Earlier this year, video essayist Lindsay Ellis uploaded a dissection of the 2019 film adaptation of Cats. Cats is a cinematic monstrosity that has to be seen to be believed, and Ellis’s video seeks to figure out why. Cats (2019) is awful in ways both rooted in the source material – the whole thing is basically a succession of cats walking into frame and singing a song about what kind of cat they are – and entirely its own – the uncanny valley visual effects make the cats somewhere unsettling between human and cat – but Ellis places a lot of the blame on the tricky business of moving from stage to screen.
“Some musicals – not all, but most of them – require a visual medium that jives with the way the musical itself is constructed. Les Misérables was constructed for the stage. Cats was constructed for the stage,” Ellis says, citing the way actors on stage frequently pantomime props or sets that aren’t there, “That is the thing about theatre… it is constructed so that the audience has to imagine what’s going on in the story. Overcoming that suspension of disbelief is built into the design of the medium in a way that it is not with film.”
These ideas about the film musical – that the suspension of disbelief required for musicals as a genre is at odds with film as a medium, or that the process of adaptation from stage musical to film is a particularly and perhaps uniquely fraught one – are really common. People talk about film musicals as particularly difficult to pull off in ways they don’t about pretty much any other genre. “The genre’s lack of realism and inherent camp” is “alienating for modern audiences”, according to Film School Rejects. Ellis basically concludes that film adaptations of stage musicals are totally unnecessary, at least outside of animation. Musicals as a form are naturally suited to theatre in ways they’re just not suited to film, is the point. But all of this is bizarre: it sounds hypothetically plausible, but isn’t at all borne out by the evidence of nearly a century of movie musicals.Continue reading “The Mere Possibility of the Movie Musical”