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Action/Adventure Horror/Suspense

Three Adaptations of I Am Legend

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, 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.

Four Frames: The Last Man on Earth (Ubaldo Ragona & Sidney Salkow ...

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 their face with popcorn. 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).