5 Books whose TV or Film Adaptations Don't Care What They Say

1. Starship Troopers by Robert A. Heinlein (Adapted into the film Starship Troopers directed by Paul Verhoeven)

Robert A. Heinlein's Starship Troopers is a complex exploration of citizenship, civic duty, and the role of the military in society. The novel presents a future where full citizenship, including the right to vote, is earned through voluntary federal service, often but not exclusively military. It delves into the philosophical underpinnings of this system, examining the responsibilities that accompany rights and the idea that those who are willing to sacrifice for the collective good should have a greater say in its governance. The book is largely told from the perspective of Juan "Johnnie" Rico, a young man who enlists in the Mobile Infantry and undergoes rigorous training, reflecting on the societal structures and the justifications for the war against the alien "Bugs." Heinlein's narrative, while action-packed, is deeply concerned with the moral and political implications of its futuristic setting.

Paul Verhoeven's 1997 film adaptation of Starship Troopers, however, takes a drastically different approach. While it retains the basic premise of a war between humanity and giant insectoids, it largely abandons the nuanced exploration of citizenship and duty. Instead, the film presents a satirical and often over-the-top portrayal of a militaristic society, emphasizing violence, propaganda, and a seemingly jingoistic fervor. The characters are often depicted as shallow and driven by simplistic motivations, lacking the introspective qualities found in Heinlein's novel. The film's tone is one of dark comedy and social commentary, often interpreted as a direct critique of fascism and militarism, a stark contrast to the more earnest, albeit debatable, exploration of these themes in the book.

Key elements of Heinlein's novel, such as the detailed discussions on the philosophy of service and the nature of citizenship, are either absent or presented in a superficial and often ironic manner in the film. The film's focus on graphic violence and over-the-top action sequences further overshadows any attempt to engage with the book's more intellectual and philosophical concerns. While Verhoeven's film can be seen as a commentary on the glorification of war and the dangers of unchecked nationalism, it does so by fundamentally altering the source material's core arguments and perspectives. The film uses the framework of Heinlein's story but seems to actively reject its underlying philosophy, creating a work that is tonally and thematically divergent from the book it purports to adapt. The subtle complexities of Heinlein's vision are replaced with a more direct and satirical critique, effectively disregarding the original's intended message about the responsibilities of citizenship and the nature of a just society.

2. I Am Legend by Richard Matheson (Adapted into multiple films, notably The Last Man on Earth, The Omega Man, and I Am Legend)

Richard Matheson's novella I Am Legend is a poignant and introspective tale of isolation, survival, and the shifting nature of what constitutes "monster" and "human." The story centers on Robert Neville, the seemingly sole human survivor of a pandemic that has turned the rest of humanity into vampire-like creatures. Matheson's narrative delves deep into Neville's psychological state as he battles loneliness, grief, and the constant threat of the infected. The book explores themes of prejudice, the fragility of human identity, and the terrifying possibility of becoming the "other." A crucial element of the novella is its ending, which reveals a profound twist: Neville, through his systematic killing of the infected, has become the monster in their emerging society. He is the legend, the boogeyman, to a new form of life adapting to the changed world.

While various film adaptations have taken inspiration from Matheson's premise, they have often strayed significantly from the novella's core themes and, most notably, its impactful ending. The Last Man on Earth (1964) and The Omega Man (1971) retain the basic setup of a lone survivor fighting vampire-like beings but often introduce elements of heroism and a potential for restoring the old world order, diluting the sense of isolation and the thematic exploration of Neville's changing role.

The 2007 film I Am Legend, starring Will Smith, arguably deviates the most significantly from Matheson's central message. While it initially captures some of the isolation and survival aspects, its narrative arc ultimately focuses on Neville finding a cure and becoming a heroic figure who sacrifices himself for humanity's future. This ending completely inverts the novella's powerful and unsettling conclusion, where Neville realizes he is the anomaly, the feared "legend" to the new inhabitants of Earth. By transforming Neville into a traditional action hero who saves humanity, the film loses the profound commentary on perspective and the unsettling idea that survival can lead to becoming the very thing one fights against. The film's focus on action and spectacle overshadows the psychological depth and thematic resonance of Matheson's original work, effectively disregarding the nuanced exploration of humanity, otherness, and the tragic irony of Neville's situation.

3. The Lawnmower Man by Stephen King (Adapted into the film The Lawnmower Man)

Stephen King's short story "The Lawnmower Man," published in his 1978 collection Night Shift, is a brief and gruesome tale about a man who hires a strange and increasingly unhinged individual to mow his lawn. The story takes a bizarre turn when the lawnmower man, seemingly possessed or influenced by something otherworldly, begins to mow not just the grass but also the family dog and eventually the homeowner himself. It's a visceral and unsettling piece of horror that plays on primal fears and the unknown dangers lurking in the mundane.

The 1992 film The Lawnmower Man, while sharing the same title, bears virtually no resemblance to King's original story beyond the presence of a lawnmower and a character who undergoes significant changes. The film centers on a mentally disabled gardener who is subjected to experimental virtual reality treatments that drastically increase his intelligence and grant him telekinetic and other psychic abilities. As his powers grow, he becomes increasingly detached from reality and develops megalomaniacal tendencies, ultimately seeking to merge humanity with a digital realm.

The film completely abandons the simple, visceral horror of King's story, opting instead for a science fiction narrative about artificial intelligence, virtual reality, and the potential dangers of technological advancement. The themes of King's story – the unpredictable nature of the macabre and the horror found in the everyday – are entirely absent from the film. King himself has publicly disowned the adaptation, citing its significant departure from his source material. The film uses the title and a fleeting image of a lawnmower as a tenuous link to the story, but its narrative, characters, and thematic concerns are entirely its own. It serves as a prime example of an adaptation that seems to have used the title of a well-known work for marketing purposes without any intention of respecting or reflecting the content or spirit of the original text. The film's focus on technological thriller elements and special effects stands in stark contrast to the grounded and unsettling horror of King's short story.

4. Forrest Gump by Winston Groom (Adapted into the film Forrest Gump directed by Robert Zemeckis)

Winston Groom's novel Forrest Gump presents a much darker, more satirical, and often absurd portrayal of its titular character and the events he stumbles through. The book's Forrest is less of an innocent bystander and more of a flawed, often unintentionally disruptive force. He is more intelligent than the film depicts (though still possessing a unique way of seeing the world), more sexually active, and his adventures are often more outlandish and less sentimental. The novel delves into darker aspects of American history and culture with a sharper satirical edge, including Forrest's involvement with drug cartels, his accidental creation of the Smiley Face, and his experiences in space.

Robert Zemeckis's 1994 film adaptation, while beloved for its heartwarming narrative and iconic moments, significantly softens and sanitizes Groom's original vision. The film portrays Forrest as a purely innocent and benevolent figure, a guileless observer whose life intersects with major historical events. The darker, more cynical elements of the book are largely removed, replaced by a more sentimental and nostalgic tone. Forrest's character is simplified, his intelligence downplayed, and his more morally ambiguous actions are omitted.

The film's focus shifts towards a more romantic and inspirational narrative, emphasizing themes of love, perseverance, and the American dream. While these themes are present in the book, they are often presented with a layer of irony and absurdity that is largely absent from the film. The film's Forrest is a passive recipient of fate, whereas the book's Forrest, despite his naivete, often actively shapes events in unexpected and sometimes chaotic ways. The satirical critique of American society and its institutions, which is a significant aspect of Groom's novel, is considerably toned down in the film, replaced by a more celebratory and nostalgic look at the past. The ending of the film, with Forrest returning to his son, provides a sense of closure and emotional resolution that differs significantly from the book's more open and somewhat melancholic conclusion. In essence, the film transforms a darkly comedic and satirical novel into a feel-good, sentimental journey through American history, often at the expense of the book's original tone and thematic complexity.

5. The Shining by Stephen King (Adapted into the film The Shining directed by Stanley Kubrick)

Stephen King's novel The Shining is a deeply personal and psychological horror story that explores themes of alcoholism, family dysfunction, and the insidious nature of evil. The book delves into the internal struggles of Jack Torrance, a recovering alcoholic and aspiring writer who takes a job as the winter caretaker of the isolated Overlook Hotel. King emphasizes Jack's descent into madness, fueled by the hotel's malevolent presence and his own inner demons. The novel also focuses on the psychic abilities of Jack's son, Danny, and the strong, resilient character of Wendy, Jack's wife, who fights to protect her son. The Overlook Hotel itself is portrayed as a sentient entity, actively preying on the family's weaknesses.

Stanley Kubrick's 1980 film adaptation of The Shining, while a cinematic masterpiece in its own right, diverges significantly from King's novel in its characterizations, themes, and overall tone. Kubrick's Jack Torrance is portrayed from the outset as a more sinister and volatile figure, his descent into madness feeling almost predetermined rather than a gradual breakdown influenced by the hotel. Wendy is depicted as weaker and more hysterical than her book counterpart, and Danny's psychic abilities, while present, are less central to the narrative.

Crucially, Kubrick's film offers a more ambiguous and less psychologically driven portrayal of the Overlook Hotel's evil. While the hotel is undeniably menacing, the film leaves more room for interpretation regarding the source of Jack's madness, suggesting it might stem from his own inherent flaws as much as from external supernatural forces. King himself has been famously critical of Kubrick's adaptation, arguing that it misunderstands the characters and the core themes of his novel. He felt that Kubrick failed to capture the tragedy of Jack's internal struggle and the strength of Wendy's character. The film's cold, detached aesthetic and its focus on visual horror and atmosphere differ significantly from the novel's more emotionally intense and character-driven narrative. While both the book and the film are terrifying, they achieve this through different means and explore different facets of horror. Kubrick's Shining is a more abstract and arguably nihilistic vision, while King's is a more grounded and emotionally resonant story about a family under siege, both from external and internal forces.