Pete Tennant

Dude, Where’s My Originality?


The Swedish "Let the Right One In" was released in 2008- so why is there already a Hollywood remake?

Remakes. I have serious issues with remakes, particularly in the film industry. And I’m not the only one, the internet is full of people with gripes about it. But now is my turn.

My thoughts on this were prompted by a friendly little discussion over at the TTA Press Forums, about Let Me In, the US remake of Swedish film Let the Right One In. Now, I haven’t seen either film (yet), but I have to wonder at the remaking of a film only two years after it’s initial release. Given the gestation period of films, this must have been conceived around the time that the Swedish film was released.

So why do films get remade? I think Pete Tennant hit the nail right on the head, saying that it does fundamentally come down to money. The American studios realise that if they remake it, they can make a whole pile of money off the back of it. And that’s the primary force behind remakes. If it’s been proved to work once, it’ll work again right?

The same philosophy has been behind a number of originality-based problems in the film industry. Unleashing Rob Zombie on the Halloween franchise, the lacklustre and unnecessary Nightmare on Elm Street remake, the seemingly endless parade of Saw sequels. Even The Girl With the Dragon Tattoo (another Swedish film) is being remade in an American image for release next year.

The studios are aware that if they trot out something with a recognisable brand, then people will flock to it based on that alone. Maybe the fact that they invariably turn out somewhere between mediocre and utter crap is unrelated, or maybe it’s a symptom of them not thinking they need to work as hard.

The fact is that original films are harder work. They have to be made better (probably), they have to be advertised harder, and there’s none of the “sheep” guarantee that people will turn out to see it. But they are an injection of vitality to the industry, which sustain it creatively. And they can be done successfully.

My two favourite films so far this year are probably Inception and Kick Ass. You might argue with me as to the value of those two films, but I personally loved them. And they were original films. Well, Kick Ass was an adaptation of a graphic novel, but I’ll allow it. They weren’t remakes of foreign films, or even of old genre classics. They were new stories, based on nothing else than some writer’s imagination. So huzzah.

Of course, there are other arguments for remaking films. There’s the subtitles argument. I myself have no problem with subtitled. Dubbing is always an awful idea, because it somehow always manages to destroy the film. But I like subtitles. Some people, however, don’t. I don’t get it, but whatever. That might be a reason for remaking a film, but I have to say that on its own it’s a pretty poor one. In my experience a film takes something (whether a lot, or just a general sense) from the culture in which it is made, and which it is set. That’s part of the reason that Americanisation has become so pervasive (not a criticism, surprisingly), because Hollywood films are revered the world over. But as soon as you try and transplant a film from one culture to another, you start running into weird problems.

I’m not so much against retreading old ground. J.J. Abrams Star Trek was pretty damn good. I’m a massive fan of Ronald D. Moore’s reimagining of Battlestar Galactica. The remake of V sucked because it was awful, not because it was a remake. What’s important though, I think, is not to forget respect and originality. Respecting the original work, and putting your own original take on it, will go a long way to make it look like less of a money-grabber, and less of an insult to the original.