‘cept there are, as always, exceptions to the rule:
The book was practically tripe, but it must have garnered some interest non the less.
Enough at least for Clint Eastwood to pick it up and turn it into a surprisingly poignant love story with a sadly realistic note to it’s end.
A good debut novel with a gripping story and characters we can care for, only the end was a tad to much on the melodramatic side and it made it difficult to properly connect to main character Tom Booker. The grace of the movie is that it creates a new end for the story, one that touches us more deeply than the book did. The end is reminiscent of Bridges in a way, only where there was a right and a wrong decision to be made for Meryl Streep, Kristin Scott Thomas can only choose whom to hurt in the end.
Novels work on a different level than movies do. That makes it often unavoidable to change, even cut out, scenes from the book; in the Bridget Jones movies this was done with an excellent feel for the aim of the source material. The changes retain the direction of the book, yet changing things just ever so slightly to arrive at a more serious note, leaving the slapstick humour of the book behind.
“Make room! Make room!” is basically a futuristic crime novel. Harrison contended himself with using the problematic of overpopulation and dwindling resources to illustrate the growing rift between the poor masses and the rich elite that controls them. The movie takes this premise the logic step further, coming up a with a shockingly reasonable new ingredient for Soylent Green.
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