Many people experience excitement and a certain amount of anxiety when they hear that one of their favourite books is coming to the silver screen. Concern whether the adaptation is sympathetic and close to the source text. Worry that they may get the characters wrong. Anxiety that the image on the screen won’t marry with the image you have carried in your mind since reading the book.
This phenomenon has been played out in Armageddon-esk proportions with the recent release of the TV adaption of Pratchett and Gaiman’s ‘Good Omens.’ After almost thirty years in print, with an army of devoted fan’s the anticipation and anxiety was at a max, with one question very much on everyone’s twitter feeds – would it work? In fact one of my friends tweeted comments ahead of its release on the small screen saying that one character ‘didn’t look right’.
I have to confess, I didn’t quite have the same reservations about Good Omens, as I only read the novel in January AFTER the character publicity photos had already hit the web, so I wasn’t quite as invested as other fans who’ve loved the book for decades.
However, I know exactly how they felt. As this is what I experienced when I heard that a novelised version of one of my all-time favourite films, Pan’s Labyrinth was in the works. The excitement was there, after all I love fairy tales, I love books and I adore the movie. However there were bucket loads of anxiety too. Some of the worries included…
Concerns that with the film such an exquisite visual feast, and with a picture worth a thousand words then surely the novel would become a monster rivalling War and Peace just to stand a chance of evoking the same imaginary in the readers mind that the movie does with its cinematography.
Worries about whether it would emulate the same excitement reading the story as it did watching it the first time? After all you can only experience the same story once for a first time. Will it retain the same poignant messages or will they be lost in translation?
All in all I was worried. The Pan’s Labyrinth film is the ultimate fairy tale movie, the benchmark that others are compared; it is not a far cry from perfection. So how could the novel ever live up to the movie?
My concerns, however, were totally unfounded, and with Guillermo Del Toro the visionary director behind the original movie and master wordsmith Cornelia Funke author of the Inkheart series at the helm the novel is quite simply; beautiful.
It delivers a true adaptation of the film and yet adds layers that make it an even more intricate tapestry if storytelling. In the novel you get to delve into the minds of the key characters, their innermost thoughts and physiques laid bare, making the line between good and evil blur. As for imaginary, I can honestly say I have never before read a book where I’ve stopped reading so many times just to admire and dwell on a sentence or description. Funke’s penmanship is awe inspiring and economic. With minimum words she evokes intricate images and complex emotions, that really does rival the film.
In addition this book is scattered with beautiful illustrations by Andy Williams, which both capture the story in the novel and replicate the imagery of the film. The spacing of the illustrations throughout the book and the monotone style emulates the style of traditional fairy tale anthologies further endorsing its fairy-tale credentials.