Purely in terms of polish, Muschietti’s film is playing in a league several levels above that of the 1990 miniseries.
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The series was positioned to fail from the beginning, given its constraints: the PG-13-level content restrictions of network television a budget that was far too meager to fulfill the story’s ambitious scope the limits of visual effects technology in 1990 and the commercial necessity of appealing to a mainstream prime-time audience assembled in their living rooms.
The blame can’t be laid entirely at the feet of Wallace and co-writer Lawrence D. The debacle surrounding The Lawnmower Man-wherein a pagan-themed short story penned by King was rather bafflingly transmogrified into a hokey science-fiction thriller-illustrates that a shared title is no guarantee that the source material will be even remotely honored by the filmmaker.Ĭertainly, director Tommy Lee Wallace’s three-hour 1990 telefilm was generally faithful to the novel while also making quite an unforgivable hash out of it. A colorable argument could be made that the deformations necessary to achieve this translation necessarily turn the story into something markedly divergent ( Not-It?). The question is not whether It’s bulk can be squeezed into three or four hours of cinematic storytelling, but whether one should. However, it is arguable whether either work constitutes a successful adaptation of King’s tale. Of course, King’s novel has been adapted, first as a two-part television miniseries originally broadcast on ABC in 1990 and now as a two-part theatrical feature helmed by Argentine director Andrés Muschietti. Nonetheless, the novel form is so essential to the potency of It as a redolent, rambling work of doelful fiction, any attempt to adapt the story to film faces an uphill battle.
If such eccentric “anti-novels” can be molded into narrative cinema, then certainly an evocative pulp horror masterpiece like Stephen King’s It can make the leap from book to screen. Burroughs’ Naked Lunch have inevitably yielded to filmmakers who found an appropriate, often unconventional angle of approach for the material. Over the decades, allegedly intractable works ranging from Laurence Sterne’s Tristram Shandy to William S. Gaven Wilde, Spencer Fitzgerald, Jordan Isaiah White, Brady M.Pronouncing that a book is “unfilmable” is a dicey move, if only because it’s proven to be such a flimsy label. Roger Mitchell, Troy Rudeseal, James Ransone, Miguel Cazarez Mora, Rebecca Clarke, J. Oyuncular: Mason Thames, Madeleine McGraw, Ethan Hawke, Jeremy Davies, E. Çekim Yeri: Wilmington, North Carolina, ABD Robert Cargill, Graham Clegg, Scott Derrickson Hedef için körlemesine aceleci olmak istenilen sonucu getirmeyebilir, ipuçlarını birleştirerek, kademe kademe sağlam adımlar ile sonuca gidilmeye çalışılmalıdır.Įthan Hawke'ın şeytan maskesi seri katilin korkutucu etkisini artırıyor.Īllah kimseyi çocuğunun kaybı ile sınamasın.Īllah mazlum kullarının her daim yardımcısıdır.īu arada Siyah Telefon, The Black Phone filmi, ünlü korku roman yazarı Stephen King'in oğlu Joe Hill'in kısa öyküsüne dayanıyor! Bu filme dayanarak söyleyebilirim ki Stephen King'in korku roman mirası sağlam ellerde!
Herkes, çevresinden kendisini koruyan her kim olursa olsun, kimsenin varlığına güvenmemelidir, herkes fanidir, günün 24 saati herkes bir başkası ile yan yana olamaz, işte her şartta kendi ayakları üzerinde duracak, kendini her şartta savunabilecek birey olarak yetişmek ve bireyler yetiştirmek önemlidir. Acımasız olduğun kişiye karşı sende acıma duygusu besleme. Allah direk olarak göstermez belki ama bir şekilde ıstırap içerisinde olan kullarına yol gösterir ipuçlarının Allah'tan geldiğini anlayabilene tabi!Ĭinayete kurban gitmiş, bedenleri sevdikleri tarafından bulunamamış masumlara ait ruhlar rahat değildirler, bulunmak isterler, sevdiklerinin kendilerini son bir kez görmesi onların öbür dünyada rahatlamalarını sağlar.īazı insanlar acıma duygusundan uzaktır.
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