Two adaptations announced this week are raising eyebrows and possibly blood pressures among potential audiences.
First, the BBC announced that it has teamed up with Netflix to produce a four-part Watership Down mini-series. The goal is to introduce the story to a new audience while toning back the “brutal images.” While the movie did have some shots that featured blood, most of the violence was done with discretion shots. However, the mini-series will be using CGI to make the rabbits more life-like, which may make any violence shown more hard-hitting. The animation of the 1978 movie allowed for a separation of reality and fiction, something the new computer animation may blur. With the four one-hour parts, the new mini-series may be able to delve further into the original novel than the ninety-minute adaptation did.
The second adaptation is a sequel to Disney’s Mary Poppins. The 1964 movie, which was itself based on a story by PL Travers, was one of the most popular films of its year. While Travers did write eight books featuring Mary Poppins, she wasn’t enamoured with Walt Disney’s adaptation, as seen in the fictionalized account, Saving Mr. Banks. Disney’s sequel, titled Mary Poppins Returns, will follow up with the Banks children as grown-ups,
There is a difference between the Watership Down remake and the Mary Poppins sequel. The BBC is expanding the runtime available, allowing them to take in more of the original novel. The Watership Down mini-series is also using modern techniques to add realism, while the 1978 movie was done in a rush by an inexperienced writer, director, and producer*. The Mary Poppins sequel feels more like an attempt to cash in on a known name. Granted, the working relationship between Disney and Travers was poor, which may prevent the studio from using any of her other books, but Mary Poppins won five Academy Awards and is still popular. Disney is also working to ensure the movie is a success, including casting Lin-Manuel Miranda, creator of Hamilton. Time will tell if the sequel is accepted by audiences.
* To be fair to Martin Rosen, he learned quickly and was able to produce a quality work limited by its length.
This article was originally published to Seventh Sanctum.
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