i am legend (richard matheson)

I finished rereading the original novel I Am Legend by Richard Matheson, and now it’s hard not to be a little bitter at how they eviscerated the book for the movie. I don’t remember too well but I almost think the Charlton Heston film was more faithful (so to speak).

Will Smith’s version is still a pretty good zombie movie, but that’s really where it ends. There are a million ways he departed from the far superior novel. Normally I don’t whine about this kind of thing, because who needs to see a scene-for-scene adaptation, really? But in this case they changed so much that they inverted or destroyed the themes of the source material, and that’s the part that’s tough to forgive.

I won’t go through all of the changes; some of them really don’t make that much difference. They didn’t have to have Neville’s neighbors attacking him, for example, as opposed to random faceless strangers. It doesn’t make that much difference that the film Neville is a scientist and soldier from the get-go; it makes his survival more plausible. But there are a few really crucial differences.

  • The plague turns people into semi-intelligent vampires, not mindless zombies. This is vital for two reasons: first of all, it sets up the pessimistic twist ending, which is roughly ten million times more interesting than the ending of the movie. Second of all, vampires have lore, traditional vulnerabilities, which the novel’s Neville spends most of the story studying and sorting out. This brings us to the second crucial difference.
  • The plague is natural, not an accident of scientific research. It’s axiomatic of zombie flicks like Resident Evil and 28 Days Later and now I Am Legend that humanity created the zombies through ill-advised Tampering In God’s Domain. In the novel, no one knows where the plague came from (one speculation is nuclear testing, but later it’s suggested that it’s been around for centuries or longer), and Neville spends a great deal of time just discovering that it’s biological rather than supernatural. It’s Man vs. Nature, not Man vs. Foolish Man, which changes the tone of the book. And of course one of the vulnerabilities he’s studying is aversion to the cross, which brings us to the next difference.
  • God isn’t in the novel. The novel’s Neville never sees signs of God. He concludes that the power of the cross is psychological, since he finds that it’s ineffective against Jewish vampires (who are repelled by the Torah instead) and that it’s totally ineffective against vampires who have accepted their fate.
  • There is a “safe haven” at the end, but it’s not what you think. I won’t spoil the ending of the novel, which you really should read, but ironically it’s more of a twist ending than the one they ripped off from M. Twist Shyamalan’s Signs. It’s so much more thought-provoking and fertile than “oh boy, the good guys might win after all.” I have nothing against happy endings in theory, but when you change the ending of this story you wreck its entire raison d’ĂȘtre. I guess we know by now that Hollywood doesn’t care. Movies don’t have meaning, they have profit, not to be too trite about it.

So: Religious Propaganda 1, Intelligent Mid-20th-Century Science Fiction 0. Except that hopefully a small percentage of people who saw the movie will go read the book.

30 days of night (graphic novel)


The art is impressionistic, indistinct, rendered in gray, black, and red…strong visual choices, but often confusing to the point where it’s difficult to tell what’s just happened and to whom.

The story has a clever premise — since the town of Barrow, Alaska is so far north that it annually experiences a month without sunlight, it’s the perfect place for vampires to throw a festival of murder and blood-quaffing. Unfortunately, the slaughter makes almost no impression because we only know three of the town’s inhabitants by name (one of whom dies as soon as we meet him). Also, there’s almost no indication of the passage of time, no sense (other than a single “I’m hungry”) of the agony and fear that comes with holing up and hiding from the prowling vampires waiting out the month; the clever premise is useless, since the action could have occurred over the course of a single night. And the townspeople’s final solution to the problem is the sort of thing only a moron would try, and yet the solution is effective, though we are given almost no reason to believe it should be. Meanwhile, a secondary plot thread involving what I assume is an occult enthusiast from New Orleans seems to have no purpose whatsoever aside from setting up a sequel.

What is it with comics and bad vampire stories? I remember a rash of them in the mid-90s, many unashamed ripoffs of Anne Rice or Salem’s Lot or both; at least this one has a smidgen of originality. I’ll rent the movie when I get a chance; it disappeared quickly, so I’m not optimistic, but it’s hard to imagine it being more moribund than this.