This week we examined the graphic novel, or as Dan Clowes
prefers, the “comic book”. His works, Ghost World and Art School Confidential, were humorous and in some cases
relatable. Both examine an awkward time
after graduating from high school and the transformations associated with
adolescence.
Ghost World was my
favorite of the two and having seen the film prior to reading, it was
interesting to analyze the adaptation. Some
scenes from the comic book, such as the diner scene with Weird Al and the
girls’ obsession with the “Satanists”, were depicted very similarly in the
film. Much had to be added, however, in
order to have a strong enough plotline and appropriate length.
In class we discussed how comic books are commonly adapted
into films. My first thought was, “of
course – the story and visuals are already laid out for the director. It must be easy.” After reevaluating, however, the challenges
of such an adaptation became clearer.
When turning pre-established dialogue and image into a motion picture,
it’s the director’s duty to mimic, or at least build upon, the visions of the
artist. The director must take into
consideration the characters, setting, and mood, leaving very little leeway or
artistic license. Of course the director
could take his own approach, but he might leave comic book fans disappointed by
giving their favorite characters a different look or attitude.
That being said, I think Terry Swigoff did Clowes’ work
justice. Ghost World is incredibly quirky, awkward, and presents two
distinct personalities that seem angry about absolutely everything and treat
life as a joke. That’s not to sound
negative, though, for Enid and Rebecca are amusing and even lovable to an
extent, and Swigoff seems to have captured them very well. In addition, his camera angles, stage, and
even the strange dance sequence at the beginning all echo the original tone set
by Clowes.
I think audiences should be impressed by the success of
transferring a comic book to the big screen.
Novels may have a book cover that set a “starting point” for a film
director; Chris Columbus used Mary Grandpre’s Harry Potter and the Sorcerer’s Stone illustration as a model for
casting Daniel Radcliffe. However, there
was plenty of room for establishing his personal vision.
Picture books are on the same turf as comic books. The animation of The Polar Express greatly resembled Chris Van Allsburg’s original
work. It wouldn’t have felt right
without visuals similar to the children’s book illustrations. How
the Grinch Stole Christmas is another great example, especially because
they turned cartoon-like images into a live action presentation. The wonderfully whimsical Dr. Seuss was
certainly evident throughout Ron Howard’s adaptation.
No comments:
Post a Comment