It would make sense not to remake a classic. It was too good, even perfect for generations of film enthusiasts to appreciate it. On the other hand, the younger generation (of moviegoers) won't have a clue about it. Would I be labeled a snob if I refuse a remake? If there would be a go signal (for a remake), then it could be the beginning of the end for filmmaking as an art form. I was torn asunder, as a part of me had a purist's sentiment. Then again, artists scream for attention. And only the good ones would get noticed.
Stanley Kubrick's celluloid adaptation of "Barry Lyndon" was too good for the eyesight. I couldn't find fault in the details, as it was rather obvious that the shooting was done in natural light. And this would be more challenging (or excruciating to those who were part of the production). No one would attempt to do a remake of William Makepeace Thackeray's novel, which took me a few days to finish it. And Kubrick's version wasn't an alternative. Perhaps the filmmakers knew that it was too good to their own taste, which might have prompted them to look for movies with subtitles.
My instructor wondered if I was a sarcastic individual, as I wouldn't give credit to the French films that appealed to Hollywood producers. It wasn't difficult to figure out the reasons behind the remake of French movies. (I would lose count of it.) Hollywood prefers a happy ending, while French directors opt for a bittersweet, if not sad, finale. The American culture would celebrate success, while the nature of the Frenchmen prompts them to root for the underdog. Americans would rather be optimists, while the French revel on the cynicism. To make a long story short, opposites attract. There would be exceptions, such as directors who love to push buttons.
If you ask me, I would not prefer a remake of some films. I was thinking of "The Magnificent Seven," which was most remembered for the iconic (musical) score. What was the point of featuring a diverse cast? The old one was fun to watch, while the trailer of the remake would indicate a more serious tone. What a bunch of killjoys. Here are the other ones:
The Wizard of Oz. I may be too late, as there have been too many remakes and sequels. I almost forgot a mild prequel. L. Frank Baum would turn into a grouch.
It's a Wonderful Life. Frank Capra's optimism was genuine, such as his portrait of American society might make some politicians ashamed of their achievements. But they would deactivate their Twitter account.
Marty. It could turn into a study of contrasts.
Ben-Hur. This was a metaphor of a young American nation, but no one would be interested in it. Lew Wallace might have a heart attack.
Guess Who's Coming to Dinner. I don't think this perceptive drama would be outdated by now. There was a sentimental value behind it, as no actor could match the larger-than-life personas of Spencer Tracy and Katharine Hepburn.
Do you have other films in mind? Share it with us.
