ORIGINAL VS. REMAKES...
PONDERING FILMS 
#1 in a potential blog series

Recently I watched MEET JOE BLACK on Netflix and because I don't usually read reviews before watching a movie but I do read synopses and might view trailers, I didn't know in advance that this movie was a modern remake of DEATH TAKES A HOLIDAY.  I saw the 1930s movie decades ago during a phase when I was enamored with black and white cinema.  As I watched MEET JOE BLACK, I was reminded of the b&w film DEATH TAKES A HOLIDAY, and decided to rewatch that early movie but found only a crappy copy on YouTube.  Still, it was worth the refresher. Later, I was checking out one of the actors on IMDB and discovered another DEATH TAKES A HOLIDAY, a TV movie from the 1970s which I didn't know about so I watched that as well on YouTube.  (I noticed that there were TV shows or episodes but didn't watch those.)  

This is something I tend to do a lot, mostly because if I've seen the original film or an older version of a more current movie, I normally don't have much recall about the whole of it, just a feeling, and flashes of independent scenes that have lingered in my brain.  But I find it kind of fun to look at the major versions and within their various contexts, compare.  So, here goes:


SOURCE MATERIAL

Death Takes a Holiday is based on a 1924 Italian play (La Morte in Vacanza) written by Alberto Casella (1891-1957), adapted in English for Broadway in 1929 by Walter Ferris.  Amazon has the play here:

Death Takes a Holiday. A Comedy in Three Acts

THE MAIN THEME

Death cannot figure out why mortals cling to life. The Grim Reaper takes 3 days off to become human and check it out. Everybody tells Thanatos that love is the thing.

THE FILMS

DEATH TAKES A HOLIDAY - 1934 - This black and white film stars Fredric March as Prince Sirki/Death. Stylish in the mode of the day, with allusions to Nazi Germany, it's packed with old-school philosophy which Death as the Prince and later as himself is happy to dispense. Beautiful costumes, a crowd of wealthy people on holiday at a lovely estate. Grazia (Evelyn Venable) is psychically inclined, in love with the mysterious and ultimately dumps her boyfriend and falls for Death as he falls for her. Only the estate owner knows that the Prince is Death but is forced to tell the other guests when Grazia's life is on the line. But Death, vocalizing more philosophy which includes a bit of a rant about his eternal pain and how can humanity's petty concerns and grievances possibly compare, is seemingly understood by the guests yet they do not agree with him. Still, he takes Grazia with him into the otherworld because he wants her, and she wants to go.

DEATH TAKES A HOLIDAY - 1971 - Monte Markham stars as David Smith/Death. It's a 70s-style movie with an expectation of disco music permeating the film. It doesn't, but there is one extremely long motorboat race that has a lot of whurring sounds accompanying it. The wealthy Chapman family is reminiscent of the Kennedy clan and their tragedies. The youngest, prettiest daughter Peggy is a daredevil, played by Yvette Mimieux, who drowns at the beginning of the movie, yet doesn't because Death is at the start of his 3-day human experience and rescues her because no one can die while he's on vacation. Meanwhile, during Death's holiday, bodies are piling up on Earth but the Chapman's on the island retreat they own are unaware of this most of the film. The senior dad, Judge Earl Chapman, is played by Melvyn Douglas. Chapman is ready and not ready to die. Through various illnesses, he now recognizes Death—he's seen him waiting in the wings during several strokes he's suffered. He insists Death should take him instead of daughter Peggy. But Death--who talks concepts that go over the heads of this family, including Peggy's cousin who is in love with her—says he doesn't have the power to do a switch.  Only mom, Selena Chapman, played by Myrna Loy looking very Rose Kennedy, understands that Peggy has to have this complete soul-connection love.  Death wants Peggy and Peggy wants Death so he takes her with him because she wants to go.

MEET JOE BLACK -  1998 - Brad Pitt stars as Joe Black/Death, and I think this is a great spin on the character, reminiscent of the attractive Greek youth of demise, Thanatos. This is a modern story, Death here to take William Parrish—perfectly portrayed by Anthony Hopkins—on his 65th birthday.  Parrish heads an enormous newspaper empire. Joe is a real person who meets Parrish's daughter Susan (Claire Forlani) at a coffee shop and while they are attracted to one another, they part and, unknown to her,  he is hit by a car. Death instantly grabs his body and visits William Parrish and they cut a deal.  For 3 days Death will be by the side of Parrish to learn why life is so damned precious. They have a sort of fun relationship and there is black/Black humor to be had. Ultimately Black/Death falls for Susan and she falls for him but her dad—who has accepted his own impending demise—doesn't like this relationship and confronts Death with solid heart and sound philosophical reasons why it's wrong to take Susan too. Death thinks about this. Meanwhile, Death helps Parrish sort out his messy business and the swindler who made it that way before leading him beyond the veil. Death reveals his true self to Susan and Forlani's acting in this bit is nothing short of brilliant. She will go with him but ultimately, Death takes the high road and allows the distraught, grieving-for-lost-love Susan to live...and returns unharmed 'Joe', the body he 'borrowed', so the two can start over from the coffee shop meeting.

MY FAVORITE

Of the 3 films, it's a tossup for me between DEATH TAKES A HOLIDAY 1934 and MEET JOE BLACK 1998.  I like them both a lot.  Despite 63 years between these films shot in and reflecting differing film styles and the societal norms of their eras, each is terrific and Death in both is an intriguing character. Death reveals his true identity to the female of choice and the reactions are fascinating. DEATH TAKES A HOLIDAY 1971 feels shallow to me, Death wooden. I cannot see the chemistry between David/Death and Peggy.  It is definitely there in the other two films. I mean, come on! Death is a cold, jaded character and needs something pretty astounding to pierce that otherworldly dark armor, and while Mimieux is cute and perky, I don't see her longing as in the other two versions. Maybe the director thought 'cute' would be enough, but that does not cut it for me. Peggy likes to explore new and dangerous adventures and I kept wondering how soon she will be 'over' Death and that eternal relationship in the hereafter. I also like the dialogue in the 1934 and 1998 films, which touches on the profound.  1971 reeks of the '70s era approach that I find annoying (and this is me, who had a relatively good time in the '70s!).  The fact that weighty monologues fly over the heads of most of the Chapman clan speaks volumes about both the film and the decade.

AGREE/DISAGREE/AGREE TO DISAGREE?

Feel free to opine here at the bottom of this blog, or come visit my Facebook page and post a comment under this blog post (June 6).

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