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An Introduction to Sex and Modern Remaking

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Sex and Sexuality in Modern Screen Remakes

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Abstract

In this chapter the term remake is outlined and a justification is presented for focusing on stories that have already been filmed for cinema and television. Debates around originality are surveyed, and the key role of celebrity as part of both modernizing and to insert sex appeal is outlined. Also briefly discussed are the integral role of sex in media marketing and the enduring concept of “sex sells.” Along with surveying the broad range of published material on remakes, this volume refers extensively to film reviews: a rationale for the contribution of such non-scholarly remake discussions is provided. This introductory chapter also includes an overview of the contents of this book.

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Notes

  1. 1.

    Knöppler (2017, 46).

  2. 2.

    Holmlund (1998, 217).

  3. 3.

    Leitch (2002, 37).

  4. 4.

    Zanger (2006, 30).

  5. 5.

    Mazdon (2017, 32).

  6. 6.

    Durham (1998, 17).

  7. 7.

    Grindstaff (2002, 277).

  8. 8.

    In Lodge (2017). (My emphasis).

  9. 9.

    Eberwein (1998, 28–30).

  10. 10.

    Blanke (2013, 133 n.11).

  11. 11.

    Gordon (2008) and Parish (1994).

  12. 12.

    In Friedman and Notbohm (2000, 141).

  13. 13.

    In Prigge (2013).

  14. 14.

    In Lindner (2012, 128).

  15. 15.

    In Bawden (1989).

  16. 16.

    In McGrane (2015).

  17. 17.

    In Child (2016). (Emphasis in original).

  18. 18.

    In Jagernauth (2017).

  19. 19.

    In Dunne (1998, G1).

  20. 20.

    In his discussion of All the King’s Men (2006)—a remake of All the King’s Men (1949)—the director, Steven Zaillian claims he had never seen the 1949 version: “It was a choice, originally, that I didn’t want to be influenced by it in any way… It’s hard to get images out of your mind once they’re in” (in Halbfinger 2006).

  21. 21.

    In his discussion of The Manchurian Candidate (2004)—a remake of the 1962 film—Richard Carter notes that the remake’s star Meryl Streep “sheepishly admitted that she’d never even seen the original” (Carter 2004, 10).

  22. 22.

    Chan (2009, 8).

  23. 23.

    Culler (1976, 123).

  24. 24.

    Leitch (1990).

  25. 25.

    Milberg (1990, ix).

  26. 26.

    Verevis (2006, 10).

  27. 27.

    Gabbard (1998, 96).

  28. 28.

    Kristeva (1986, 37).

  29. 29.

    Birds II: Land’s End (1994), for example, has been described as a “rotten Hitchcock rip-off” of The Birds (1963) (Roush 1999); ‘Til There Was You (1997) as a “truly stupendously boring rip-off of Sleepless in Seattle [1993]” (Lowing 1997); and My Favorite Martian (1999) as “more rip off than blast off” of the television series (1963–1966) (Chester 1999).

  30. 30.

    666: The Child (2006), for example, has been described as “so obviously a knock-off” of The Omen (1976) (Renner 2016, 32); The Italian Job (2003) as a “souped-up knock-off” of the 1969 title (“DVD: Caine remake is very able!” 2004); Piranha (1978) as “a cheap and nasty Jaws [1975] knock-off” (“Horror remake really takes the bait” 2010); and the television series Mistresses (2013–2016) as a “cheap knockoff” of the UK drama (2008–2010) (Perigard 2013).

  31. 31.

    The television series In the House (1995–1999), for example, has been described as a “clone” of Who’s the Boss (1984–1992) (Jicha 1995); Carrie (2013) as a “horror clone” of the 1976 film (May 2013); and Guess Who (2005) as a “thinly disguised clone of Meet the Parents [2000]” (Hobson 2005).

  32. 32.

    Kid Galahad (1962), for example, has been described as a “pale imitation” of the 1937 film (Bondanella 2004, 100); Vanilla Sky (2001) as a “pale imitation” of the Spanish film Abre los ojos (Open Your Eyes) (1997) (Gillespie 2001); and Poltergeist (2015) as a “pale imitation” of the 1982 film (“Poltergeist review” 2015).

  33. 33.

    Village of the Damned (1995), for example, has been described as a “carbon copy” of the 1960 film (Owen 1995); Bad News Bears (2005) as a “virtual carbon copy” of the 1976 film (Bellamy 2005); and The Omen (2006) repeatedly as a “carbon-copy” of the 1976 film (Iddings 2006 and Mullen 2006; “Going to the Show with a Regular Guy: New ‘Omen’ is eerily familiar” 2006). While the carbon copy accusation frames a remake negatively, there are rare subversions of this. In Andy Breslow’s review of Quarantine (2008)—a remake of the Spanish film [Rec] (2007)—he observes, “When I got a chance to see Quarantine I was pleased to see that the film is almost a carbon copy of the original.” For Breslow, it was positive that the American remake remained true to what he had enjoyed so much about the Spanish film (Breslow 2008).

  34. 34.

    Alfie Darling (1975)—a remake of Alfie (1966)—for example, has been described as “a crude and vulgar rip-off with no subtlety and no point” (Nowlan and Wright Nowlan 1989, 15); Ben-Hur (2016) as a “pointless remake” of the 1959 film (Smith 2017); and Psycho (1998), the remake of the 1960 film, as “a pointless failure” (Canet 2018, 21).

  35. 35.

    The Plainsman (1966) for example, has been described as a “painful remake” of the 1936 film (Cameron 1997, 148); Buddy Buddy (1981) as a “painful remake” of the French film L’emmerdeur (A Pain in the Ass) (1973) (Halliwell and Walker 1996, 169); and The Ladykillers (2004) as a “painful remake” of the 1955 film (“TOH! Ranks the Films of the Coen Brothers from Worst to Best” 2016).

  36. 36.

    Lost Horizon (1973), for example, has been described as an “excruciating remake” of the 1937 film (Griffin and Masters 1997, 73); The Parent Trap (1998), as an “excruciatingly unfunny” remake of the 1961 film (Anthony 1998); and The Women (2008) as an “excruciating remake” of the 1939 film (Solomons 2008).

  37. 37.

    Slavish can on occasions be complimentary—observing that a remake has meticulous attention to detail—for example, Let Me In (2010) has been described as a “very faithful, even slavish remake” of the Swedish film Låt den rätte komma in (Let the Right One In) (2008) (“Let Me skip the re-vamp” 2010). More commonly, however, slavish is a criticism, for example Nosferatu the Vampyre (1979) as “an almost slavish remake” of Nosferatu (1922) (Wiener 2002, 290); The Assassin (1993) as a “slavish, redundant remake” of La Femme Nikita (1990) (Frank 1997, 34); and Psycho (1998) as a “faithful-unto-slavish” remake of the 1960 film (Cheshire 1998).

  38. 38.

    Gone in Sixty Seconds (2000), for example, has been described as a “relentlessly stupid” remake of the 1974 film (Maltin 2014); The Karate Kid (2010) as a “stupid remake” of the 1984 film (Oz 2010); and Dukes of Hazzard (2005) as “another unnecessary, stupid remake” of the television series (1979–1985) (Wolgamott 2005).

  39. 39.

    Red River (1988), for example, has been described as an “insipid remake” of the 1948 film (Clifford 1998); Born Yesterday (1993) as an “insipid remake” of the 1950 film (Seavor 1993); and No Reservations (2007) as an “insipid remake” of the German film Mostly Martha (2001) (Lindenfeld and Parasecoli 2017, 74).

  40. 40.

    Man in the Attic (1953), for example, described as an “anaemic remake” of The Lodger (1927) (O’Neil 1970, 88); The Clown (1953) as an “anemic remake” of The Champ (1931) (Parish 1974, 831); and 13 Sins (2014) as an “anemic remake” of the Thai film 13 game sayawng (13 Beloved) (2006) (“Film Review: 13 Sins” 2014).

  41. 41.

    Satan Met a Lady (1936), for example, has been described as “an inferior remake” of The Maltese Falcon (1931) (“Satan Met a Lady” 1935); The Lost World (1960) as an “inferior remake” of the 1925 film (Kinnard 1988, 13); and Criminal (2004), the remake of the Argentinian film Nueve reinas (Nine Queens) (2000), as having been “given the inferior-remake treatment” (Bradshaw 2016).

  42. 42.

    The Day the Earth Stood Still (2008), for example, has been described as an “incompetent, utterly irrelevant remake” of the 1951 film (“The Day the Earth Stood Still” 2009); Fame (2009) as an “irrelevant remake” of the 1980 film (“Fame? No chance: This irrelevant remake doesn’t light up the sky like a flame” 2009); and Point Break (2015) as an “irrelevant remake” of the 1991 film (Mann 2016).

  43. 43.

    Love Affair (1994), for example, has been described as an “ill-advised remake” of the 1939 film (“‘Affairs’ of the heart” 2014); Red Dawn (2012) as “an ill-advised remake of the campy 1984 original” (Coyleap 2012); and Brighton Rock (2010) as “a moderately stylish but deeply ill-advised remake of John Boulting’s noir thriller [1948]” (“If Pinkie were perky, Brighton might rock” 2011).

  44. 44.

    Docks of New Orleans (1948), for example, has been described as “a half-hearted remake of the earlier Mr. Wong film [Mr. Wong, Detective (1938)]” (Backer 2012, 152); Grease 2 (1982) as a “half-hearted remake” of Grease (1978) (Moore 2016); and Sleepless (2017) as a “half-hearted remake” of the French film Nuit blanche (Sleepless Night) (2011) (Miller 2017).

  45. 45.

    The Fog (2005,) for example, has been described as “a dreary and redundant remake” of the 1980 film (Tookey 2006); The Tourist (2010) as a “redundant remake” of the French film Anthony Zimmer (2005) (Stanbrook 2011); and Secret in their Eyes (2015) as a “redundant remake” of the Argentinean El secreto de sus ojos (The Secret in their Eyes) (2009) (Dowd 2015).

  46. 46.

    Greenberg (1998, 115).

  47. 47.

    Film theorists Rüdiger Heinze and Lucia Krämer, for example, observe the “enduring connotations of unoriginality” that plague remakes (Heinze and Krämer 2015, 13). In his Maclean’s article, Brian Johnson similarly argues that the remake “makes a virtue of unoriginality” (Johnson 2009, 63). The unoriginal claim is, in fact, noted in most discussions of remakes (see for example: Gil 2014; Smith and Verevis 2017).

  48. 48.

    Quo Vadis? (1985), for example, has been described as a “uninspired remake” of the 1951 film (Smith 2004, 195); Notorious (1992) as a “tedious, uninspired remake” of the 1946 film (Cameron-Wilson and Speed 1995, 141); and Fun With Dick and Jane (2005) as an “uninspired remake” of the 1977 film (Verniere 2005).

  49. 49.

    Between Two Worlds (1944), for example, has been described as “an ultimately tedious and unnecessary remake” of Outward Bound (1930) (Nissen 2012, 70); Swept Away (2002), the remake of the Italian film Travolti da un insolito destino nell’azzurro mare d’agosto (Swept Away) (1974), as a “limp, uninspired and unnecessary” (Carter 2003, 11); and The Last House on the Left (2009) as an “ugly, unnecessary remake” of the 1972 film (Horton 2009).

  50. 50.

    “Stop hating remakes – you love them” (2016).

  51. 51.

    Francis (2013, 7).

  52. 52.

    Mitchell (2013) and Coykendall (2000).

  53. 53.

    Stasia (2014, 117).

  54. 54.

    Sharkey (2013).

  55. 55.

    Rosewarne (2011, 2017, 2018).

  56. 56.

    Corliss (2012).

  57. 57.

    Horton and McDougal (1998, 6).

  58. 58.

    Hutcheon and O’Flynn (2013, xv).

  59. 59.

    Harris (2013).

  60. 60.

    Huang and Ross (2009, 1).

  61. 61.

    Nowlan and Wright Nowlan (1989).

  62. 62.

    Oltmann (2015).

  63. 63.

    Lukas and Marmysz (2009, 5).

  64. 64.

    Hornblow (2002).

  65. 65.

    The remaking of silent films as talkies and black-and-white films in color illustrates this well.

  66. 66.

    The Omen (2006), for example—the remake of the 1976 film—was released not only 30 years after the first film but also, in the US, on 6/6/2006, a date considered especially creepy (because of the 666).

  67. 67.

    Druxman (1975, 15).

  68. 68.

    Rapold (2011).

  69. 69.

    Hollinger (2006, 52).

  70. 70.

    Druxman (1975, 195).

  71. 71.

    Rice (2013, 229).

  72. 72.

    Rice (2013, 229).

  73. 73.

    Raw (2006, 49).

  74. 74.

    Gilbert (2008).

  75. 75.

    “Jaden Smith to Star in ‘Karate Kid’ Remake” (2008).

  76. 76.

    Owen (2016).

  77. 77.

    Forrest and Koos (2002, 2).

  78. 78.

    Forrest (2002, 178).

  79. 79.

    Forrest (2002, 178).

  80. 80.

    Nowlan and Wright Nowlan (1989, 19).

  81. 81.

    Lentz (2000, 62).

  82. 82.

    Francis (2013).

  83. 83.

    Salt (2016, 475).

  84. 84.

    Meehan (2011, 30).

  85. 85.

    Meuel (2014, 109).

  86. 86.

    Nissen (2007, 7) and Furia (1996, 213).

  87. 87.

    Bass (2018, 6).

  88. 88.

    The Complete Idiot’s Guide to Screenwriting (2001, 111).

  89. 89.

    Arnold (1997).

  90. 90.

    Rosewarne (2007).

  91. 91.

    Rosewarne (2007).

  92. 92.

    Acuna (2013), Roush (2016), and O’Falt (2018).

  93. 93.

    Labrecque (2013), Faraci (2017), and Lay (2018).

  94. 94.

    Mazdon (2000, 4).

  95. 95.

    Verevis (2006, 1).

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    Lauren Rosewarne

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Rosewarne, L. (2019). An Introduction to Sex and Modern Remaking. In: Sex and Sexuality in Modern Screen Remakes . Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-15891-0_1

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