by Helen Langdon
The Discworld novels are beloved. And there’s only one way to please everyone when adapting a beloved series – don’t do it. That’s why it wasn’t until 2006, 23 years after The Colour of Magic was first published, for Sky One to start producing live-action adaptations of life on the Great Turtle’s back.
The Discworld novels are beloved. And there’s only one way to please everyone when adapting a beloved series – don’t do it. That’s why it wasn’t until 2006, 23 years after The Colour of Magic was first published, for Sky One to start producing live-action adaptations of life on the Great Turtle’s back.
So, we start off with Hogfather, the Discworld take on Christmas and what would happen if the Hogfather (a rather more porky Father Christmas) suddenly vanished. It’s a story about belief systems and how our childhoods affect us all throughout our lifetimes. And there’s some flying pigs. Adapting the 20th novel in a series might seem like a strange place to start, but actually, it makes perfect sense. Some of the Discworld novels would be horrendously difficult to film, what with all the special effects needed (and to be perfectly honest, that is where Hogfather occasionally stumbles). Hogfather works well as a standalone piece, not requiring much in the way of wider Discworld knowledge. Yes, it would add to some of the jokes, but it’s not essential that viewers know who Nobby and Visit are, or exactly how Susan is Death’s granddaughter.
Sky One It’s a really faithful adaptation, right down to the dialogue. A few minor characters are cut entirely. The Death of Rats sees most of his scenes cut down to a single act of reaping a mouse’s soul, and then standing around watching. It’s possible that it’s too faithful. What works on the page might not work on screen.
The casting is fairly good, with Michelle Dockery suitably disdainful as Susan, Ian Richardson a great Death (quoting Richardson’s most famous role into the bargain) and Marc Warren in possibly the best role he’s ever played, the bloody terrifying Teatime. Terry Pratchett gets his first adaptation cameo as a toymaker (named Joshua Isme – “Toys Is Me”, get it?). And then there’s David Jason. He’s alright as Albert – good, even – but not the sole reason why Hogfather was a success. But apparently no-one told the programme-makers this.
Because they went and gave him the lead role in the next Discworld adaptation.
The casting is fairly good, with Michelle Dockery suitably disdainful as Susan, Ian Richardson a great Death (quoting Richardson’s most famous role into the bargain) and Marc Warren in possibly the best role he’s ever played, the bloody terrifying Teatime. Terry Pratchett gets his first adaptation cameo as a toymaker (named Joshua Isme – “Toys Is Me”, get it?). And then there’s David Jason. He’s alright as Albert – good, even – but not the sole reason why Hogfather was a success. But apparently no-one told the programme-makers this.
Because they went and gave him the lead role in the next Discworld adaptation.
Sky One Even the most ardent of Pratchett fans would have to admit that The Colour of Magic isn’t the best book. It might be the original, but that means it’s written before the Discworld tone is really settled. It’s less a Discworld novel, and more a standard fantasy parody (hence all the stuff about dragons and half-naked women). The TV adaptation combined The Colour of Magic and follow-up The Light Fantastic into a three-hour movie about the Disc’s first tourist, Twoflower, and his guide, the Disc’s worst wizzard, Rincewind, as they go on a series of misadventures.
The Colour of Magic received better reviews from critics than Hogfather, possibly because it’s a more liberal adaptation, taking the bits that work from two novels and cutting the extraneous bits. So, a fair amount is cut, including the whole Temple of Bel-Shamharoth bit, and lots of the Wyrmberg is cut in order to simplify it, and the Unseen University rivalry is expanded so that there’s a consistent antagonist throughout.
The Colour of Magic received better reviews from critics than Hogfather, possibly because it’s a more liberal adaptation, taking the bits that work from two novels and cutting the extraneous bits. So, a fair amount is cut, including the whole Temple of Bel-Shamharoth bit, and lots of the Wyrmberg is cut in order to simplify it, and the Unseen University rivalry is expanded so that there’s a consistent antagonist throughout.
Sky One Christopher Lee makes a worthy replacement for Richardson as Death, and Tim Curry’s in usual form as the hammy villain of the piece. But David Jason as Rincewind just isn’t great, even if it was his dream role. Leaving aside the fact that Rincewind is supposed to be middle-aged, he’s supposed to be such a great coward that his main talent is running away. And David Jason just doesn’t bring the right physicality to the role. Sean Astin is good-naturedly oblivious as Twoflower, but it would have been nice to actually cast someone Chinese or Japanese, given the Agatean Empire’s similarities to both countries. Obligatory Pratchett cameo mention – here he plays an astrozoologist.
Finally we come to Going Postal, the 2010 adaptation of the 33rd Discworld novel. Conman Moist von Lipwig is rescued from the gallows by the Patrician of Ankh-Morpork, Lord Vetinari, and told that he will be protected from execution as long as he can restore the Post Office to its former glory. Easier said than done, when he has to compete with the newfangled technology of the clacks, and sinister businessman Reacher Gilt.
Finally we come to Going Postal, the 2010 adaptation of the 33rd Discworld novel. Conman Moist von Lipwig is rescued from the gallows by the Patrician of Ankh-Morpork, Lord Vetinari, and told that he will be protected from execution as long as he can restore the Post Office to its former glory. Easier said than done, when he has to compete with the newfangled technology of the clacks, and sinister businessman Reacher Gilt.
Sky One Again, a lot was changed for this adaptation, amping up Adora’s role in the clacks and generally in the plot, making Reacher Gilt a more hands-on villain and cutting the Anoia, Goddess of Things That Get Stuck in Drawers, subplot. Moist is also made more sympathetic, and less the amoral conman of the novel. But like the others, it does make for a good adaptation – the book is Terry Pratchett going back to parodying specific industries. Charles Dance makes for a far more accurate Vetinari than Jeremy Irons did in Colour of Magic (a Patrician he might be, but Havelock Vetinari he is not), and while David Suchet might be best known for Poirot, he shines as a manipulative, malevolent villain (Terry Pratchett cameos as a postman).
So, do the Discworld adaptations work? As with everything nerdy and contentious, your mileage may vary. They’re a great way to introduce newcomers to the wonderful world, offer a chance to see our favourite characters on screen and bring the Discworld to life in all its grubby, unpredictable glory. Here at I’m With Geek, we’re always keen to see a new interpretation of a classic, and these are worthy additions to the Discworld canon.
So, do the Discworld adaptations work? As with everything nerdy and contentious, your mileage may vary. They’re a great way to introduce newcomers to the wonderful world, offer a chance to see our favourite characters on screen and bring the Discworld to life in all its grubby, unpredictable glory. Here at I’m With Geek, we’re always keen to see a new interpretation of a classic, and these are worthy additions to the Discworld canon.
RSS Feed
