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10 Excellent Book to Screen Adaptations

Many readers are adamant that the book is always better than the movie, but this may not be a fair comparison because of the difference in form. Films don’t often have the time to explore every detail included in their source material, especially longer classics. But sometimes, screen adaptations bring something new to the original story that offers a new perspective. This is particularly refreshing in the case of books written long before an adaptation is made. Here are ten examples of excellent book-to-screen adaptations, including those in the form of television or web series.

Anne of Green Gables by Lucy Maud Montgomery

Lucy Maud Montgomery’s classic Canadian book series has been adapted for the screen multiple times. Still, two of its most popular adaptations are Kevin Sullivan’s 1985 film (followed by the 1987 sequel, and the slightly deviant third instalment in 2000) and the more recent Netflix series Anne With an E (2017).

The story of Anne Shirley begins when she arrives in Avonlea of Prince Edward Island after a bleak childhood as an orphan. Despite her loveless upbringing, Anne is a vibrant character full of imagination, and her adoptive parents love her for it. The 1985 film adaptation stars Megan Follows as the leading character, while Anne With an E stars the young Canadian-Irish actress Amybeth McNulty. Both give endearing performances as the beloved young heroine.

Sullivan’s adaptation is much closer to the books than Moira Walley-Beckett’s grittier Netflix series, but both bring the characters to life in the same dreamlike setting. The series introduces themes and characters that aren’t even mentioned in the books, including LGBTQ+ characters, people of colour, and First Nations indigenous characters. The series also presents a more realistic portrayal of Anne’s journey. She isn’t immediately accepted in her new home and must face bullying and discrimination for her appearance, her background, and her quirky personality.

Charlie and the Chocolate Factory

Roald Dahl’s popular children’s book has also been adapted for the screen more than once. Charlie and the Chocolate Factory (2005) stars Johnny Depp as Willy Wonka in a fun, colourful, and slightly more modern take on the original story. However, the 1971 film Willy Wonka and the Chocolate Factory is the more beloved and critically acclaimed adaptation. In the earlier film, Willy Wonka is portrayed by Gene Wilder, who brought fun and enigmatic charm to the character and gave Wonka his own touch.

Perhaps the difference in titles is significant because Mel Stuart’s Willy Wonka focuses more on its titular character, whereas Tim Burton’s later adaptation centres more on Charlie. Visually and stylistically, Burton’s film resembles other films he’s directed, with its darker gothic edge offset by quirky characters. Even the movie poster matches his other works, whereas Willy Wonka and the Chocolate Factory‘s poster looks like a children’s fantasy – which it is. In any case, both adaptations do an admirable job of bringing the magic of Willy Wonka’s chocolate factory to life.

Gone Girl

Gillian Flynn’s 2012 novel was adapted for the big screen in 2014. David Fincher directs this mystery thriller, which stars Rosamund Pike and Ben Affleck as Amy and Nick Dunne, a troubled married couple.

When Amy goes missing, Nick is one of the main suspects of her disappearance. He adamantly denies any involvement or influence, even as strange details about their past emerge.

The film brings to life the eerie, elusive nature of the mystery and of the characters themselves. A sleek and gloomy approach to the cinematography dramatically aids in this portrayal, as do the actors’ performances; Rosamund Pike scored an Oscar nomination for her role of Amy Dunne.

Harry Potter

JK Rowling’s bestselling Harry Potter series is one of the greatest book-to-screen successes. If such a beloved story and set of characters had been passed into the wrong hands, many book fans would have been disappointed. Luckily, the seven-part journey of Harry Potter’s life as The Boy Who Lived saw great success on the big screen.

Each film takes place during each of Harry’s seven years at Hogwarts School of Witchcraft and Wizardry – except for the final two Deathly Hallows films, which follow him, Ron, and Hermione on their quest to destroy Voldemort’s seven Horcruxes, each of which contains a part of his soul. Harry Potter and the Prisoner of Azkaban (2004) is the film that stands out in the franchise.

Alfonso Cuarón directs the third instalment, introducing a sense of darkness after Chris Colombus’s first two, lighter instalments. Known for award-winning films such as Gravity (2013) and Roma (2018), Cuarón brings a more cinematic quality to the third Hary Potter film. The Prisoner of Azkaban serves as a transition from childhood to adolescence as well as discovering the magical world and introducing its evils; the darkness in the film’s sound and cinematography suit the film’s themes and Harry’s loneliness.

The Hunger Games

Suzanne Collins’ dystopian trilogy is another popular book series that could have been a disaster onscreen, but the films were taken seriously and approached with a degree of maturity that served the adaptations well. They propelled Jennifer Lawrence to stardom and featured performances from a number of more experienced actors like Woody Harrelson, Donald Sutherland, and Julianne Moore.

The Hunger Games is set in futuristic North America, now called Panem. The country is divided into twelve Districts and a Capitol of wealthy, privileged people. Each year, the Districts must offer up one male and one female tribute, aged between twelve and eighteen, to fight to the death in a battle broadcast to the entire population of Panem.

The second instalment is the closest to its respective book, which may be why it’s the most popular. Having found its footing in the YA zeitgeist, the film is more modern and refined – perhaps thanks to Francis Lawrence’s directorial hand taking over from Gary Ross – and the characters reveal more depth following the events of the first film.

Little Women

Louisa May Alcott’s classical novel follows the four March sisters, Jo, Amy, Beth, and Meg, as they grow into young women. The story is told in a comedic way that makes the girls’ youth palpable and enjoyable to read, but the narrative voice relates their tales of joy and tragedy with understanding and respect.

Two of the most notable adaptations are the 1994 and 2019 films, both of which are female-directed (Gillian Armstrong and Greta Gerwig, respectively) and critically acclaimed. The earlier adaptation stars Winona Ryder as the aspiring author Jo March, while Saoirse Ronan plays a part in Gerwig’s film. The 1994 version is a fable-like retelling of the March sisters’ lives, while the 2019 adaptation adds more to the story through its clever direction. Both adaptations are loved by fans of the book, even if they are stitched together with slightly different strings.

The Martian

The Martian is a 2011 sci-fi novel by Andy Weir, originally posted chapter-by-chapter on his website. After amassing a broad readership, traditional publishers became interested in printing and selling Weir’s story of a botanist named Mark Watney who accidentally ends up stranded alone on Mars.

Matt Damon stars in the 2015 film adaptation alongside Jessica Chastain, Kate Mara, Chiwetel Ejiofor, Jeff Daniels, and others. Directed by Sir Ridley Scott, best known for his high concept science-fiction and horror films, The Martian seamlessly and skillfully adapts Watney’s sarcastic inner monologues for the screen. Humorous, adventurous, and visually captivating, the film is accessible for enjoyment by a broad audience.

Matilda

This is another one of Roald Dahl’s numerous works that have been adapted into movie form. Matilda is a young girl who doesn’t fit in with her family. When she develops telekinetic abilities, she uses them to assert her youthful independence in her household and at her school, which is run by an oppressive principal.

The 1996 film is directed, narrated, and co-produced by Danny DeVito – who also plays Matilda’s father – with a twist of dark humour. As the titular character, a young Mara Wilson impressively embodies Matilda’s charm and sly wit. The film has been praised by critics and continues to be a popular family favourite to this day.

The Perks of Being a Wallflower

Stephen Chbosky’s famous young adult novel was published in 1999 but was not adapted for the big screen until 2012. The film stars Logan Lerman, Emma Watson, Ezra Miller, Mae Whitman, Paul Rudd, and Nina Dobrev.

Lerman’s character Charlie is a troubled introvert whose only friend is his English teacher until he befriends a group of misfits in their senior year. He’s still processing the suicide of his late friend, and his behaviour frightens his family. Since the film wasn’t produced until 2012, it affords a lens of nostalgia that wouldn’t have been possible if it had been adapted earlier.

Pride and Prejudice 

Jane Austen’s most renowned piece of feminist literature was published in 1813, far ahead of its time. Almost two hundred years later, her books continue to be read, celebrated, and adapted into films and television series. Two of Pride and Prejudice‘s best-known adaptations are the 1995 BBC series starring Jennifer Ehle and Colin Firth, and Joe Wright’s 2005 film starring Keira Knightley and Matthew Macfadyen.

Each adaptation offers a slightly different view of the Bennet family’s life. Elizabeth’s mother, Mrs Bennet, is fixated on finding wealthy husbands for her daughters. Elizabeth tries to ignore her obsessive attempts to get her married and instead follows her ambitions of becoming a respected woman. Both versions of Elizabeth are strong-willed and independent, but Knightley’s is decidedly more youthful, while Ehle’s is haughtier.

Given its longer running time, the series affords a more detailed glance into the lives of its characters. Wright’s film, on the other hand, is more concerned with style and cinematography, which works in the film’s favour.

Sound Selection 107: Ben Wylen, Cellini

Ben Wylen I Can’t Give You What You Want

I Can’t Give You What You Want is a brand new emotional single by Ben Wylen. This single marks the sixth song released from his upcoming album People Say, which is due to be published on November the 6th, 2020. With this song, Wylen showcases a superb level of songwriting alongside the co-writer Ed Harcourt, who has worked with star names such as James Bay and Paloma Faith. In terms of production, Wylen sticks with a commercial-ready sound, which is enriched by his mellifluous vocals we have come to hear in his previous singles.

Talking about the song Wylen said “The people that love you have certain expectations of you. They have expectations of the person you are today and the person that you will become. This song encapsulates what happens when you don’t live up to them.”

Cellini What’s After High (Club Mix)

Shifting to electronic music we have Cellini with the club mix version of What’s After High. In this version, Cellini mixes a melancholic mood with a stable Techno kick and swirling sharp-like synths that you would hear in a Techno-loving nightclub on a typical Friday night. This version of the track marks a note of what we are missing in today’s world due to the current crisis. 

Supergroup Gone is Gone Share New Track ‘Everything Is Wonderfall’

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Gone is Gone, the supergroup consisting of members from Mastodon, At the Drive-In, and Queens of the Stone Age, have shared a new track called ‘Everything is Wonderfall’. Check it out below.

Formed in 2016, the group includes Mastodon singer-bassist Troy Sanders, At the Drive-In drummer Tony Hajjar, Queens of the Stone Age guitarist Troy Van Leeuwen, and multi-instrumentalist Mike Zarin. Their latest offering follows the stand-alone single, ‘No One Ever Walked on Water’, which dropped back in 2018.

Gone is Gone’s last album was 2017’s Echolocation, which followed from a self-titled EP in 2016. Recently, Sanders revealed that he is also working on new music with Mastodon.

Sylvan Esso Release New Track ‘What If’

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Indie duo Sylvan Esso are back with a new song titled ‘What If’, their first new single in two years. Watch the video for the new track, which is just 90 seconds long, below.

So far, the track isn’t available on any streaming services, only on YouTube as well as the band’s social media pages. “Stay tuned for more info coming soon,” a press release states.

The band – which consists of Mountain Man’s Amelia Meath and Megafaun’s Nick Sanborn – released their previous single , ‘PARAD(w/m)E’, in 2018. Their most recent album was 2017’s What Now. A few months ago, they put out the live album and concert film WITH. Back in May, they appeared in an episode of This Must Be the Gig, where they hinted at new music.

The Regrettes Share Video for New Single ‘I Love Us’

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The Regrettes have shared a new single called ‘I Love Us’, alongside an accompanying animated video directed by Luis Hindman. Check it out below.

The track marks the LA indie rock band’s second single of 2020, following the quarantine anthem ‘What Am I Gonna Do Today?’. In a statement, frontwoman Lydia Night explained: “‘I Love Us’ to me represents great change and growth for The Regrettes. This song showcases the kinds of risks and genre-bending I hope to accomplish moving forward with our third album.”

She added: “While writing this song, I officially decided to let go of having any preconceived idea for what a song I’m writing needs to be like. It was me deciding to finally stop trying to stay within a box or stick to what’s comfortable genre-wise and just allow myself to have fun and not stress about it being ‘cool’ or ‘rock’ enough. I’m so inspired by artists like Charli XCXThe 1975, St Vincent, Brockhampton and much more. However, I never would let myself get a little weird by combining the elements from those artists that I love with the type of raw rock and power pop I normally write.”

The Regrettes’ most recent studio album was How Do You Love?, released in the summer of 2019.

The National’s Matt Berninger Unveils New Solo Single ‘Distant Axis’

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The National’s Matt Berninger has unveiled a new solo single titled ‘Distant Axis’. It’s taken from his upcoming album, Serpentine Prison, due out on October 2nd via Book Records, a new imprint he created with the record’s producer, Booker T. Jones. Check out the new track below, along with a music video directed by Berninger and his brother, Tom.

‘Distant Axis’ is a collaboration with The Walkmen’s Walter Martin. In a statement, Berninger explained: “I met Walter Martin fifteen years ago when The National opened for The Walkmen on a tour of shitty clubs in the American Southeast. On that tour I learned a lot about how to be in a band without ruining your life. I also learned a lot about Florida, Tennessee and Georgia. Walt and I have stayed friends and about three years ago we started passing ideas back and forth. ‘Distant Axis’ started from a sketch Walt sent me named ‘Savannah’. I think it’s about falling out of touch with someone or something you once thought would be there forever.”

Serpentine Prison will feature guest appearances from Andrew Bird, The National’s Scott Devendorf, The Walkmen’s Matt Barrick, Menomena’s Brent Knopf, and more.

Temples of Youth Release ‘Silver Cross’

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Temples of Youth, a DIY dream-pop band, have released their latest filmic-like, dreamy song Silver Cross. The song marks the ending of the ‘trio’ which also includes songs Suburbia and Rose Tinted. Like a lot of their discography, Silver Cross is the perfect track for lovers of shoegaze music.

Stream Silver Cross via Spotify.

Boogrov Presents New Album ‘Свет’

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Boogrov, an exciting music producer out of Russia, has released his album Свет, just yesterday. The album comes two years after his thirteen-track album Define. It features many meteoric-like beats and atmospheric sounds, at times reminding us of musicians like Jamie xx and Pixelord, while still maintaining the euphonious, warm, textured sound we have come to love from Boogrov.

With Boogrov’s album released, we are eager to see what is next for him in the upcoming months.

Свет can be streamed via Spotify.

Interview: Cressa Maeve Beer

On 26th June, stop-motion artist Cressa Maeve Beer uploaded a short film. Coming Out features Godzilla beginning to notice something about their child, Little Godzilla (Godzilla’s offspring from 1994’s Godzilla vs SpaceGodzilla). Little Godzilla comes out as trans, and the King of the Monsters sees and celebrates his daughter’s wonderful personhood. The short is warm and affectionate, openly affirming of transgender youth and wrapped in the brilliant guise of Toho’s icon. It also took the internet by storm.

As of July 2020, Coming Out has over 30,000 views on YouTube, over 21,000 retweets on Twitter, and has been viewed over 32,000 times on Instagram. It even garnered the attention of the official Godzilla channels, with both Legendary Pictures and Toho’s Official Godzilla Twitter account retweeting the film.

Our Culture is proud to present this interview with Cressa, who kindly sat down with us to talk about her film, how she got into stop-motion, and the importance of trans-affirming content.

Cressa, thank you so much for talking to Our Culture! Please introduce yourself for our readers.

It’s an absolute pleasure! Hi Our Culture readers, I’m Cressa. I’m a stop motion animator and video producer, with work ranging from music videos, documentaries, and brand campaigns, to PSAs screening in front of your film at your local Alamo Drafthouse. I like tea, books, and I never grew out of my dinosaur phase. With my personal art, I like creating a sunny patch for people to lay in when they need it most, and it coincides with my advocacy for the Trans community.

How did you get into stop-motion animation?

When I was little, I was obsessed with stop motion; Wallace and Gromit, Harryhausen, and this show on PBS called Long Ago and Far Away, which featured tons of stop-motion shorts from around the world. I was also very obsessed with LEGOs. I would take my parents’ VHS camcorder (an admission that probably gives away my age) and attempt to replicate the frame-by-frame shooting style to make my characters move, eventually making teeny tiny short films about Indiana Jones-esque adventures or rip-offs of comics or anime. I didn’t do much with it until maybe 2015 when I received the Godzilla figure I now use in all my shorts from NECA, and just started playing around again. I started posting what I made online and eventually was contacted by an old dear friend, Ryan Oestreich, to create pre-show bumpers for Cinepocalypse Film Festival, which prompted me to start taking this stuff more seriously. Soon I had enough experience and momentum to quit my day job and devote my time fully to my original childhood passion – an opportunity for which I’m exceedingly grateful.

Your recent stop-motion short has taken social media by storm. What was your inspiration?

The inspiration was personal. Right now everyone’s social media timelines are filled with both explicit and implicit hatred for Trans people – whether it’s this god-awful administration reversing healthcare rights or moving to discriminate in housing, or a certain famous children’s author using her platform to further vilify women. In response, I wanted to put art out into the world that was tender and positive. Since I’m a Trans woman myself, I also wanted to make something that I personally would want in my feed. I’m happy it resonated with so many others, and not just solely within my community – the response has been overwhelmingly positive, and I’m receiving emails and DMs from strangers (cis and Trans both) who were personally touched by it or wanted to share their own story. I even had a kid who had been questioning their identity for a few years tell me that my short was what made them feel comfortable enough to come out to their parents – that leaves me speechless.

And actually, there’s a second piece of inspiration: my dad, who I lost relatively recently.  He was the one who introduced me to Godzilla when I was little, and then our last conversation ended up being my coming out to him as Transgender. He was suffering from dementia, but in that conversation, his mind somehow pushed through, and his response was one of love and support. Not a day goes by where I don’t want him to see me now, as the real me, so this short is in a way dedicated to his memory.

Godzilla says “trans rights!”

How does it feel having official Godzilla channels (like Legendary’s twitter) sharing the short?

It leaves me sick with joy, and I wish I could go back in time and show this to the sad, scared child I used to be. Godzilla’s original creators, Toho, haven’t ever really taken a stance on anything LGBTQIAP+ related, so to have them not only support a Trans story from a Trans creator, but to share it far and wide during this time feels like real recognition – I suppose what it means to feel ‘seen’. When you also consider how toxic the Western/English fanbase can be, this was pretty bold.
But on the flip side of the coin, it’s easy for a big company to share a video on social media and hashtag support for a marginalized community – it’s another thing for that company, especially one in entertainment, to make it a point to start hiring or including Queer and Trans artists/actors/directors/characters/etc. So I’m beyond grateful, but I’m also hoping it’s only a first step and not the full extent. 

What has Godzilla been for you?

I fear it’ll sound too vague or dramatic when I say that Godzilla has helped me survive multiple times. When I was little, watching all of the ‘vs.’ movies, Godzilla was a protector, a mythological symbol of resilience, a force of strength that would endure when nothing else could. As I got older, I learned more about the monster’s origins as a walking metaphor for nuclear holocaust, and how that metaphor has evolved to mean something different depending on which film in the 30+ catalogue you watch: climate activist, anti-bully, force of nature, allegory for Fukushima, alpha predator, superhero, supervillain, on and on and on. But for me personally, Godzilla will be the strength that I wish I had.  It’s silly, but the ending of 1995’s Godzilla vs Destoroyah really affected me when I first saw it: Godzilla is melting down, but continues to fight until a final roar of defiance – only to be reborn, silhouetted on the horizon. The moment was beautiful to me: the idea that your old self can burn down, but then you can rise back up again anew.

Over the series’ 60+ year history, Godzilla has always been a tool to address cultural and social changes. How does it feel to contribute to that rich legacy?

Well, first of all, I’m exceedingly flattered that a short animation of monster action figures can be considered a contribution to a legacy! It’s like having someone you’ve admired your whole life turn to you and say “I’m a fan of yours in return” – it’s validating and empowering. Moreover, Godzilla was never gendered in Japan, but the English translations masculinized everything from the get-go – and, culturally, we in the US seem stuck in a false binary view of gender that defaults male. In a very conscious way, my short softly prods at that notion. So if I am contributing anything to Godzilla’s legacy, I hope it’s in a way that’s expanding viewpoints and opening hearts. Godzilla means something different to everyone, and that should actually mean everyone.

Godzilla lovingly embraces his daughter.

What’s next for you on the horizon?

I’m raising money for Black Trans causes, I have a big list here: https://linktr.ee/beeragon. Viral videos of Trans acceptance aside, we’re in the midst of a cultural revolution, and Black Trans lives are still the most attacked and persecuted just for existing. The first steps to cultural and societal reform is economic reform – providing equity and resources that aren’t just about survival, but thriving.

How can our readers follow/see your work?

I’m most active on Instagram and Twitter, where my handle is @beeragon and then I have a website that houses more of my non stop motion work: beeragon.org

We cannot thank Cressa enough for this interview. We ask our readers to check out Coming Out, and to support the causes that Cressa has highlighted. 

Open Mike Eagle Releases New Song ‘Neighborhood Protection Spell (Lana Del Biden Nem)’

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Open Mike Eagle has released a new song called ‘Neighborhood Protection Spell (Lana Del Biden Nem)’. The new track arrives with a visual directed and edited by Ryan Calavano. Check it out below.

“When I wrote this song the world was not on fire yet,” the rapper said in a statement about the track. “I had felt subtle attacks on Blackness from Joe Biden and other public figures. Notions that were harmful about authenticity. Notions that called our behavioral and consumption choices into question without any reference to the historical context that they are couched in. I made this song as a spell to ward off subtle social attacks at Blackness. I put a lot in it to make sure it works.”

Open Mike Eagle released his most recent studio album, Brick Body Kids Still Daydream, back in 2017. Last week, Mike launched his own podcast network, Stony Island Audio.