An open book: how to make a great film adaptation, from The Shining to Trainspotting

Not every great novel makes a great movie, and sometimes the opposite is true. But regardless of the source text, or how beloved characters are treated, there is more than one way to write a successful adaptation It is always fun to join in a craze, like a Victorian going mad for

Not every great novel makes a great movie, and sometimes the opposite is true. But regardless of the source text, or how beloved characters are treated, there is more than one way to write a successful adaptation It is always fun to join in a craze, like a Victorian going mad for penny farthings. Which is probably why, against my better judgment, I went to see Christopher Nolan’s blockbuster The Odyssey this summer, buying my ticket into the popular conversation along with everyone else.

This year’s other divisive adaptation, Emerald Fennell’s Wuthering Heights, had the world and his wife arguing about it before they had even watched the film. No doubt the makers of the recent Sense and Sensibility movie were also hoping for lots of people to go and see it to discover whether they hated it. After all, very few of us leave the cinema saying: “That’s exactly how I pictured it in my head.” Or even less likely: “That was better than the book.” We’re more likely to shake our fists at how they ruined the ending, dumbed it down, unforgivably cast somebody with the wrong hair, or betrayed a beloved character, as with last year’s Thursday Murder Club debacle.

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