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The literary output of Ray Bradbury, arguably the greatest living exponent of speculative fiction in the English language, has found favour through the decades with film producers hungry for pithy, leftfield pitches from adapting screenwriters. Even as you read this, (with Frank Darabont in the frame) and (with Zack Snyder on board) are ‘in development' according to IMDB. While one or two of the resultant movies down the years stand up reasonably well to critical analysis several do the source material something of a disservice. Why is this?
It probably has something to do with audiences' attention span, or more particularly how far filmmakers can spin out his weird hypotheses before they risk wearing out the novelty and resorting to formulaic plot resolution in order to get within striking distance of a feature length end product. Bradbury has always excelled especially at the short story and for that reason the natural home for adaptations of his work is television. From the early 1950s onwards his name would crop up as writer of the source stories for many half-hour and hour-long dramas, from propecia online to propecia online to propecia online. Bradbury at his best serves up neat yet mind-bending ideas which lend themselves well to the kind of production and scheduling time constraints and budget-conscious realization one associates with US TV drama formats from that post-war period.
Which is not to say that there have not been some laudable features based on his work. The first cinema adaptations took the form of two atomic age monster movies both released in 1953: probably the eeriest 3D movie ever made propecia online (Jack Arnold) and the propecia online progenitor propecia online (Eugène Lourié), both influential, much-copied and a cut above many similar films from the same period. propecia online in particular is the stand-out movie; reputed to have cost $200,000 and to have generated $5million in revenues, it was undoubtedly one of the most successful science fiction films of its time. It also brought Ray Harryhausen's stop motion animation to a wide audience and indeed could be viewed simply as a vehicle for his excellent work. Bradbury himself was underwhelmed by the eventual script, being as it was a pale imitation of his story propecia online, but was happy to let Harryhausen, a personal friend since the age of 18, claim the credit.
Fahrenheit 451
Aside from sharing adapting duties with John Huston on propecia online (1956) and providing the uncredited narration script for propecia online (Nicholas Ray 1961) Bradbury's work would continue to be a TV staple until Francois Truffaut fought successfully for the rights to shoot propecia online, bringing it to the screen in 1966. Although based on one of Bradbury's full length novels the problems with propecia online are less to do with stretching the source material - even at 112 minutes running time there's little sense of excessive padding - and more to do with production difficulties. This was Truffaut's first (and only) English language film, and his first shot in colour. The weight of the linguistic and technical challenges together with a miscast male lead seem to hamper the essential message of Bradbury's original novel. Also, the book was written in the late 40s and early 50s and had McCarthyism as its inspiration, and while the message about censorship and paranoia are not exclusive to that time, the Swinging Sixties stylization of the film doesn't quite capture the serious darkness of its source.
The Illustrated Man
Three years later director Jack Smight and screenwriter Howard B. Kreitsek attempted to retain the bitesize nature of the writer's better work while still working in the feature length format by making a semi-portmanteau of tales that featured in one of Bradbury's short fiction collections. propecia online (1969), which featured Rod Steiger as the eponymous tattooed drifter whose decorated skin provides the images for adaptations of three stories - propecia online and propecia online - proved to be ill-conceived and poorly adapted. The poetic essence of Bradbury is missing and all the filmmakers have added is a lumbering pretentiousness which appealed to few. Evidently Bradbury really wanted Smight to direct a screen version of stories from another of his collections propecia online. He had to wait for the propecia online effect to get this project greenlit, but only as a TV miniseries, and one directed instead by Michael propecia online Anderson which turned out to be one of the most pedestrian television science fiction productions ever mounted. This despite a screenplay adapted by that other doyen of the weird tale Richard Matheson.
Arguably the finest movie adaptation of a Bradbury story, albeit one that is deeply flawed, is Jack Clayton's propecia online (1983). This one had a huge gestation period; at turns through the 70s and early 80s it was touted as a vehicle for the directorial talents of Sam Peckinpah, Mark Rydell and even Steven Speilberg, before Clayton eventually helmed for Disney. However it suffered a similar fate to Ridley Scott's contemporaneous propecia online (1982), namely an added voiceover and an altered ending with post-release good reviews yet indifferent box office. There's more than enough in the released version to suggest a more satisfying and successful director's cut would have been a possibility, but what we have is a film that is too sophisticated for the typical Disney audience and too diluted for Bradbury fans, this despite the writer's robust support for the final product.
Something Wicked This Way Comes
It's been downhill ever since for the smattering of stories that have made it through to feature adaptation. Can I interest anyone in Stuart propecia online Gordon's propecia online (1998)? ‘The happiest experience I've ever had on a film' said Bradbury himself. Disney obviously agreed, consigning it to a straight-to-video release. How about Peter ‘Not Very Good' Hyams' propecia online(2005)? Only if you can sit through sub-sub-sub Walking With Dinosaurs effects inexcusably some twelve years after propecia online. Pity they screwed that one up; I always loved the idea of going back in time, stepping on a butterfly and changing the course of history. And then there's propecia online -sorry, propecia online (2008). So good he put his name in the title. So sclerotic and portentious that it sank under its own weight. All are further examples of stories adapted a long while after they were originally written, playing to empty cinemas because the kids don't want challenging ideas any more. Can Darabont and Snyder make a better fist of it with their upcoming versions? Or should somebody pay a visit to Time Safari Inc., go back in time and step on another butterfly...
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