On Apr 29, 2005, at 7:28 PM, Maru Dubshinki wrote:
So I take it that you did not like it?
I'd rate it right down there with Vogon poetry. (Which, by the way, remained in the movie, but in a cut-down fashion that left the scene bewildering.)
/is not actually surpised. HHGTG didn't have a really straightforward, movie suitable plot.
In the shape it took for radio or the book, possibly not; but it managed to make the transition to television more or less in one piece. Adjusting things for linearity in the story utterly ruins a lot of what makes the story funny -- like he very improbable coincidence that Arthur would be rescued by Tricia McMillan.
Oh shit, that cued a memory that I think I'm already trying to repress. There's a romantic subplot as well. Ow. Ow. My brain hurts now.
It was the unforeseeable way things fit together that really made the story so damned clever. (Well, that and Adams's careful honing of language, most of which was changed in the script by someone with the same notions of subtlety as a hammer-wielding three-year-old.) Arranging events in conventional storytelling order breaks the spontaneity, and while brevity is the soul of wit, its heart is the unexpected.
'Cmmb the shag'?Oh la di dah, aren't we the fancy one! In *my* day we didnae have shag! We had woven poison ivy to cover our floors, and we liked it! The rashes kept us warm when we ran out of dung to burn.
Ahh, hae ano'er potaato an shet yer gob, granddad.
-- Warren Ockrassa, Publisher/Editor, nightwares Books http://books.nightwares.com/ Current work in progress "The Seven-Year Mirror" http://www.nightwares.com/books/ockrassa/Flat_Out.pdf
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