“All we ever see of stars are their old photographs.”
— Dr. Manhattan.
Watched the ‘Ultimate Cut’
Watchmen, the original graphic novel, for me, has a special place in my heart. It was one of the first few comics that I read when I was younger and it was also the one that took me the longest to finish; starting in my early teens and progressively devouring every ‘chapter’ it was unlike anything I had ever read before or will be likely to read again. It entranced me, from the choked back colours to the fluid prose that elevated it beyond whatever we were reading in school at the time. I went on like this for some time and then, abruptly and without real reason, I just stopped. Looking back at the pages now, in my late teens, I can appreciate the intensity and fevour that went into every line, both textually and artistically, to create such a masterwork, but back then I was scared. To me, all those years ago, it seemed big and adult, an ultraviolent bundle of images that held little more depth than the blood of the Comedian that flowed across the pavement of the street; it presented a world that I was not ready to confront, one I wished did not exist. Of course, the truth is it does. Superheroes don’t exist, but people do. It does not take superpowers to be superhuman, nor some pitiful backstory that fostered a burning vengeance in your heart, but to stand up for what is right and to challenge those who beat you down. When you read the original comics you feel different, you experience the grim underbelly of New York, the danger, the perversions, and when that final bell is struck and the illusion begins to shatter you break with it. Perhaps then, it is easy to agree with those that suggest it was foolish to attempt to film such a narrative and yet I still find it hard to. When you are watching Watchmen you are not watching the novel, you are viewing a perception of the experience: while all the motions are there, it will not be the same and that’s okay.
Critics, Alan Moore among them, have slashed the film for its inaccuracies in comparison to the novel and the, at times troubling acting (Malin Åkerman I’m looking at you), and yet they fail to recognize the things that Snyder has done justice. It goes without saying that Jackie Earle Haley is absolutely riveting as Rorschach, delivering his unexpected bursts of emotion effortlessly, puncturing the cool, hard atmosphere like a bullet, with such determinism you are able, even for a few hours, to enter into the surreal premise put forth by these individuals, of whom we feel real sympathy for. The inclusion of the ‘Tales from the Black Freighter’ in the Ultimate Cut also elevates the film, an essential facet that effectively transcends the medium and allows for the melodramatic exposition of the ensuing events, accelerating the narrative and heightening the tension, providing a cathartic release from the events grounded in reality. Although many have argued against the inclusion of this to the cut of the film, due to breaking the narrative and slowing the internal pacing, it must be seen as an integral supporting pillar of the narrative, just as much as it is in the novel.
However, as it progresses the scripting diverts from the original narrative, choosing to include and exaggerate unnecessary details, such as Rorshach’s initial murders, in favour of the blatant shock value; had this been an new concept it may not have been as much of an issue, yet, viewed in the light of Alan Moore’s writing it seems to do a disservice to the work as a whole. Again, cracks can be seen in the performances of both Åkerman (Jupiter) and Wilson (Nite Owl II/Dan) approaching particularly intense scenes while the scoring for the later stages seems irrelevant and misplaced. Hendrix with “Along the Watchtower”, for example, cuts in too early and distorts the drama of the approach in the final act, distracting from the sincerity of the mission; in spite of this, Cohen’s rendition of “Hallejulah” is a major high, with the poetic culmination of Dan and Laurie’s relationship. Perhaps, the greatest failing of the film is that, for those not having read the comics, the plot becomes convoluted too quickly with inadequate explanation or reference to the reasoning behind events, resulting in the act of watching it to become a highly arduous affair.
So this is not the same experience as that I read that first time but as a film, it does work out eventually, despite being constrained, and still retains a similar charm that rewards those familiar with the text; a dark, guilty pleasure but not on par with The Dark Knight in terms of all-round excellence, this should be viewed more as an accompaniment to the text as opposed to the definitive version.
Bit of a long one but I feel like I needed to do it justice; thanks for reading, I’d love to hear your opinions too!
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