The super hero movie is valuable stock in Hollywood these days. From Batman to Iron Man to Spider-Man and the X-Men, every superpowered being in print is fodder for the next big budget blockbuster. On the flipside, existing parallel to the Big Two (DC and Marvel), has been an independent and creator driven comics industry. Out of this alternative has come unique and quirky stories that use the sequential art medium to tell stories off the beaten path. Here’s a few that would make for a dynamic and engaging film festival.
From Hell (2001, dir. The Hughes Brothers)
While I am no big fan of this adaptation of Alan Moore and Eddie Campbell’s graphic novel, it is still decent film even though it loses the essence of the original work. The story follows British Inspector Frederick Abberline (Johnny Depp) who has been brought onto the Jack the Ripper case. He befriends East End prostitute Mary Kelly (Heather Graham), whose friends are being picked off one by one. The mystery unfolds as part of a dark Illuminati conspiracy and the Ripper’s motives are attached to satanic machinations. The Hughes Brothers, best known for their contributions to African-American cinema with Menace II Society, Dead Presidents, and the wonderful documentary American Pimp, devise a few clever visual tricks but nothing that can raise the film too far beyond a mediocre level. The best part of the film are those metaphysical and occult concepts of Moore’s that made their way from the page to the screen.
American Splendor (2003, dir. Shari Springer Berman, Robert Pulcini)
From my earlier review: “American Splendor is one of the most unusual comic book adaptations of the 2000s. While this is an origin story, there are no capes or tights. Instead its vintage records and perpetual scowls. Cleveland native, Harvey Pekar began chronicling his life in underground comic books in the 1970s after befriending cult comix artist Robert Crumb. The film works as a docudrama, that features the real Pekar commenting on his life mixed with Giamatti acting out the anecdotes. Even the illustrations from the comic books are animated and spliced amongst the live action sequences. The entire form and style of this film is unlike any other I have seen and have not seen it attempted since. Giamatti does an excellent job mimicking Pekar, but if you have seen the film you can agree nothing surpasses the natural curmudgeon of the original.”
Ghost World (2001, dir. Terry Zwigoff)
Based on the graphic novel by Daniel Clowes, Ghost World follows the post-high school graduation summer of surly teen, Enid (Thora Birch) and her best friend, Rebecca. The two girls move from episodic moment to episodic moment, slowly growing apart. Enid is the voice for many of the mid- to late 90s proto-hipsters. She has a love of old blues vinyl and kitschy ironic pop culture, and it comes across in a less forced away than many contemporary hipsters do. The summer is a growing time for Enid as her poor temper is forced to dissipate as the responsibilities of adulthood set it. A very sharp, clever film that appeals to the introverted English major type (as I can speak from experience).
A History of Violence (2005, dir. David Cronenberg)
Based on the overlooked graphic novel by crime writer John Wagner, Cronenberg reinterpreted it and took the main character, Tom McKenna (Viggo Mortensen) in a different direction. The inciting incident, a pair of murderous thieves hold up Tom’s small town diner, is the same but the choices the character makes and how figures from his past choose to interact with him is where the changes occur. This is a wonderful film that displays Cronenberg’s gifts as a filmmaker. He is totally comfortable in quiet moments and knows how to jolt the audience without playing to cheap shocks. This is also a film that gives an ending that doesn’t need a twist to create a powerful impact.
Persepolis (2008, dir. Marjane Satrapi, Vincent Paronnaud)
Unlike the other films of this list, the author of the graphic novel had a direct hand in the adaptation and direction of their work. Persepolis chronicles Marjane Satrapi’s adolescence in Ayatollah-ruled Iran and her eventual relocation to Europe when her parents become afraid of the oppression in their country. Both the film and graphic novel give a wonderful history lesson on Iran and showcase how great America’s ignorance is about Iran’s relations with Iran and the rest of the Arab world. On a microcosmic level, it is also the story of a young girl who tests the borders of rebellion and transitions through the awkward moments of childhood into a confident and brilliant young woman.