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Frank Herbert

HIS DARK MATERIALS: a slick adaptation lacking in magic (Season 1 – Review)

Until the BBC, in league with HBO, decided to tackle Phillip Pullman’s His Dark Materials trilogy, it remained one of the greatest, unfilmed epic adventure stories in modern literature.

There was, granted, an attempt in 2007 with The Golden Compass, directed by Chris Weitz, but despite starring Nicole Kidman, Daniel Craig and a host of talented thespians in support, it failed to capture enough critical acclaim & audience imagination (and crucially box office) to warrant adapting not just Pullman’s first novel, Northern Lights, but the subsequent two sequels – not to mention launch the career of star Dakota Blue Richards, playing central heroine Lyra Belacqua. On the face of it, His Dark Materials should be a slam dunk as a success story; a plucky heroine, a quest narrative, magical realms, talking bears, witches and megalomaniacal villains. Except it isn’t quite that simple.

Though this kind of genre may lend itself to family friendly entertainment, a Harry Potter-esque story of good vs evil, Philip Pullman’s books are incredibly dense, complicated and challenging pieces of world-building crammed with the kind of philosophical ideas that your JK Rowling’s or George Lucas’ do not touch. His Dark Materials, over the three books, goes to some seriously dark places – the climax of Northern Lights is built on such a moment. Adapting these books is not nearly as easy as they may look from the outset, bucking convention in the ideas Pullman presents. The Golden Compass proved one film was not enough space to pull this off. The BBC’s His Dark Materials suggests even an eight-part television series might not be up to the challenge.

As despite the fact Jack Thorne’s scripts put everything from the first novel (and a bit from the second) on screen, the first season of His Dark Materials lacks the key component present in Pullman’s writing: magic.

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Game of Thrones – (Series Overview + Reviews)

Game of Thrones changed television. Not many TV shows can say that but Game of Thrones, unequivocally, can. There had never been a show quite like it in terms of scope, grandeur, ambition and ultimately international commercial and critical success. It broke the mould.

George R. R. Martin first began writing his long-form, magnum opus of novels, known collectively as A Song of Ice and Fire, over twenty years ago before the publication of his first, A Game of Thrones, in 1996. Set in a fictional fantasy world, primarily on a continent known as Westeros, Martin’s prose was at times pulpy and ripe but his reach was astonishing; taking more than a cue from Tolkien, Robert Jordan and Frank Herbert among others, Martin swiftly created a vibrant fantasy world with an incredible amount of detail and depth lurking behind a complicated, exciting and layered narrative.

Despite the roughly five year gap between publication of Martin’s tomes (seriously, the lighter A Song of Ice and Fire novels clocks in at around 800 pages), production companies soon came sniffing around Martin looking to adapt his books into a feature film. Quite understandably, Martin soon made the point that doing A Song of Ice and Fire as a movie would be nigh on impossible, explaining how just one of his books is longer than The Lord of the Rings, which itself was adapted into three enormous movies by Peter Jackson. The scope was just too large. It belonged on TV.