Stardust

Stardust refers to a novel authored by Neil Gaiman and it was published through Charles Vess’s illustration. This editorial contains several styles and tones from Gaiman’s fictional prose because of being consciously inscribed in the pre-Tolkien English fantasy norm as well as emulating the footsteps of scholars such as Hope Mirrlees and Lord Dunsany. Conversely, this book revolves around a man living in the Wall village, a place that borders the enchanted Faerie land. After a generally positive evaluation of the above work by Neil Gaiman in 2007, there was released a movie based on Stardust novel (Bacchilega 186). At this point, Gaiman seems to have occasionally laid emphasis on scripting an upshot or at least writing another book regarding the Wall village. Otherwise, this movie entails information about Tristan, a youngster residing in an illusory town called Wall. In particular, Wall is a municipality on the border of Stormhold’s fairylike fictional kingdom. Tristan features entering the magical town with an aim of taking a fallen star in order to donate it to Victoria as a gift for her wedlock. Unpredictably, Tristan is capable to collect the star but he is surprised to realize that this star is Yvaine (Bacchilega 149). On the other hand, the princes living in Stormhold, as well as witches, are also hunting for Yvaine, whereas Tristan put the possible effort to return her to Wall prior to Victoria’s birthday, the occasion that marks the deadline of marriage offer (Cahill 59). Owing to the above information, it occurs that this book continues to lose much of the aspect of story-telling, hence, ending up portraying magic as well as comics scenarios (Bacchilega 151). As a matter of fact, the comparison between the content of the Stardust novel and Stardust shows that the book seems to lack some essential elements, therefore, appearing being not much interesting and realistic. 

To illustrate, the Stardust novel contains complex details about the adventure of a fairy tale, a thing that makes its film version to be family friendly. For instance, the information in this story acts as an inquiry of Tristan Thorn also known as Charlie Cox, who turns his small town of Wall into a supernatural Stormhold kingdom that appears just on another side of the wall (Bacchilega 45). At this point, Thorn seems like trying to find a star descended from the sky, and he refers to it as a gift for Vitoria. Otherwise, things turn sour when Tristan realizes that the star he is searching is not a piece of astronomic thing as he thinks, but it is living as well as breathing similar to the Yvaine of Claire Dane (Bacchilega 103). In consideration with the above explanation, it occurs that this novel is more magical rather than appearing like a narrative. 

In a like manner, other people in Stormhold are also looking for the same star that Tristan has been searching. To illustrate, one of the Stormhold’s residents known as Michelle Pheiffer use sorcery tactics to make Lamina cut out the heart of the star and eat in order to make this lady and her sisters continue relishing immortal life (Cahill 62). According to Bacchilega (154), the royalty of the kingdom is represented by the group of princes who are also searching for this star since their dying father had promised them the person who will take the stone around the neck of the star will take over the throne. 

In consideration with the above information, it occurs that the author of the Stardust book is capable of interweaving different storylines through kinetic editing and via imaginative manner. Irrespective of this context being written beautifully, many readers lay more emphasis on the point highlighted at the end of the film compared to content within the book. To illustrate, the film’s viewers hold that the ending of this movie is much better-placed, hence, it can complement other subtle changes made in the Stardust novel (Bacchilega 187).  To illustrate, Stardust film revolves around upsetting tropes in unexpected ways. Conversely, this movies reminds the audience about the Hot Fuzz, hence, acting as a good example of a work made for creating self-awareness about a certain story. In the view of cynical age, this film is capable of offering viewers with appealing fairy tales through subverting necessary tropes for luring people hypnotically by embracing others (Bacchilega 159). Although this movie contains many ladies who encounter distress moments, its few mistakes seem being overshadowed by innumerable charms. 

Moreover, the majority of charms mentioned in the above Stardust’s film sometimes appears in the expansive cast. In this case, all people acting in this movie makes the script to contain various features such as humor, heart, and complexity. For instance, in the central love narration, Claire Danes and Charlie Cox are referred to as Yvaine and Tristan respectively. Beyond this, the movie features Mark Strong who acts as Princes Septimus and Robert De Niro or Michelle Pheiffer who acts as Captain Shakespeare (Bacchilega 201). Still, in the film the observers also get some fun from outstanding performances from Peter O’Toole who represents the Stormhold’s King; Rupert Evertt who play a role of Prince Secundus; Sienna Miller who acts as Victoria’s haughty; Ricky Gervais who perform as the comedic Ferdy the Fence; and Henry Cavill who is recognized as Prissy Humphrey (Cahill 65). Unlike in the Stardust book, the presence of the above players in the film version makes this movie to be more interesting. 

According to the Leicht’s fallacies, one of the major strengths of Stardust film version over the novel is that it lies within characters’ development and realness. To be specific, this is not a small part to impressive cast, but it something that has to do with the script. In the view of Stardust Film, when Gaiman seems to lay more emphasis on archetypes, prose, and themes, he makes the film appear as a product of Hollywood (Cahill 60). Indeed, this author is more interested in making the character to be relatable and three-dimensional (Bacchilega 162). Still, Gaiman’s model players can be said to be least interesting but in the real sense, they represent his imaginative works that make the film to appear is more magical. 

On the other hand, there are other changes done in the Stardust movie, which contribute the big difference between the book and film works. Through watching the movie and reading the book it is easy to realize that Jane Goldman and Vaughn, the co-writers of Stardust film varies quite slightly from the characters demonstrated in the novel version (Bacchilega 123). Besides, Tristan’s home society seems to be much less complex and vast; whereas the Stormhold’s world appears being less magical and strange (Cahill 58). Comparatively, in the Stardust book, there exist all sorts of magical creatures and for the purpose of budgetary concerns and narrative simplicity the same enchanted scope is also limited in the movie. 

Nevertheless, the film also revolves around De Niro’s Captain Shakespeare, a thing that is rare in the Stardust novel. In consideration with the above information, it is clear that the producer has made a good decision of offering the viewers with plenty of opportunities for understanding Captain Shakespeare. For example, it can be argued that the script creator makes one of its best montage decision by focusing on the reductive portrayal of marginalized identify for Shakespeare (Cahill 62). As it is indicated in the Stardust Film (2007), the above aspect makes many people be a major proponent of pastiche in Hollywood blockbusters who are interested in creating a meaningful and believable connection for the above two characters. Generally, montage offers the audience with an impression that an imperceptible time has passed. However, within this period a significant association could have happened (Cahill 61). In the whole movie, the montage is capable of covering all sorts of character dynamic and underdeveloped character sins, hence, leading to the suggestion that more Hollywood epics could take advantage of it. 

Furthermore, both book and film versions differ in such as a manner that in the movie Captain Shakespeare montage is unable to last for a long time in the play. For instance, there is a time when the above character is featured in Tristan’s journey, which just for one week (Bacchilega 170). Otherwise, this is a good opportunity for Yvaine and Tristan to fall in love and for this reason, Tristan decides to make his transformation from clumsy shop-boy to a more brave man (Cahill 63). At this point, Stardust movie makes the viewers to have confidence with true love since it pulls off it makes the fairy tales to come to an end. 

Besides, the other differences between Stardust’s book and film versions are seen within the end of these two works. In particular, the end of Stardust book portrays Lamina who search Yvaine in the market town adjacent to the wall, although while she tries to take her heart, Yvaine argues that she is not ready since she is already in love with Tristan. In this case, Yvaine appears to have saved the day through giving in to Tristan whereas breaking Lamia’s heart. Conceivably, the larger transformation of the story in this novel is evidenced in the epilogue. For instance, there is an incidence where Yvaine and Tristan abandon Stormhold for a moment, a thing that translates for offering Tristan’s mother with the power to rule over everything that happens at their home (Bacchilega 45-64). Irrespective of Tristan winning Yvaine, he still remains a ruler and after dying, he leaves Yvaine being heartbroken since she has to go back to the sky alone.  In contrary, the movie gives something dissimilar to the above case since the film contains more action-driven ending including the conflict between Tristan and Septimus’ corpse. On the same note, Tristan is also going ahead to smash the glasses (Bacchilega 160). In consideration with the above scenarios, it occurs that the book has a peaceful ending whereas the film finishes with a horrific and more magical scenario. 

In addition, the changes carried out in the book to the film seem to be made for sake of favoring Gaiman, the person who acts as the producer on the movie and he still appear to have control over the creative decisions. Contrariwise, the book contains realistic information since the author is not comparing his work with the publications from another writer (Bacchilega 38). Moreover, the author of Stardust novel is not even borrowing some information from the work he had done previously (Cahill 64). Conversely, the content in the film and the attained changes are meant to make a movie being more lively and interesting. 

To conclude, through viewing the Stardust movie it is easy to realize that the Stardust book has missed some essential elements. In particular, the book focus much distinctive things compared to the movie and for this reason, it appears being quieter and less dramatic. For instance, the author of the novel tries to engage and challenge fantasy at prose and novelistic level whereas the film producer does not attempt to do the same. In consideration of the novel, the magic seems to be connected with the environment and nature, hence, being so relevant to the reader since it contains things that most people do in their daily lives. Conversely, the Stardust movie aims at celebrating and subverting the three-dimensional Hollywood epic. In the view of the above information, it is clear that the producer of Stardust film includes everything contained in the novel, but he instead exaggerated some scenarios, hence, making the movie to be more lively. As a matter of fact, it is essential to stick on watching the Stardust film since it is more interesting and dramatic compared to the book that seems to be a bit dormant. 

Works Cited

Bacchilega, Cristina “Postmodern Fairy Tales: Gender and Narrative Strategies”, Pennsylvania, University of Pennsylvania Press, 2010, pp.1-205. 

Bacchilega, Cristina. “Postmodern Fairy Tales: Gender and Narrative Strategies”. University of Pennsylvania Press, Reviews, 1997, pp. 147- 163. 

Cahill, Susan. “Through the Looking Glass: Fairy-tale Cinema and the Spectacle of Femininity in Stardust and the Brothers Grimm.” Marvels & Tales, vol. 24, no.1, 2010, pp. 57-67.

Leitch, Thomas. “Twelve Fallacies in Contemporary Adaptation Theory,” Criticism, vol. 45, no.2, 2003, pp. 149-171.

Stardust Film. Dir. Matthew Vaughn. Prod. Neil Gaiman. 2007. Online. 14 December 2018. <https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=2ahUKEwit9N271J_fAhVDOhoKHdPlBroQwqsBMAB6BAgBEAQ&url=https%3A%2F%2Fwww.dailymotion.com%2Fvideo%2Fx2dgbg6&usg=AOvVaw0gMU75x8wxQDOOzRigWRHT>