Remakes are Nothing New
When we read online or hear from someone else that a film is getting a remake many of us give a dismissive rolling of the eyes. We have a near immediate sense of why those men and women behind the scenes want to retread familiar territory — in short, money. There is also a popular assumption that remakes are evidence of the stagnation and lack of originality in mainstream filmmaking. Production company Platinum Dunes has become the subject of condescension for its lengthy list of inferior horror remakes, including classics of the genre The Texas Chainsaw Massacre, A Nightmare on Elm Street and The Amityville Horror.
While derision may be the first thought to cross our minds when we hear the word ‘remake’ it is very much a knee-jerk reaction, and in a world of instant connectivity and feedback, without a window of time to examine our thoughts, more often our knee-jerk reactions tend to stick. Audiences and many critics view the sheer number of remakes in the 21st century as a recent development spearheaded by studios and executives exhausted for ideas, but this is not a new phenomenon.
Remakes have existed since the beginning of cinema, and the reasons for them expand beyond the profit hungry motivations of producers and production companies. The intentions of filmmakers old and new can be both well meaning and exploitative in their purpose to retell a certain cinematic narrative.
One particularly damning story from the 1940s involves the American remake of the British made psychological mystery Gaslight, itself adapted from a play of the same name. Having purchased the rights to the British original MGM sought to destroy all existing prints and even the original negative in order to make their own larger budget take on the story the only film audiences could watch. Thankfully the original film survived the studio’s attempt to erase all traces of its presence and is available for purchase and viewing today.
The reasons for films to undergo a remake can be creative, pragmatic, and of course financial. It would be short-sighted to believe that no remake has ever improved on its source material, or that talented writers and directors wouldn’t invest their time and craft on familiar projects.
Foreign Language
The barrier of language and the construct of subtitles can be disruptive to audiences viewing films from world cinema. Cultural attitudes and aesthetics may not translate to a foreign eye without an outside context, and the popular appeal of such films may not be as widespread.
English language remakes of international films are the most commonly seen, and because of the billions of people worldwide who speak English as a first and second language their appeal becomes greatly expanded. Austrian director Michael Haneke took it upon himself to remake his own film Funny Games for the American and international market to critical acclaim, featuring the acting talents of Naomi Watts, Tim Roth and Michael Pitt.
In the early 2000s American remakes of Japanese supernatural horror films swept through theaters — at first being respectable and embraced by audiences, before becoming an oversaturated and tired trend. More recently European-made films have become a source for largely American, English language translations, coming mainly from France and Scandinavian countries — reaching a new and much wider viewership.
Notable examples:
- Les Cages aux Folles (1978)/The Birdcage (1996)
- Ringu (1998)/The Ring (2002)
- Insomnia (1997/2002)
- Let the Right One In (2008)/Let Me In (2010)
- [Rec] (2007)/Quarantine (2008)
- The Girl with the Dragon Tattoo (2009/2011)
- Infernal Affairs (2002)/The Departed (2006)
Technology
Whether it has been advancements in cinematography, the introduction of sound or the improvements in special effects and visual effects the ability to provide scope and spectacle to storytelling is closely tied with the evolving science and technology behind the camera. The methods used in the past to realize the imagery in storyboards and concept art was limited by costs and manpower.
In generations passed miniature effects, men dressed as monsters in rubber suits and early matte compositing were among the few options available to high concept films. With digital technology, refined practical effects and specialized filmmaking practices dated visuals can be brought up to a contemporary standard for a new audience.
One concern when using new technology in a remake is ensuring that the visuals enhanced by computer generated imagery, animatronic effects and special make-up effects do not sideline or take precedent over the story.
Notable examples:
- London After Midnight (1927)/Mark of the Vampire (1935)
- The Little Shop of Horrors (1960)/Little Shop of Horrors (1986)
- The Thing from Another World (1951)/The Thing (1982)
- King Kong (1933/1976/2005)
- The Poseidon Adventure (1972)/Poseidon (2006)
- Piranha (1978)/Piranha 3D (2010)
Concept
For many directors a remake can be the opportunity to explore new themes and re-frame an original story. A B-movie concept can be elevated to new heights, and poorly received or neglected films can experience a revival injected with new blood and talented artists.
Themes and storylines that my have been censored during a more conservative era can be brought to the surface. Narratives may be refreshed so directors can reflect their own views and fears about contemporary society — the concept can be a conduit through which unique visions can emerge from disparate artists.
In 1986 Director David Cronenberg took a low budget monster movie from the 1950s and raised the concept to the level of a tragic opera. Cronenberg’s remake of The Fly explores the 80s fear of AIDS, science gone awry and the emotional toll of love in the face of graphic horror. Compared with the head-swapping original the remake is leaps and bounds above its progenitor, thanks to the craft and confidence of its director and his crew.
Notable examples:
- Cape Fear (1962/1991)
- Psycho (1960/1998)
- Ocean’s 11 (1960)/Ocean’s Eleven (2001)
- Solaris (1972/2002)
- Seven Samurai (1954)/The Magnificent Seven (1960/2016)
Name and Brand Recognition
This is often what we think of when we hear ‘remake’, knowing the financial motivations of the producers and studios behind them. Unlike instances where there is a clear understanding for why a film is subject to a remake, there are those that have little justification for being remade. The one discernible reason for their existence is because they carry with them a recognizable, iconic name.
Such remakes either adhere too closely to the original film and so provide nothing new to warrant themselves, or conversely are only a remake in name — hoping to capitalize on the brand to attract audiences, with no respect for the source material or the existing fanbase.
Frequently genre remakes including action and horror films are softened in order to be given a lower certificate, whether that be an MPAA PG-13 or a BBFC 12A, thus increasing the potential viewership to include younger age groups at the expense of a satisfying and cohesive film experience. These are the poor and unnecessary remakes that we can live without — the remakes studios need to realize we don’t want.
Notable examples:
- Dawn of the Dead (1978/2004)
- The Producers (1967/2005)
- Total Recall (1990/2012)
- Carrie (1976/2013)
- RoboCop (1987/2014)
- Poltergeist (1982/2015)
The Untouchables
Despite the variation in quality between remakes — good versus bad, creative versus financial — there is a consensus among many that some film remakes should never be attempted. Whatever technology exists today or in the future, no matter what country or language they originate from, or what plans some great cinematic name may have for a remake the collective opinion will say no.
The Shawshank Redemption is a ageless tale of loss, friendship and hope. Jaws doesn’t need a CGI shark to be a thrilling and exciting film — it’s a thrilling and exciting film already. The performances, direction, and cinematography of The Godfather are the pinnacles of film art the world over. Attempting to remake some of our most prized and cherished film classics would be a fool’s errand. They’re great just the way they are.
Are there bad film remakes? Absolutely. Are all film remakes bad? Absolutely not.
When we see great filmmakers with the intention of producing a remake that is respectful of what came first we should embrace them. When a story is open to reinterpretation we should welcome those who have taken on the challenge. We should open ourselves to the possibilities to the artists who care, and be vigilant of the people who only care about making a quick buck.
Coming soon: The Perfect Length
