Classic Literature Adaptations Movies

Gone With the Wind boils down to a story about a spoiled Southern girl's hopeless love for a married man. Producer David O. Selznick managed to expand this concept, and Margaret Mitchell's best-selling novel, into nearly four hours' worth of screen time, on a then-astronomical 3.7-million-dollar budget, creating what would become one of the most beloved movies of all time. Gone With the Wind opens in April of 1861, at the palatial Southern estate of Tara, where Scarlett O'Hara (Vivien Leigh) hears that her casual beau Ashley Wilkes (Leslie Howard) plans to marry "mealy mouthed" Melanie Hamilton (Olivia de Havilland). Despite warnings from her father (Thomas Mitchell) and her faithful servant Mammy (Hattie McDaniel), Scarlett intends to throw herself at Ashley at an upcoming barbecue at Twelve Oaks. Alone with Ashley, she goes into a fit of histrionics, all of which is witnessed by roguish Rhett Butler (Clark Gable), the black sheep of a wealthy Charleston family, who is instantly fascinated by the feisty, thoroughly self-centered Scarlett: "We're bad lots, both of us." The movie's famous action continues from the burning of Atlanta (actually the destruction of a huge wall left over from King Kong) through the now-classic closing line, "Frankly, my dear, I don't give a damn." Holding its own against stiff competition (many consider 1939 to be the greatest year of the classical Hollywood studios), Gone With the Wind won ten Academy Awards, including Best Picture, Best Director, Best Screenplay, Best Actress (Vivien Leigh), and Best Supporting Actress (Hattie McDaniel, the first African-American to win an Oscar). The film grossed nearly 192 million dollars, assuring that, just as he predicted, Selznick's epitaph would be "The Man Who Made Gone With the Wind." ~ Hal Erickson, Rovi

Sean Combs, Phylicia Rashad, Audra McDonald, Sanaa Lathan, and John Stamos all return to reprise the roles they originally played on Broadway in this made for television take on Lorraine Hansbury's timeless play about a 1950s-era Chicago family longing for a better life. Walter Lee has died, and now his widow Lena Younger (Rashad) is about to receive a $10,000 check from her late-husband's insurance company. Everyone in the family dreams about the ways their lives will be changed with the arrival of the money, family matriarch Lena - who longs to retire from her job as a domestic servant for a wealthy white family - in particular. Having lived in a one room tenement apartment ever since she and her late husband originally married, Lena is eager to purchase a house of her own and provide her family with a real home. Lena's son Walter Lee, Jr. (Combs), currently employed as a chauffer, and has recently become taken with the idea of purchasing a liquor store as a means of solving his family's financial woes. Like her mother-in-law, Walter's wife Ruth (McDonald) is also a domestic servant for a white family, and dreams of the day she can walk away from her job. While Walter's sister Beneatha (Lathan) strives to become a medical professional, tuition is expensive and she is currently being pursued by two men - wealthy but superficial George Murchison (Sean Patrick Thomas) and intellectual classmate Joseph Asagai (David Oyelowo). Much to everyone's surprise, Lena uses the lion's share of the money to purchase a home in the all-white residential neighborhood of Cllaybourne, splitting the remainder between Walter (for his entrepreneurial endeavor) and Beneatha (for tuition). Around the same time Walter loses his share of the inheritance to a smooth talking con man who claimed he could help finance the liquor store, the Claybourne "home improvement" association makes the discovery that the Youngers are black and sends emissary Mr. Lindner (John Stamos) to try prevent their neighborhood from becoming integrated by buying the house back. Now faced with the prospect of losing it all, Walter considers making a deal with Mr. Lindner in order to recover his losses. ~ Jason Buchanan, Rovi

Of the many stage, screen, and television adaptations of Leo Tolstoy's mammoth novel War and Peace, this multi-episode British TV version is widely regarded as one of the most thorough and entertaining. The grim days of Napoleonic wars and the "Little Corporal's" ill-fated invasion of Russia were shown through the eyes of a large, interwoven group of protagonists, including the sensitive intellectual Pierre (played by a young Anthony Hopkins, who won the BAFTA Best Actor award) and the ethereally lovely Natasha (Morag Hood). Of the supporting cast, Alan Dobie as Prince Bolkonsky and David Swift as Napoleon were standouts. The 20 45-minute episodes of War and Peace first aired in the U.K. from September 28, 1972 through February 8, 1973. The series was syndicated in the U.S. courtesy of PBS beginning November 20, 1973. ~ Hal Erickson, Rovi

Director George Cukor and producer Irving G. Thalberg's adaptation of Romeo and Juliet, a lavish production of Shakespeare's tale about two star-crossed lovers, is extremely well-produced and acted. In fact, it is so well-done, that it is easy to forget that Leslie Howard and Norma Shearer are too old to be playing the title characters. ~ Stephen Thomas Erlewine, Rovi

The third talkie version of Dumas' The Three Musketeers, this splashy MGM adaptation is also the first version in Technicolor. Gene Kelly romps his way through the role of D'Artagnan, the upstart cadet who joins veteran Musketeers Athos (Van Heflin), Porthos (Gig Young) and Aramis (Robert Coote) in their efforts to save their beloved Queen Anne (Angela Lansbury) from disgrace. They are aided in their efforts by the lovely and loyal Constance (June Allyson), while the villainy is in the capable hands of Milady De Winter (Lana Turner) and Richelieu (Vincent Price). Notice we don't say Cardinal Richelieu: anxious not to offend anyone, MGM removed the religious angle from the Cardinal's character. While early sound versions of Three Musketeers eliminated the deaths of Constance and Milady, this adaptation telescopes the novel's events to allow for these tragedies. True to form, MGM saw to it that Lana Turner, as Milady, was dressed to the nines and heavily bejeweled for her beheading sequence. Portions of the 1948 Three Musketeers, in black and white, showed up in the silent film-within-a-film in 1952's Singin' in the Rain, which of course also starred Gene Kelly. ~ Hal Erickson, Rovi

Screen newcomer Ruth Wilson assumes the role of Charlotte Brontë's eponymous heroine in director Susanna White and screenwriter Sandy Welch's adaptation of the classic 1847 novel. Jane Eyre is a plain but spirited woman who leaves behind the cruel confines of a charity home to work as a governess for the enigmatic Edward Rochester (Toby Stephens). The master of Thornfield Hall, Rochester hires Jane to watch over the young Adele. As a series of increasingly strange occurrences begin to unfold in Thornfield Hall's North Tower, the young governess attempts to maintain her virtue while entering into a soulful relationship with her unrepentantly lecherous employer. ~ Jason Buchanan, Rovi

The new kid at school faces up to the school bully by taking on a challenge no one has the guts to try in this family-oriented comedy. Billy (Luke Benward) is an 11-year-old boy whose folks have just moved to a new town and is facing the terror of his first day at a new school. It doesn't take long for Billy to run afoul of Joe (Adam Hicks), the school bully, who finds the live bait Billy brought with him and throws it in his face, asking Billy if he eats worms for lunch. Billy tries to gross out Joe by saying yes, he eats worms on a regular basis, and Joe calls his bluff by challenging him to eat ten worms in front of the student body. Billy takes the bet, and suddenly becomes something of a celebrity at school as the first kid to stand up to Joe. Billy also discovers he's caught the eye of Erika (Hallie Kate Eisenberg), a cute girl in his class, but can he actually eat the worms without losing his lunch? With the help of a handful of new friends, Billy preps for the big contest by learning how to eat as much gross stuff as he can, and he gains an unexpected ally in hot-headed Principal Burdock (James Rebhorn). Based on the popular children's book by Thomas Rockwell, How to Eat Fried Worms also features Tom Cavanagh, Kimberly Williams-Paisley, and Clint Howard. ~ Mark Deming, Rovi

This drama tells of the powerful rise of emperor Julius Caesar along with his swift fall in this adaptation of William Shakespeare's play. ~ Rovi

Jane Austen's perennially popular story of the game of love among the British upper classes returns to the screen in this polished film adaptation. The Bennets (Brenda Blethyn and Donald Sutherland) are the parents of five daughters near the close of the 18th century. Comfortable within their means but well short of rich, Mr. and Mrs. Bennet are looking for suitable husbands for their girls, and they are encouraged to learn that an eligible young bachelor from a wealthy family, Charles Bingley (Simon Woods), has moved into a nearby estate. Eager to see if a match can be made, the Bennets bring their daughters Elizabeth (Keira Knightley) and Jane (Rosamund Pike) to a ball thrown by their new neighbor to see if sparks will fly. Jane seems to like Charles, and he appears to feel the same, but Elizabeth takes an immediate dislike to Darcy (Matthew MacFadyen), Charles' egocentric best friend. While Elizabeth is infatuated with military man Lt. Wickham (Rupert Friend) and finds herself courted by William Collins (Tom Hollander), a well-meaning but drab man of the cloth, fate causes Elizabeth and Darcy to frequently cross paths, and while they don't care for one another, they can't stop thinking about each other, either. Pride & Prejudice also stars Jena Malone, Judi Dench, and Penelope Wilton. ~ Mark Deming, Rovi

H.G. Wells's War of the Worlds had been on the Paramount Pictures docket since the silent era, when it was optioned as a potential Cecil B. DeMille production. When Paramount finally got around to a filming the Wells novel, the property was firmly in the hands of special-effects maestro George Pal. Like Orson Welles's infamous 1938 radio adaptation, the film eschews Wells's original Victorian England setting for a contemporary American locale, in this case Southern California. A meteorlike object crash-lands near the small town of Linda Rosa. Among the crowd of curious onlookers is Pacific Tech scientist Gene Barry, who strikes up a friendship with Ann Robinson, the niece of local minister Lewis Martin. Because the meteor is too hot to approach at present, Barry decides to wait a few days to investigate, leaving three townsmen to guard the strange, glowing object. Left alone, the three men decide to approach the meterorite, and are evaporated for their trouble. It turns out that this is no meteorite, but an invading spaceship from the planet Mars. The hideous-looking Martians utilize huge, mushroomlike flying ships, equipped with heat rays, to pursue the helpless earthlings. When the military is called in, the Martians demonstrate their ruthlessness by "zapping" Ann's minister uncle, who'd hoped to negotiate a peaceful resolution to the standoff. As Barry and Ann seek shelter, the Martians go on a destructive rampage. Nothing-not even an atom-bomb blast-can halt the Martian death machines. The film's climax occurs in a besieged Los Angeles, where Barry fights through a crowd of refugees and looters so that he may be reunited with Ann in Earth's last moments of existence. In the end, the Martians are defeated not by science or the military, but by bacteria germs-or, to quote H.G. Wells, "the humblest things that God in his wisdom has put upon the earth." Forty years' worth of progressively improving special effects have not dimmed the brilliance of George Pal's War of the Worlds. Even on television, Pal's Oscar-winning camera trickery is awesome to behold. So indelible an impression has this film made on modern-day sci-fi mavens that, when a 1988 TV version of War of the Worlds was put together, it was conceived as a direct sequel to the 1953 film, rather than a derivation of the Wells novel or the Welles radio production. ~ Hal Erickson, Rovi

This second filmization of Leo Tolstoy's novel is widely regarded as the best version. Greta Garbo plays the title character, the sheltered wife of Czarist official Rathbone. Intending to dissuade Rathbone's brother (Reginald Owen) from a life of debauchery, Garbo is sidetracked by her own fascination with dashing military officer Fredric March. This indiscreet liaison ruins Garbo's marriage and position in 19th century Russian society; she is even prohibited from seeing her own son (Freddie Bartholomew). In keeping with the censorial strictures of 1935 Hollywood, Anna Karenina is extremely careful in the staging of its final suicide sequence, allowing the audience to determine for itself whether or not Garbo's desperate act of throwing herself under wheels of a train is intentional. Outside of the expected superb performances of Garbo and March, the film's most fascinating characterization is offered by Basil Rathbone, whose cold cruelty in banishing his wife is shown to be the by-product of his own broken heart (though Rathbone never allows himself to descend into cheap sentiment). The first film version of Anna Karenina was the 1927 silent feature Love, also starring Garbo, which substituted an imbecilic happy ending for Tolstoy's bleak denouement (there would be an acceptable third version in 1948, starring Vivien Leigh. The 1935 Anna Karenina is arguably the finest accomplishment of the felicitous 1930s alliance between star Greta Garbo, director Clarence Brown and cinematographer William Daniels. ~ Hal Erickson, Rovi

Farewell to Arms is the second film version of Ernest Hemingway's World War One novel--and also the last film produced by David O. Selznick (Gone with the Wind). Rock Hudson plays an American serving in the Italian Army during the "War to End All Wars". Jennifer Jones is his lover, a Red cross nurse. They have a torrid affair, which results in Jones' pregnancy. As the months pass, Hudson and Jones lose contact with one another, and Jones believes that Hudson has forgotten her. But a battle-weary Hudson finally makes it to Switzerland, where Jones is hospitalized. The baby is stillborn, and Jones dies shortly afterward, murmuring that her death is "a dirty trick." Filmed on a simpler scale in 1932 (with Gary Cooper and Helen Hayes starring), A Farewell to Arms was blown all out of proportion to "epic" stature for the 1957 remake--so much so that its original director, John Huston, quit the film in disgust. Still, the basic love story is touchingly enacted by Rock Hudson and Jennifer Jones. ~ Hal Erickson, Rovi