before I saw the 1933 (which I saw first). There didn't seem much change save for updating (the Guests of Honor head for Disney World) and the resolution of one of the characters The daughter doesn't find out about Renault's death, and the film- after the 'I read a book the other day' coda-
ends with her waiting for his arrival, and then giving up to join her future fiancée for dinner. I read about a REAR WINDOW with post-accident Christopher Reeve in the James Stewart role. |
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Post by fangirl1975 on Jun 1, 2019 20:56:33 GMT
In Cold Blood was re-adapted as a 1996 miniseries with Anthony Edwards and Eric Roberts as the killers and Sam Neill as the main lawman.
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Post by Archelaus on Jun 1, 2019 20:57:06 GMT
The Magnificent Ambersons (2002). Its adaptation was based on Orson Welles's screenplay and editing notes, but they retained the happy ending from the original film.
Turning popular Broadway musicals or films into live, televised musical productions was trendy a few years back: The Sound of Music Live!, The Wiz Live!, Grease: Live, A Christmas Story Live!, and Rent: Live.
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Post by divtal on Jun 1, 2019 22:57:49 GMT
12 Angry Men. It was seeing this 1997 TV movie adaptation of the 1957 theater release, that changed my mind about "re-makes." The original film will never leave my top 10 favorites list. When I heard that there was a TV re-make being planned, I put my snippy little nose in the air, and said "I don't think so."I was wrong. (If you quote me on that, I'll call you a liar.  ) Some roles were closely cast to the original film ... - Jack Lemmon in the role played by Henry Fonda - George C. Scott in the role played by Lee J. Cobb - Tony Danza in the role played by Jack Warden - Hume Cronyn in the role played by Joseph Sweeney What, first, struck me was seeing Ossie Davis, with his formidable baritone presentation, playing the role of Juror #2, played by John Fielder, in the original film. Fielder was a competent actor, but the screen personae of the two actors was wholly different. Fielder's characters, often, seemed to take on a diminutive, withdrawn nature. The lines were the same, and I was surprised at how equally the two performers carried out their performances. The second thing that came to mind, was the small differences in the script. I've seen the film, often enough to know. There were slight adjustments in references to the movies that Juror #4 recalled seeing, two nights before. And, there were a few small changes on that level. On the whole, it was the same script. The third that opened my mind, was the understanding of why; performers, directors, musicians, scenery and costume professionals, et al, want to have their chance to create presentations from excellent pieces of writing. You don't see only one opera/ballet company presenting popular programs. You don't want to hear only one orchestra play beloved compositions. Artists want to ply their trade. However, I'll pass on any TV remake of "Howard The Duck."
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Post by teleadm on Jun 2, 2019 0:24:35 GMT
Came to think about:  Not just the great movies got a TV make-over, Attack of the 50 Foot Woman 1958, got a new life in 1993 with Daryl Hannah. I think there were a few more around this time, but old movies that were for drive-in audiences that was high camp bad, just can't be remade for TV, but they tried it anyway.  Harvey 1999, the story with he giant rabbit. Made in 1996 but wasn't broadcasted until 1999! ![]()  Well James Stewart made a remake himself in 1972 for Hallmark of Harvey.  Another James Stewart movie got a remake, Winchester '73 back in 1967, with Tom Tryon, John Saxon and Dan Duryea (who also acted in the original 1950 movie, but in another role). |
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