The two films "Let The Right One In" and "Let Me In" are both based on the same novel and made only two years apart. However, the "original" Swedish-based film "Let The Right One In" is in my opinion, and many critics also agree, is better than the "Americanized" remake "Let Me In" for various reasons. Beth Accomando summarizes the views best when she wrote, "anything good in the remake comes directly from the original" and I would add onto that the remake is not only just following the original but loses some qualities as well making it worse off.
Most of the arguments stem from the fact that not only were the two films made so close to each other but that the remake claims to be a fresh adaptation of the novel which many regard as being not that accurate as a reviewer states, "I've read the book, and there was certainly plenty left behind when Lindqvist wrote his screenplay. Unfortunately, Reeves hasn't really ferreted out anything new; on the contrary, there is actually less plot in Let Me In than in the Alfredson version." The original was all about how subtle it could be. It starts off slow and unravels as the protagonist get closer to this strange girl he has met. The remake goes in the complete opposite direction personally, but still holds a lot of the elements. For example the very first scene of the American version is a flash-foward in the plot featuring a disfigured man throwing himself off a roof apologizing to a barefoot girl who just climbed half of a hospital's height in seconds. This scene pretty much reveals that she is, one: not human and two: the man was not actually her father but still cared for her. In the original you don't get to see Eli, the vampire, in a "monster state" like you do with Abby, the name c...
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...a great American movie. There are notable similarities and the spirit of Tomas Alfredson is present. But Let me in puts the emotional pressure in different places and stands firmly on its own legs. Like the Swedish movie it made me cry, but not at the same points. Let me in is a dark and violent love story, a beautiful piece of cinema and a respectful rendering of my novel for which I am grateful. Again." However, one can't help but compare the two and in doing so the Swedish film is just regarded better by most, me included.
Works Cited
[1] Accomando, Beth. "Review: ‘Let Me In’." Review: 'Let Me In' N.p., n.d. Web. 11 Dec. 2013.
[2] Rich, Jamie S. "Let Me In : DVD Talk Review of the Theatrical." DVD Talk. N.p., n.d. Web. 11 Dec. 2013.
[3] Dorn, Alex. "Novelists Stephen King and Ajvide Lindqvist Embrace 'Let Me In'" HitFix. N.p., 08 Oct. 2010. Web. 16 Dec. 2013.
Movie adaptations can sometimes be accurate, but in this case, the movie for The Giver was not. Most of the changes made were minor and didn't affect the story. One of the minor changes was that The Giver, Jonas, and Gabe did not have pale eyes but had marks on their wrists instead. Some changes completely affected the plot. The major changes, Fiona’s job being different and the characters taking injections instead of pills, made the whole movie more dramatic and different from the
There are few similarities between the book and the movie. Usually most movies are similar to
Cude, Wilf "Truth Slips In: Timothy Findley's Doors of Fiction" The Antigonish Review, Spring 1996, vol 27 pp75.
...d coloring of certain images. The novel, however, puts much greater emphasis on the imagination and creativity, and on the main character Tita. The novel really makes the reader feel Titas pain and grow with her as she discovers her freedom, whereas the movie failed to achieve this. Moreover, the movie tends to ignore the significant of 3 integral motifs, cooking, tears and sensuality.
The Outsiders and The Wednesday Wars deal with misunderstandings among young people in the 1960’s and show how people can form friendships despite their differences. The Outsiders by S.E. Hinton is about two rival gangs, the Greasers and Socs. Ponyboy Curtis and some Greasers befriend Cherry Valance, a Soc. She spies on the Socs and helps out the Greasers. Ponyboy and his friend, Johnny Cade, become involved with the killing of a Soc, so they run away to an abandoned church. When the church catches on fire, Ponyboy, Johnny, and their friend Dallas Winston, save a few children who were trapped in the burning building. Johnny gets injured during the process and later dies. The boys are mentioned in the newspaper as heroes. The
In conclusion, details involving the characters and symbolic meanings to objects are the factors that make the novel better than the movie. Leaving out aspects of the novel limits the viewer’s appreciation for the story. One may favor the film over the novel or vice versa, but that person will not overlook the intense work that went into the making of both. The film and novel have their similarities and differences, but both effectively communicate their meaning to the public.
In the book, Sara Good confesses to witchcraft because she has a baby on the way, but in the movie, she did it because she knew if she confessed she wouldn’ be hung. Also in the book Abigail Williams pulled a needle out of her stomach at the dinner table, which later becomes to be a big factor in the court cases. In the novel Tituba is actually threatened into confession or else she would be whipped and deported. All of these factors could come into play when determining someone’s mind on which version is better, but by far the movie did a much better job all
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The 1989 film Do the Right Thing displays a story about racial tension in a predominantly African-American neighborhood. Spike Lee not only directed and produced this film but he was also the main character, Mookie. In spite of maintaining these three jobs, Lee incorporated cinematic techniques that allowed his film to unlock controversial ideals for both Caucasian and African-American viewers. Through the use of camera elements Lee was able to display emotions and tone of the scene without using stating it directly. Lee exhibited film methods such as low-angle shots, close ups, slow motion and panning.
Kennedy, X. J., and Dana Gioia. "The Hurt Locker." Literature: An Introduction to Fiction, Poetry, Drama, and Writing. Twelfth ed. Boston: Pearson, 2013. 942. Print.
I think that the opening of the film was not as good as the opening of
These two films are very different from other crime movies, and break the classical genre of crime. They can be considered as revisionists, and put a twist on the typical crime movies. In the classical genre of crime it is always consist of the same thing which include traditional criminals; only caring about themselves, seen as an anti-hero, agent of oppression by taking from anyone just to get rich, taking advantage of the system (for their own purposes), and wanting to live the American Dream. Whereas in the revisionist have this unique way of making the audience fall in love and have them rooting for the criminals, this is because; they critic what is right and wrong with society, show the oppression of the people, are one of the people, a social rebels, and most of all they know who they are and where they come from.
...movie that I fell in love with. But most of all I love how the story line is a great overlap into the cinematically engaging movie. There is a great use of camera, timing, shots and story line that are portrayed in this movie without being too overwhelming. This allows the audience to relax during the movie and just take in the scenes as a story from reality. To this day, and even still doing this paper I still come to find different aspects of the movie that I missed the previous times I have watched it.
Now for the counterargument. Some people say that they enjoyed watching the movie after reading the book. They may say that they think the movie does follow the book, and that the characters and events are the same in both versions. However, they are wrong because there is plenty of evidence that says otherwise. The different scenes of the book and movie, and also the characters that are completely different and don’t follow the same path in the two different
Ed. Janelle Rohr. San Diego: Greenhaven Press, 1989. Call Number: HV4711.A581989. Cohen, Carl.