David Sydiongco ’09

The Roundup

Once touted as the “unfilmable” graphic novel, Alan Moore’s Watchmen has stood as the indomitable behemoth of comic book movie adaptations, being in development limbo for over two decades.  

Originally released in 1986 and 1987, Alan Moore’s Hugo-award-winning masterpiece brought storytelling in the comic book medium to new heights.

Utilizing a revolutionary depiction of superheroes "in a credible, real world,” the original graphic novel presented complex themes of power, humanity and utilitarianism with an unprecedented sense of maturity and nihilism.

So when it was announced that Zack Snyder would be helming the 2009 film adaptation of Watchmen, series fans were understandably — hesitant.

Snyder, whose previous film credentials are limited to adaptations of already established works, such as Frank Miller’s 300, was hardly the ideal choice for fans.

Based on his work in 300, he gave the impression that his version of the Watchmen would be two hours of mindless violence, campy dialogue and even more ridiculous amounts compensating machismo.

Fortunately, this is not the case.

For the most part, the plot of Snyder’s Watchmen is in sync with the graphic novel.

Beginning in a 1985 of an alternate future, where the Cold War is still ongoing, Nixon is still president and the recently banned masked vigilantes have existed for decades, the story centers on the tale of a group of superheroes — and I use the latter part of that term liberally — emerging from hiding in order to investigate the murder of one of their own, all while the threat of humanity’s extinction due to nuclear war looms in the background.

What unfolds is something much grander, and cataclysmic in scale.

Say what you will about Snyder, but few will contest his ability as a visual director. Simply put, the man knows how engross your eyes.

Every scene, whether they take place in the decaying skeleton of New York City, or the completely alien landscape of Mars, is filled with Snyder’s signature, high-contrast visual flair.

He makes use of all his tools: utilizing well-planned camera work, imaginative set design, and impressive special effects to create a fill that truly feels epic, giving meaning to a largely overused term.

Fights, while sparing in number, are brutal and satisfying. It seems Snyder has learned from the all the 300 slow-motion-the-speed-up backlash, as it is noticeably toned down in Watchmen.

Character design, for the most part, is an inspired, yet faithful interpretation of the comic book’s artist Dave Gibbons’ original designs.

In fact, the actors themselves bare an uncanny resembles to their character’s comic book counterparts.

The music of the film is a mixed bag. Highly unconventional for a superhero movie, the film uses a more classic rock centered soundtrack, with the likes of Bob Dylan and Simon & Garfunkel.

At its best, such as the opening credits montage, the music is a refreshing to hear in a superhero movie, in addition to being appropriate with the Watchmen’s chronological setting.

At its worst, such as the end credits, the soundtrack comes off as horribly ironic, diluting the intended tone of certain scenes, making it barely less appropriate than if Demetri Martin just quirkily played acoustic guitar over the entire movie.

The acting of Watchmen is extremely well done. Each actor plays their role faithfully, giving their character a true sense of believability and understanding.

Billy Crudup plays a truly detached Dr. Manhattan; his constant monotone voice completely ideal for the character. Every line is as emotionless as the next.

Matthew Goode’s Ozymandias is spot on, portraying a pretentious, yet dangerously determined Utilitarian. His calm demeanor and slight hints of German accent help as well.

However, it is Rorschach that truly stands out. Jackie Earle Haley does a disturbingly accurate job of conveying the character’s brutal worldview and deranged black-and-white morality. Every coarsely spoken line echo’s Rorschach pain-filled, time bomb nature.

The only exception is Silk Spectre II, who is portrayed by Malin Akerman, whose mention-worthy past roles include a bit role in Harold & Kumar Go to White Castle. Akerman’s cardboard delivery and general dispassion with the film renders Spectre into another heroine stereotype; dim-witted and generally unlikable.

Arguably the biggest flaws in Watchmen are its deviations from the source material.

While mainstream reviews may insinuate the opposite, Snyder detracts from the graphic novel in key elements, drastically altering the original tone and message of Alan Moore.

Besides laughably graphic “love” scene near the film’s midpoint, this is most noticeable at the end of the film, beginning with the specific changes Snyder makes to the finale.

Rather than stay faithful to Moore’s traditional bleak ending, Snyder creates a departing tone of happiness with forced dialogue and a My Chemical Romance song.

Granted, these major flaws are only noticeable if one has actually read the comic. For the uninitiated, the film may prove to be as engrossing an experience as graphic novel was for so many others.

On its own merits, Watchmen is a good film. It’s not Dark Knight, but it isn’t Spiderman 3 either.

If you’re a fan of the Watchmen comic book, expect disappointment, but general satisfaction.

However, for those who have yet to read the only graphic novel to make it on the list of Time Magazine’s 100 best English-language novels, I recommend actually seeing the movie first.

That way, when you follow it up with reading the original graphic novel, the road ahead is only filled with improvement.