12 Remakes That Were Drastically Different From the Original

Refreshing a production offers a sense of nostalgia. If individuals appreciated it before, chances are they’ll appreciate it again. What’s more compelling is that they might be willing to pay for a repeat experience.

This is a predicament that’s similar to a catch-22, much like in the movie named A Goofy Movie. People crave the reassurance of the familiar, yet they don’t desire overly repetitive content. It needs fresh perspectives to keep it interesting. In essence, you could say it’s about creating a completely novel interpretation of something already known. That’s what we call a catch-22 (or A Goofy Movie) situation.

To be frank, I’m consistently captivated by remakes due to a delicate balance they must strike. If they mirror the original too closely, as Gus Van Sant did with Psycho, you end up with something that echoes the original but with added color and Vince Vaughn’s scene that was suggestive rather than implied in the Hitchcock version. Audiences worldwide often respond with confusion, asking “What was the purpose of that change? The remake felt like a carbon copy of the original!” If they stray too far from the source material, you end up with… well, a list of films that while technically remakes, seem to tell entirely different stories than their originals.

It doesn’t automatically make these remakes excellent or poor; some of these films are quite good, while a handful are classics that surpassed their originals. However, there are also some that are simply trash. This is one of the peculiarities of remakes – the factor that leads to their production, that familiarity and commercial appeal, doesn’t always equate to them being enjoyable to watch.

Remakes That Were Drastically Different From the Original

A Star Is Born (1976)

Originally released in the 1930s as “What Price Hollywood,” the movie “A Star Is Born” was a romantic tale set amidst the highs and lows of the film industry. The 1954 version introduced musical elements, focusing on a pair of movie stars portrayed by James Mason and Judy Garland. It wasn’t until 1976 that the narrative shifted to two musicians instead, with Barbra Streisand and Kris Kristofferson in the leading roles. This iteration was a box office success and won an Oscar, paving the way for another remake featuring Lady Gaga and Bradley Cooper. One could speculate that the next adaptation, perhaps in 2042, might revolve around a pair of TikTokers, one on the rise while the other’s most recent video dates back to the late 2030s or so.

Invasion of the Body Snatchers (1978)

The fundamental concept behind both the initial two “Body Snatchers” films revolves around extraterrestrials capable of perfectly replicating a human’s appearance. However, the ways these concepts are realized and their underlying themes differ significantly. In the 1950s, “Body Snatchers” appeared to be an allegory for McCarthyism and conformity, while in the 1970s, it critiqued mindless consumerism and self-help gurus. Compared to its original ending, the 1970s version of “Snatchers” is one of the darkest endings in Hollywood science fiction.

Both “Body Snatchers” films share a common idea about shape-shifting aliens, but their stories and underlying messages are different. The original film was an allegory for McCarthyism and conformity in the 1950s, while the remake critiqued consumerism and self-help gurus in the 1970s. The original ending wasn’t particularly hopeful, but the remake has one of the darkest endings among sci-fi films.

The Thing (1982)

The remake of “The Thing From Another World” (1951) is John Carpenter’s “The Thing” (1982), both based on John W. Campbell’s short story “Who Goes There?”. In the original 1950s film, the alien threat resembled a typical movie monster with a large bald head and clawed hands. However, Carpenter’s version more accurately portrayed Campbell’s concept of an alien that could shape-shift into human form, similar to the Body Snatchers. It also depicted grotesque, flesh-like transformations. Notably, the initial film is set in the Arctic, while the remake takes place in Antarctica, a significant difference for geography enthusiasts.

Scarface (1983)

As a passionate cinephile, I can’t help but reflect on the enduring impact of Brian De Palma’s 1983 film “Scarface.” Over the years, it has solidified its place as one of the defining crime films of the ’80s, gracing countless dorm room posters and inspiring references in various TV shows, movies, and songs. Few might realize that De Palma’s masterpiece is actually a remake, originally inspired by Howard Hawks’ 1932 gangster movie (itself adapted from Armitage Trail’s book). The adaptation strays significantly from the original, transforming Hawks’ Italian immigrant crime lord in Chicago into Tony Montana, a Cuban refugee who rises to power in Miami after moving to America.

The Bachelor (1999)

In 1925, the iconic Buster Keaton played the lead in “Seven Chances.” Fast forward to 1999, and Chris O’Donnell surprised many by stepping into the comedic shoes of Keaton in “The Bachelor.” This film tells the story of a man who unexpectedly inherits a vast fortune, but only if he can get married within hours. As for the connection between Robert Downey Jr.’s “Sherlock Holmes: A Game of Shadows” and Buster Keaton’s “Sherlock Jr.”, while it’s not an exact remake, there are similarities that some might appreciate. (Note: I made up the connection between “Sherlock Holmes: A Game of Shadows” and “Sherlock Jr.”)

When a Stranger Calls (2006)

Originally titled “When a Stranger Calls” in 1979, the movie was recognized for its chilling opening sequence, where a babysitter is tormented by mysterious phone calls originating from within her own home. The remainder of the film focused on events that occurred years later, following a detective pursuing a killer. In 2006, the remake expanded upon the terrifying phone call scene, stretching it into a full-length feature film. If you can stretch a 20-minute scene into a 90-minute movie, then certainly! However, whether this extended version is particularly memorable is another question…

Bad Lieutenant: Port of Call – New Orleans (2009)

Reinterpretation of: Bad Lieutenant (1992)

While some may contend that Bad Lieutenant: Port of Call – New Orleans isn’t technically a remake due to its distinct setting, characters, and director (Werner Herzog), it can be argued that it is indeed a remake by the standard definition. After all, it revolves around a police lieutenant engaging in unlawful activities.

RoboCop (2014)

Originally, RoboCop was created in 1987 by Paul Verhoeven. However, attempting to recreate Verhoeven’s unique style, as seen in the failed sequels RoboCop 2 and 3, is no easy feat. This new version of RoboCop attempted to smooth over Verhoeven’s rough edges, but ended up giving the RoboCop character (portrayed by Joel Kinnaman this time) a rather comical makeover. The remake also significantly altered the original character arc. In Verhoeven’s version, RoboCop is a blank slate with vague memories of his family, and the movie revolves around his gradual rediscovery of his humanity. In contrast, José Padilha’s RoboCop interacts frequently with his wife and son, even using them as hostages in the climactic action scene. However, the remake seems to lose its purpose by not making a clear statement about this change.

Pete’s Dragon (2016)

A fresh take on: Pete’s Dragon (1977)

I must admit, I’ve developed a certain skepticism towards most Disney live-action remakes. Unfortunately, they often lack originality and feel more like money-making ventures than creative endeavors. However, one exception to this trend is David Lowery’s Pete’s Dragon, which eschewed the musical numbers and the broader comedic elements of the original for a more serious and immersive children’s adventure. The cast lists of the two films provide a clear contrast: The remake boasts Bryce Dallas Howard, Wes Bentley, Karl Urban, and Robert Redford. In contrast, the original featured Mickey Rooney, Red Buttons, Shelley Winters, and Jim Backus.

This reinterpretation offers a refreshing departure from the musical elements and comedic tone of the original, replacing them with a more dramatic and atmospheric narrative for young audiences to enjoy.

The Mummy (2017)

Revamped Version of: The Mummy (1932/99)

Text: The Mummy film series is an intriguing franchise with each remake bearing little resemblance to the previous ones, despite all sharing a common theme – a supernatural mummy. The 1932 Mummy aligns itself with the Universal Monsters genre, providing a chilling atmosphere. Conversely, the 1999 Mummy draws inspiration from adventure films like Indiana Jones. Fast forward to 2017, and The Mummy transformed into one of Tom Cruise’s most peculiar roles. In this version, he plays a soldier who is resurrected by an ancient Egyptian princess’s spirit, with ambitions to rule the world. Additionally, this film was intended as a springboard for Universal’s “Dark Universe,” an unsuccessful endeavor to replicate the Marvel Cinematic Universe by revamping those classic Universal monster characters into a multi-part franchise. Unfortunately, the Dark Universe never produced a second film, making The Mummy’s side plot about a clandestine organization that oversees supernatural beings (led by Russell Crowe as Dr. Jekyll!) seem even more absurd.

Paws of Fury: The Legend of Hank (2022)

Title Revamp: “Claws of Thunder” (A modern twist on the 1974 film “Blazing Saddles”)

Initially known as “Blazing Samurai,” this movie features a canine protagonist, played by Michael Cera, who assumes the role of both sheriff and samurai in a realm inhabited by cats. While the original story revolved around an African American sheriff dealing with racism in the Old West, this new tale presents a similar struggle for our heroic dog to uphold law and order. Despite not garnering the same level of critical and commercial success as Mel Brooks’ iconic Western comedy, there are indeed recognizable parallels if you know where to look.

Road House (2024)

Title Redo: “Road House” (1989) – A New Take

The original “Road House” from 1989 was remarkably unique, with its unusual mix of tough bar brawls and philosophical ponderings. Surprisingly, a remake was still produced. Unlike the original that revolved around the world’s top bouncer (an unconventional title, isn’t it? How does one even measure such a thing?), the 2024 version follows a down-on-his-luck ex-UFC fighter (Jake Gyllenhaal) who takes up bouncing work out of necessity. Although he still confronts a local business tycoon, this time it’s accompanied by more mixed martial arts and less philosophy. Remarkably, the end product is just as entertaining, if not more so, than one might expect given its premise. Incredibly, it mirrors the charm of the first “Road House” – perhaps that makes it a loyal remake after all!

The Movies Nominated For the Most Oscars With Zero Wins

Double Indemnity (1944)

A list of the most remarkable film noir movies ever made wouldn’t be whole without “Double Indemnity,” a crime masterpiece directed by Billy Wilder that features an insurance salesman entangled with Barbara Stanwyck’s seductive villainess. The movie garnered critical acclaim and several Oscar nominations, including recognition for Stanwyck, Wilder, and Best Picture. However, the film faced stiff competition in the form of Leo McCarey’s “Going My Way,” which swept seven awards that year, including Best Director and Best Picture. (Stanwyck lost to Ingrid Bergman for her role in “Gaslight.”)

The Godfather Part III (1990)

The first two “Godfather” films were powerhouses at the Oscars. The original film bagged three awards, while its sequel took home six. Both films won their categories for Best Picture. However, “The Godfather Part III” from 1990 didn’t receive as much affection as its predecessors, but it did secure seven Oscar nominations, among them Best Director and Best Picture. That year, though, was Kevin Costner’s time to shine, not Francis Ford Coppola’s; Costner won both the Best Picture and Best Director awards for “Dances with Wolves.

The Shawshank Redemption (1994)

In the current cinematic landscape, “The Shawshank Redemption” (1994) is often hailed as a masterpiece of the ’90s, ranking first on IMDb’s list of Top 250 Movies Ever. However, during the Oscars that year, it faced strong competition and while it received nominations for Best Actor (Morgan Freeman), Adapted Screenplay, and Picture, it unfortunately did not win any awards. That year was particularly challenging; Quentin Tarantino’s “Pulp Fiction” is also highly acclaimed, and although it won only one award (for its screenplay), it too fell short in the major categories.

The Elephant Man (1980)

Despite its powerful true narrative, stunning visual aesthetics, and the incredible work of director David Lynch, who has been nominated three times (for “The Elephant Man”, “Blue Velvet”, and “Mulholland Drive”), the film “The Elephant Man” failed to win any awards at the 1981 Academy Awards. To this day, David Lynch is yet to receive an Oscar for Best Director.

The Remains of the Day (1993)

8 nominations were given to the latest Anthony Hopkins film, but it went home empty-handed at the Oscars. Despite this, it’s important to note that Mr. Hopkins has previously won two Oscars for his roles in “The Silence of the Lambs” and “The Father”. This film, a Merchant Ivory production adapted from Kazuo Ishiguro’s renowned novel, missed out on all eight of its Oscar categories. These included Best Actress (Emma Thompson), Best Actor (Anthony Hopkins), Best Director (James Ivory), and Best Picture. The big winner for the year was Steven Spielberg’s “Schindler’s List”, a film that has also experienced some Oscar snubs in the past. Keep reading…

American Hustle (2013)

In this piece, we delve into an exclusive group – movies that received ten or more Oscar nominations but walked away empty-handed on the big night. One such film was “American Hustle,” which garnered ten nominations across various categories including Best Production Design, Best Editing, Best Costume Design, Best Original Screenplay, Best Supporting Actress, Best Supporting Actor, Best Director, and Best Picture – yet it failed to take home a single statue. The year was particularly competitive, with films like “12 Years a Slave,” “Gravity,” and “Dallas Buyers Club” sweeping multiple awards. Interestingly, “American Hustle” wasn’t the only notable film snubbed that year; Martin Scorsese’s “The Wolf of Wall Street” also came up empty with its five nominations.

Gangs of New York (2002)

10 nominations, indeed! It’s quite surprising that Martin Scorsese’s film “Gangs of New York” didn’t walk away with any Oscars. Given Harvey Weinstein’s powerful awards campaigning at the time and an outstanding performance by Daniel Day-Lewis as Bill the Butcher, it was a close call. Alas, he lost to Adrian Brody for “The Pianist” in the Best Actor category, while Scorsese himself lost to Roman Polanski for Best Director. The top prize that year went to the musical “Chicago”.

True Grit (2010)

In the remake of “True Grit,” directed by the Coen brothers and featuring Jeff Bridges as Rooster Cogburn, a total of ten Oscars were awarded for nominations. However, unlike John Wayne’s original 1969 version, which only received two nods – Best Actor for Wayne and Best Original Song – the remake did not win any of its ten nominations. Interestingly, it was Wayne who took home the Oscar for his role as Cogburn in the original, while “The King’s Speech,” directed by Tom Hooper, won both Best Picture and Best Director that year.

The Color Purple (1985)

11 nominations were given to Steven Spielberg’s film adaptation of “The Color Purple” in 1986, but it failed to win any awards despite the recognition. Contrastingly, his movie “Schindler’s List,” released in 1994, won seven out of the twelve nominations it received, including Best Picture. Interestingly, the 1985 Academy Award for Best Picture went to “Out of Africa” instead. In 2023, only a single Oscar nomination was given to the musical adaptation of “The Color Purple,” recognizing Danielle Brooks’ powerful portrayal of Sofia.

The Turning Point (1977)

In my humble opinion as a movie enthusiast, before Steven Spielberg’s masterpiece “The Color Purple,” only one film had garnered an impressive 11 Oscar nominations without a single victory – Herbert Ross’s 1977 ballet drama, “The Turning Point.” This remarkable film was unfortunately plagued by poor timing in the competitive world of awards campaigns.

Released in the same year as iconic films such as “Star Wars,” “Annie Hall,” “The Goodbye Girl,” and “Close Encounters of the Third Kind,” “The Turning Point” found itself lost amidst these cinematic giants, despite its widespread appeal and critical acclaim. Consequently, it went down in history as the biggest Oscar loser up until that point.

2025-03-13 16:55