I’ve never understood movie novelizations.
There’s some slight rationale when they’re aimed at children, since kids relish being told the same story over and over again. (Hence the Teletubbies forcing you to watch a forty-second clip of a boy playing basketball eight times in a row no matter how loudly you scream or how hard you punch the TV.) But adults seek novelty, generally speaking. Why would any self-respecting grown-up purchase a written description of a movie they’ve already seen?
The answer has less to do with closed-head injuries than you may expect. Setting aside the rabid fanboys who live only to spend their parents’ money on every single piece of 300 tie-in merchandise, functional human beings can derive some modicum of stimulation from licensed paperbacks because such novels are usually based on earlier versions of scripts. That means they contain scenes that were written out of subsequent drafts or left on the cutting room floor. Sometimes, this makes novelizations compelling.
More often, it makes them really shitty.
I’ve spent the past several weeks reading not one, not two, but ten movie novelizations. Join me as I recount, in a two-part post, the quirks, caprices, delights, and assaults on human intellect contained in the tie-in novels for Star Wars, Home Alone, and many more.
This week: Back to the Future, Jumanji, The Cat in the Hat, Night at the Museum, and Suicide Squad. Continue reading