So, yes, weeks after it’s worldwide release, India finally has Watchmen playing in a theatre near you. Well not really, you, just anyone who lives near the handful of theatres where they’re showing it. Tejas and I have been baffled at how ridiculous it is to launch easily the most anticipated film of the first quartile of the year three weeks late, when the same theatres screened Iron Man a day before the rest of the world. Anyway, It came, and I watched it and before we get any deeper into this pseudo review, I need to establish a few things.
Credit to the censor board though, who saw fit to censor a bite and a penis, but not the fully nude and semi nude sex scenes
Firstly, neither Kyra nor Tejas have seen the film yet so there won’t be any spoilers in this. The proper review will come in a few days when Tejas gets a chance to watch it. On this blog no one deserves the honor more. Secondly, we could waffle on and on about how the film is good to the readers and bad to those who haven’t read it, or how the film is the greatest cinematic achievement since Speed Racer, but in this post here I’m not getting into that too much. End of story. Before going into the movie, I was suddenly struck by an appreciation for Alan Moore’s e from it.
I saw the film and I fucking loved it
For those of you who have read any of his work, you’d understand that his style of writing and executing ideas is like no one else. His transitions between scenes, his visual puns, his symbolism and the amazing wit and weight attached to every letter and punctuation he uses, are so superbly sequenced, you can’t help but scratch your head wondering �Who the fuck IS this guy? As a writer, Moore is like a director, a producer, a script writer and an assistant director. The construction of a graphic novel, then can be seen as the production of a movie. If someone showed up and changed all that up so they could squeeze it into a two and a half hour film which thousands will watch saying shit like �Dude this guy looks homo!
Having said that, I must say, props to Zack Snyder and the amazing team who worked on this film. Not only have they stayed true to what Dave Gibbons felt should be depicted, but in certain key areas they’ve actually gone ahead and interpreted things in their own way, buffing up the cinematic experience. The kind of visual cleverness Moore is known for can’t really be translated on to screen, but Snyder’s gone right ahead and thrown in some really awesome camera movements and ideas himself. I remember one of the criticisms leveled against Sam Dunne for Metal: A Headbanger’s Journey was that the whole thing was one sided and from a fan’s point of view. Several people have said the same thing about Snyder’s adaptation, and in part they’re probably right, but you know what, I cannot imagine a greater homage to easily the besthookupwebsites.org/local-hookup/rockford/ best piece of fiction I’ve ever read.
Which brings me to my next point. After watching the film yesterday, I came home and Knocked Up a Seth Rogen film was on. As it ended, a Bob Dylan song started playing over the credits and I was suddenly hit with a huge appreciation of the impact of that one little Hobo singer. Is there anything or anyone Bob Dylan has not freaking touched? If you’re going into the movie hoping it lives up to the graphic novel, or if you’re going in expecting it not to, then you should stop right there. After seeing this movie, the conflict between mediums that Moore is so critical of, has become hugely evident to me. When you read the book, enjoy yourself. When you watch the film, enjoy yourself.
