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6. Wyrd Sisters (1997, made for TV), dir. Jean Flynn
Saturday, 24 March 2007 15:46IMDb page here. Watched at home on computer, thanks to ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
innerbrat.
A cracking evening's viewing. OK, so the animation was fairly basic - but in some ways, lowish production values rather suit Terry Pratchett. His books are about finding the profound in the mundane, and his characters for the most part humble, ordinary folk. So something big and flashy and pretentious might have seemed rather at odds with the story.
Last night, Semillon Chardonnay in hand, I even started having thoughts about how, since much of the story in Wyrd Sisters is about plays and players, and their plays hardly have the highest production values either, you could even see the slightly ham-fisted character of the animation as a deeply symbolic meta-narrative parallel for the offerings of Vitoller's strolling players. This morning, I'm not so sure, but... it's a thought.
Pterry's story-line was followed fairly closely. I remember thinking this didn't work so well for Hogfather over Christmas, but it seemed much more effective here, perhaps because the adaptation was much shorter (2h20). I was a bit confused by the range of accents apparently encountered in Lancre, especially since the three witches themselves seemed to 'ail from Zomerzet way, and I've always considered Lancre to be at least northern (Lancaster, very hilly) and possibly Scottish (Macbeth references in Wyrd Sisters). Still, Nanny Ogg does work quite well as a Somerset lass, I'll grant.
And of course, importantly, there was the added joy of Christopher Lee as Death. Nothing much to say here really - he was obviously perfect for the part, and he got it just right. Yay!
innerbrat.A cracking evening's viewing. OK, so the animation was fairly basic - but in some ways, lowish production values rather suit Terry Pratchett. His books are about finding the profound in the mundane, and his characters for the most part humble, ordinary folk. So something big and flashy and pretentious might have seemed rather at odds with the story.
Last night, Semillon Chardonnay in hand, I even started having thoughts about how, since much of the story in Wyrd Sisters is about plays and players, and their plays hardly have the highest production values either, you could even see the slightly ham-fisted character of the animation as a deeply symbolic meta-narrative parallel for the offerings of Vitoller's strolling players. This morning, I'm not so sure, but... it's a thought.
Pterry's story-line was followed fairly closely. I remember thinking this didn't work so well for Hogfather over Christmas, but it seemed much more effective here, perhaps because the adaptation was much shorter (2h20). I was a bit confused by the range of accents apparently encountered in Lancre, especially since the three witches themselves seemed to 'ail from Zomerzet way, and I've always considered Lancre to be at least northern (Lancaster, very hilly) and possibly Scottish (Macbeth references in Wyrd Sisters). Still, Nanny Ogg does work quite well as a Somerset lass, I'll grant.
And of course, importantly, there was the added joy of Christopher Lee as Death. Nothing much to say here really - he was obviously perfect for the part, and he got it just right. Yay!
