One of the best books I read in 2018 was the sci-fi/horror classic I am Legend by Richard Matheson. Matheson wrote it in 1954, years before he became famous as one of the creative forces behind The Twilight Zone. It’s a grim, powerful, novel about isolation and trauma, centering on Robert Neville, the last surviving human being. A global pandemic has turned the rest of humanity into vampire-like creatures who persecute Neville by night whereas he slaughters them by day. As the years go by, Neville is increasingly consumed by loneliness, sexual frustration, grief at the loss of his family, suicidal urges, and an ongoing angry dialogue in his own head, which he tries to extinguish with a river of alcohol. The book concludes with a psychically weighty twist worthy of the best Twilight Zone episodes.
Many of Matheson’s works were successfully adapted for the big and small screen. I have recommended a number of the excellent results here at RBC, including Night of the Eagle, Tales of Terror, Dracula, and the Amelia segment from Trilogy of Terror. Given that track record, it’s not surprising that movie makers thought that I am Legend could be spun into cinematic gold. This week I examine three of these adaptations.
Producer Robert Lippert was the first to have a go at Matheson’s novel and managed to land the man himself to work on the screenplay. Initial plans were for Hammer Studios to make the film under the title The Last Man on Earth, with the legendary Fritz Lang being mentioned as a possible director. Unfortunately, financial problems and British censors got in the way, turning it into a low budget 1964 Italian production directed by Stanley Salkow. For Matheson and for many viewers as well, the resulting cheap production values and bad dubbing of Italian actors were enough to sink it, but I feel more kindly toward the film than that.
Vincent Price got to me as a glum Robert Neville, proceeding through a regime of staking vampires and burning bodies by day, and getting drunk and moody at night. Price often hammed it up on screen, but to the extent he does that here it fits with how Neville is portrayed in the novel. The vampires in the film (who are more reminiscent of the zombies that George Romero later made famous after being inspired by this movie) are simply not scary enough to make the suspenseful part of Neville’s dilemma sufficiently frightening, but the alienating and agonizing parts come through very well. Also, The Last Man on Earth deserves praise for being the only adaptation to keep the morally complex twist ending of the novel. Warts and all, I give thumb’s up to this version of Matheson’s book even though it’s certainly not at a level to make one stand up and cheer.
Seven years later, the book was re-adapted with a more respectable budget for Charlton Heston, who had a following among science fiction fans based on Planet of the Apes. In this version, titled The Omega Man and directed by Boris Sagal, the vampires have been replaced by an albino mutant cult who hate modern technology as personified by Army scientist Neville. Unlike in the novel, the film is packed from the first with comic book action scenes laced with explosions, stunts, and machine gun fire. Also unlike the novel, the character nuance and twist ending were removed, leaving a crusading hero versus bad guys storyline. That said, the few scenes showing Heston alone in his fortress apartment, trying to hold his sanity together as the mutants torment him each night, are really well done.
No one could mistake this for anything other than a 1970s movie, from the Manson Family-esque mutants to the painfully stereotypical African-American characters, who feel like they wandered off the set of a blaxploitation flick shooting on the next lot. Indeed, the whole thing could have lapsed into camp if not for Heston’s credible, strong-jawed performance (which at times recalls not only his role in Planet of the Apes but some of his religious movie roles as well), matched nicely by Anthony Zerbe as the leader of the mutants. It sticks less closely to the novel than does Last Man on Earth, but it’s more exciting to watch without being dumbed down.
The third adaptation of I am Legend kept the same title. This 2007 film is a mega-buck Hollywood blockbuster starring Will Smith. The film dispenses with the emotional core of the novel from the very first scene, giving Robert Neville a dog companion to give him comfort and to whom he can talk. The dog in the book shows up only halfway through and dies soon thereafter, painfully raising and then dashing Neville’s hopes of an end to his isolation. The canine companion here is used well to motivate some suspenseful encounters and also to give us one scene with real emotional power (kudos to Smith there), but its presence insulates the audience from experiencing the sense of isolation that made the book so haunting. The vampires here are bad CGI creations who act like the super zombies in World War Z, so filmgoers are protected from experiencing any complexities there as well. The filmmakers shot an ending that introduced a slight note of ambiguity about the vampires in the final scene, but when it didn’t “test well” with audiences (apparently someone reported experiencing an independent thought) the producers replaced it with an uncomplicated heroic end for Neville and a happy clappy conclusion for the audience. Naturally, this slick cop out of a movie made a mint at the box office.
So there you have it: Three films which were just not as great as the book on which they were based. Some novels are very hard to bring effectively to the big screen. Much of the power of Matheson’s book comes from Neville’s internal fulminations and struggles, and if you turned all that into first-person narration it would be an incredibly clunky film script. Because Neville is alone almost all of the novel, a screenwriter is also deprived of the usual opportunities for dramatic tension and dialogue between characters. It’s also a downbeat novel with psychic nuance, and that’s unlikely to please millions of film goers who come to the theater expecting simple up-with-people stories that they can stare at while stuffing popcorn into their pie holes. It’s not an accident that as the adaptations got further and further away from Matheson’s book they made more and more money at the box office.
So my strongest recommendation this week is not a film but a book: The only way to appreciate Matheson’s excellent novel is to actually read it. If I had to watch one of the three adaptations again, I would choose The Omega Man on balance. Yet I remain part of the cult following who sees significant strengths in The Last Man on Earth (which is in the public domain you can watch it here).
9 thoughts on “Weekend Film Recommendation: Three Adaptations of I Am Legend”
Keith, Thank you very much for coming back to do this – for as long as you can keep it up this time. Your recommendations often help me through the weekend when I need to lie back and space out a bit. Films really help with that, books not so much. My stack of books to read next is almost 4 feet high already but OK, I’m adding this one to the stack. Thank you again.
Thanks for this kind note. Movies have brought much joy into my own life and sharing them with other people is part of that joy. Have a relaxing weekend.
Ditto Psych1. It is not easy to find someone who actually gives good advice.
Speaking of which, I am in the market for new film critics. Or even just one. I think Kenneth Turan is trying to retire or something, which is unfortunate for me.
I want someone with good judgment and taste, who won’t give away too much, and who will reliably tell me when a director has bought into today’s penchant for way too much graphic violence. I feel that many of the youngsters coming along do not realize that this is often unnecessary and, imo, the sign of a less-skilled storyteller. Or at least, I don’t trust the new ones yet. So if anyone knows anyone good, please spill.
There are a decent number of films I don’t see for this reason. If it’s a really good director and I know it’s going to be harrowing, I might still go. If there is any question and it’s a new director, I do something else that day. Life is short and I’m already against torture, rape, etc etc. If they want me to sit for that, there had better be a good reason.
Alfred Hitchcock was once approached by Truffaut or Fellini about co-directing an adaptation of something like A Tale Of Two Cities or War & Peace. He declined, saying (and this is a paraphrase): “What I do is make mediocre books into very good movies. A great book cannot be made into a great movie. The only possible outcome is disappointment.”
Hmm. That’s kind of a broad statement. I am not a film critic, I only know what I like. I can tell you though, I was reluctant to see ____ (can’t remember the name now, but it was the movie starring Julianne Moore that was made out of a Graham Greene novel … phooey. Well I will remember it tomorrow.) ah, The End of the Affair, bc I loved the book. I wasn’t sorry after. I bet if I tried I could come up with a reason why Greene books make good films. Sometimes anyway. “Great” isn’t something I bother with much. For me it is worthwhile v not worthwhile. Do I have low standards?
Funnily enough, my best friend’s father researched Graham Greene and showed that once a book of his was adapted into a movie, Greene changed his writing style to be more cinematic in the hopes of more such paydays…and it worked.
Wow. Great story! Heisenberg-y? Not sure how I feel about that, but, it gives me a good excuse to read more Greene books. Besides EotA, I have only read The Quiet American. as if! ; ) They do tend to be a bit heavy. I space them out.
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