In Defense of the Remake: An Analysis of Originality in Film
On June 22, 2021, Disney announced the casting of Rachel Zegler for the new live action Snow White, which would be the 19th in the line of Disney Live Action remakes. Since 1994 the production studio has been on a streak of remaking their classic animated films in the live action format. Every time one of these films is announced, a predictable frenzy from the general public pours into the comment section of Disney’s Instagram; many shame Disney for the lack of originality. These films, however, seem to be a mixed bag of quality. Some films are hailed by critics as “refreshingly traditional in a revisionist era” and some as a “by-the-numbers retelling that lacks the energy and heart”. So is it really the lack of originality in these films that causes them to flop? Is all this outrage over recycling ideas really warranted?
To answer these questions, one has to wonder, what is originality when it comes to telling stories? Mythologist Joseph Campbell presents his answer in the form of his constantly studied ‘Hero’s Journey’. This concept demonstrates how every story of a protagonist can be boiled down to simple story beats: The hero begins in the known world, and then receives a call to adventure. Eventually, the hero will answer this call and face challenges in a new, unknown world. The hero will experience some form of transformation, and eventually return to the known world as a changed person. This format of story can be found in countless pieces of media and literature, from ancient myths such as King Arthur to modern books such as the Hunger Games. Many stories will diverge from the standard parth to provide twists and turns, but without at least a few of the Hero's Journey’s elements, a story will be left without clear pacing or payoff. So, with this in mind, if every story uses the same beats and events to propel itself forward, are they still considered ‘original’? Even stories that have vastly different events and heroes, who take the Hero’s Journey in different directions and present different themes, all focus on simple aspects of human nature. So if every story has, in its purest essence, been told already, can we ever run out of stories to tell?
One of the main victims of remakes and retelling are the immortal works of Shakespeare. From young adult novels to manga to film, the stories that Shakespeare penned have taken on nearly every form possible. As of right now, there are 12 movies based on the Story of Romeo and Juliet, a single play. A surprisingly common trope in modern film is ‘rom-com based on Shakespeare play’. See She’s the Man (based on Twelfth Night) or 10 Things I Hate About You (based on Taming of the Shrew). Also contributing to this subsect genre is the inevitable Romeo and Juliet of 1996 with Leonardo DiCaprio and Claire Daines. These retellings seem to be nothing more than trite retellings set in the modern day, so what makes them less subject to the criticism of originality? Well, the answer may lie in the ‘relate-ability’ of it all. These movies take the stories of Shakespeare, of drama and tragedy and love, and market them to teens in highschool, where such notions of epic romance and ceaseless betrayal abound. This idea is incredibly effective, because it adds the dimension of early 2000s high school to Shakespeare’s work. These movies all have cult fanbases, and many did well upon their releases too. What may help a film or piece of media escape the criticism of originality is the idea that when remaking something, you add a new idea, notion, theme or dimension to the original work. These retold cult “classics” may prove that it is simply the execution and not the idea that truly brings a movie to life.
A more modern example of this is Steven Spielberg’s recent remake of West Side Story. This 2021 version may be a perfect example of the subjectivity of originality. The movie is a retelling of a play of a retelling of a different play. The original play being (hold your breath) Romeo and Juliet. The Broadway play entitled West Side Story is set in 1950s New York, with lovers Tony and Maria being torn apart by their families and cultures. With the, some may call, predictability of the plot, one may expect this movie to be subjected to the same criticisms of Disney’s endless remakes. Yet, the movie stands at 92% on Rotten Tomatoes and is being showered with praise by critics. So what’s different about this remake? The movie removes some particularly outdated language found in the original, brings the movie to a new generation while still banking on the nostalgia of older fans, and, most importantly, casts people of colour in roles made for them. The original movie starred Russian American actress Natalie Wood as Maria, an importantly Puerto Rican role since it is Maria’s family that prevents her from being with Tony. The 2021 remake stars Rachel Zegler (Disney’s future live action Snow White), an actress of Colombian descent. The remake also stars Ariana DeBose, an actress of Puerto Rican and African-American descent, after a significant lack of Afrolatino actors in the media. The movie brings a new tone to the original, one of authenticity but also of vibrancy, which may hold the secret to its success despite it’s familiar source material.
Truly, in one girl’s opinion, the source material of a project has no bearing on it’s quality, as long as it brings something new and refreshing to viewers. Whether it’s known that it’s a remake or not, without a new direction to take the story and it’s themes, the story is incomplete, uninspired and uninteresting. In 10 Things I Hate About You, it didn’t matter that it was a remake, because viewers can still identify with the familiar situation and emotions of the characters. Speilberg’s West Side Story improves its original movie and Broadway form by correcting mistakes but still focusing on important themes of love and familial loyalty. The true measure of a story is defined by the unique identity it creates for itself, rather than the story by which it was inspired. So remake and retell to your heart’s content, but make sure that no one will ever tell it the way that you will.
Sources:
https://www.rottentomatoes.com/m/the_lion_king_2019
https://www.rottentomatoes.com/m/cinderella_2013
https://www.movieoutline.com/articles/the-hero-journey-mythic-structure-of-joseph-camp