One of the pleasures of seeing the filmic adaptation of a popular novel is the realization of the original source material while successfully functioning as a seemingly original movie. Although fans of cult favorite The Hitchhiker’s Guide to the Galaxy may find reason to rejoice at the faithful rendition of their treasured classic, the film just does not work on its own.
In present day Earth, Arthur Dent, an ordinary Englishman, finds his house about to be demolished by bulldozers sent to pave a highway. As Arthur frets over the imminent demise of his home, he is given solace by his buddy, Ford Perfect who has a secret to tell him. It seems that Ford isn’t the person he says he is. In fact, humans aren’t the most intelligent species on earth. Dolphins are ranked second while extraterrestrials are number one. And it seems that earth is about to be destroyed as Ford and Arthur are whisked away to safety by hitching onto an alien craft where Ford introduces his friend to a reference book, The Hitchhiker’s Guide to the Galaxy. As Arthur is plopped into an unworldly environment, he waxes nostalgic over a previous chance encounter on earth with free spirited Tricia who ran off with another man. It turns out that it wasn’t just any ordinary man. Suffice it to say that the story centers on a galactic cowboy, Zaphod, who is also a galactic president. Arthur and Ford later hitch a ride with Zaphod’s spaceship. Space travel into untold worlds and dimensions are just the start of a wild ride that searches for the meaning of life and its paradoxical questions. In the midst of it all is poor Arthur. Homeless, will he find happiness and true love amid the vast wasteland of space?
For decades, filmmakers have unsuccessfully attempted to translate Douglas Adams’ phenomenon novel until right before his untimely death recently. Despite cowriting credits between Adams and Karey Kirkpatrick, it feels like many scribes had a hand in the monumental task of making the story cinematic. Director Garth Jennings does have a talent for imaginative visuals having come from a music video and documentary background. What he misses is the essence of what makes stories dear to the soul and yet have that hip, sophisticated fascination with the universe at large, no easy feat. He does not demonstrate an ability to balance intimate moments amid the grander, eye popping visuals. Even such British entrees of the sixties like Bedazzled held a personal charm amid its superficial glitz and stylized chic.
The cast is able, but it labors under erratic direction, continuity, and pacing. Martin Freeman (Shaun of the Dead) is a likeable actor and destined for much better roles. His Arthur recalls an early Dudley Moore. He is capable of humor and romance but is not allowed to fully develop his sketch of a character. Sam Rockwell (so much better in a similar genre film, Galaxy Quest), overacts as Zaphod, an intergalactic free spirit. His character (which could easily have been portrayed by Luke Wilson) is just not very interesting. Other supporting roles are likewise superficial and lacking in much depth. Zooey Deschanel (Elf) as Tricia is cute and sorely limited in what she has to do. Rapper Mos Def (The Woodsman) plays Ford, and he almost triumphs in a part that quickly degenerates into a caricature. Alan Rickman is wasted as the increasingly tired voice of a manic depressive robot named Marvin as is John Malkovich in a throwaway role of Humma Kavula, Zaphod’s chief rival. The film is filled with odd and unusual creatures but nothing moviegoers haven’t already seen in any number of George Lucas’ Star Wars cantinas.
The film begins with an amusing song foreshadowing what is to come and sets the proper mood. The mistake the filmmakers made was to try to cater to the readers religiously and simultaneously forgetting to make sure that the film could stand on its own. It doesn’t. While all the celestial concepts and vistas are important, they should have concentrated on the relationship of Arthur and his love, Tricia, so that there would be more emotional resonance and payoff toward the end. You feel little or nothing fulfilling at the finale. The film glosses over events and moments seemingly to make sure as much of the novel is included. Instead of a magically hip, psychedelic, intellectually hypothesizing journey into the time space continuum in search of meaning and love, it starts to feel like a jumble of scenes not unlike the sci-fi cult film Barbarella, but at least the latter had a groovy musical score and Jane Fonda. There’s almost a Monty Python tone as a narrator describes the proceedings. Ah, but if only Terry Gilliam had done this!
The best moments throughout the story are the graphic, animations that illustrate the guidelines, factoids, and rules of the universe. These mini cartoons illustrate the concepts in an amusing manner, and could easily have formed a stand alone film. To be successful, the film should have appealed to fans of the book and the uninitiated alike. Every time, you begin to want to give the film a chance to develop into something special, it jumps quickly and without punctuation to the next scene. Because it just does not resonate on its own and relies more so on its literary pedigree, it will have a hard time attracting general audiences. Perhaps true fans of the book will enjoy this long awaited adaptation of the beloved novel, but the rest of the populace will wonder what the fuss was really all about.
** of **** stars (add * star for fans of the book)
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