Talking Movies

December 14, 2009

On Not Watching the Watchmen

Zack Snyder directing Alan Moore’s Watchmen raises the intriguing question – can a right-wing director successfully helm the work of a left-wing writer? Moore doesn’t seem to think so, but then Watchmen is very unrepresentative of his work, perhaps he resents its veneration because it’s the closest he’s come to Frank Miller’s shtick. The quintessential Moore is really the impossibly clever allusive universe and absurdist comedy of the League of Extraordinary Gentleman.

Greg Garrett noted that Moore’s Batman in The Killing Joke was more interested in rehabilitating criminals than any before or since and that the Joker was given a more sympathetic portrayal; hence Moore’s writing is distinctly left-wing, especially when one considers his nemesis Miller’s splenetic fury at that work: “I disagree with everything Moore did in that book….My Joker was more evil than troubled; Alan’s was more troubled than evil”. Watchmen’s author is a left wing lunatic (read some interviews with Moore – full of the right spirit, but barking), so it’s deluded to think it could be done justice by a man who produced a completely faithful adaptation of 300. Snyder’s film works wonderfully, as a comedy, so replete is it with absurd patriotism and macho bombast. The DVD extras confirm Snyder is a right-wing lunatic, because he in all seriousness put it together as a straight down the line action about freedom, not preposterous nonsense – a sort of musical comedy without music. Moore refused to be drawn on Snyder’s approach to Watchmen, pithily dismissing 300: “I didn’t particularly like the book 300. I had a lot of problems with it, and everything I heard or saw about the film tended to increase rather than reduce them: it was racist, it was homophobic, and above all it was sublimely stupid”. Moore you see detests Miller for being a right-wing lunatic. Miller doesn’t do rehabilitation of criminals, or shades of grey, and as his career has progressed his obsession with whorish females and stylised violence has become ever more repetitive, distasteful and shallow, even as Moore’s work has become more playful, intelligent and optimistic. Miller and Snyder mesh in a way that Moore and Snyder patently do not, it is a question of worldview.

Rorschach was meant as a parody of Steve Ditko’s ridiculous early 1970s comics character Mr A, a vigilante who saw the world in strict black and white morality and delivered savage beatings to anyone who strayed. Moore was parodying this insane Manicheanism. An insistence on dividing the world into good or evil, not only denies political reality and the existence of ethical dilemmas it is also (as Ditko soon found out from falling sales) largely devoid of any artistic interest. Moore was not endorsing Mr A/Rorschach’s politics but if Snyder directed 300, which may in time be come to seen as the ultimate cinematic encapsulation of the cocksureness of the Bush zeitgeist, does he not believe in exactly what Moore mocked? Moore gave Rorschach peculiarly phrased dialogue, an aural equivalent would be rather high-pitched – hysterical and psychotic. Synder’s Rorschach growls like Batman, which renders him heroic rather than damaged. Does Snyder regard Rorschach’s interior monologue then not as reprehensible but merely colourfully phrased expressions of a legitimate worldview? Even Ditko when asked about Rorschach replied “Oh yes, he’s like Mr A, but insane”. Perhaps Snyder failed to realise that Nite Owl 2 is obviously Batman…

Moore’s comic is violent but the presentation downplays panels of violence in favour of panels of characters talking to each other indoors. Not exactly blockbuster visuals, so Synder amps up the violence. This elides Moore’s satirical point about the comic medium’s need for violent spectacle, which is even more pertinent to blockbusters. Nite Owl 2 and Silk Spectre’s rescue of people from a fire is intentionally seriously lame, making the sex afterwards even more pointedly pathetic and indicative of some heavy-duty psychosis on Nite Owl’s part. Why then film it with slow-mo heroic firestorms and Hallelujah scored sex? One could argue that Synder has only one style of directing – slow-mo ultra-violence – but when a co-writer/director hits so many wrong notes by applying a ‘previously winning formula’ it points more towards the politics of adaptation: it is possible to be faithful in replicating exact panels of a comic-book but miss the point, it’s called not getting irony.

But why deliberately not watch Watchmen? Here’s why:

CASEY: Snyder’s Watchmen will be rubbish.
LIBERAL: If you haven’t seen it, you can’t criticise it.
(Casey goes to cinema, resumes argument with Liberal)
CASEY: Fine I’ve seen it now and it is witless trash, but then I already knew that. Why the hell does Hollywood keep producing such dross?
(Enter a Hollywood producer)
DELANEY: We only make movies like Watchmen because they’re profitable. If people stopped going to them we wouldn’t make more. You’ve paid to see two of Snyder’s films now so blame yourself for his next one getting financed.
CASEY: Hang on a minute, so I can’t criticise the film without seeing it, but if I see it I just guarantee more of the same. (beat, turns to Liberal) Are you two working together?
LIBERAL: I have no comment on the matter…

And so I will have no part in encouraging Snyder.

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