Herschell Gordon Lewis once said “I see filmmaking as a business and pity anyone who regards it as an art form.” Well Mr. Lewis is right, sadly. Movies are a business, they get made to make money – whether that means by making a truly remarkable film to earn that cash or by exploiting pop culture or the work of someone else. One thing that seems to be more recurrent is the deadly English language remake of foreign films. Whenever a film from overseas attains success or simply just has a captivating and original story, there’s always a Hollywood bank account on the case. Now I’m not opposed to the reinterpretation of a film made to appeal and relate to a different audience. No, I’m talking about the movie made nearly line for line with nothing changed but a few big names with English tongues.

There are a few occurrences where I appreciate the occasional remake (Bangkok Dangerous is a good example). And sometimes even the bigger-budget revision (think Japanese horror) can introduce the original films to a wider audience. But sometimes enough’s enough. I recently became aware of a few remakes in the workings that well, just rub me the wrong way. One is Death at a Funeral. Now what is most intriguing about this particular movie is that it is already in English. The British gem is one of my favorite comedies, but now a remake that is seemingly made line for line with a few big names (Chris Rock, Luke Wilson) just seems like a blatant plan to cash in. While I don’t doubt this film will be a success and have good laughs…what is the point? Have we run out of ideas to the point where we have to remake a movie that only came out two years ago AND is already in our native language?

Another film in production is The Girl with the Dragon Tattoo, which is a remake of the Swedish Män som hatar kvinnor. This movie came out in 2009…yes this year and already an English remake. Not only was the original film truly brilliant but its based on the phenomenally popular novel of the same name. If that doesn’t scream “cash in opportunity” then I don’t know what does. Being the film fan that I am however, I will more than likely watch the remake, but just the thought that someone feels the need to tamper with something that has such an extraordinary value on its own will always rub me the wrong way.

The third title I have to mention is the upcoming remake of 13 Tzameti. This French black and white picture was one of the most original and intriguing films I’ve seen to date. What’s interesting about this one is, like Bangkok Dangerous, it is being directed by the original director (Géla Babluani). Who’s included on the bill? 50 Cent, Jason Statham, and Emmanuelle Chriqui (yes, the hottie from Entourage). Most of 13 Tzameti‘s appeal was in its grittiness. While it’s a relief that at least the new rendition is herded by the original director, I just would like to know why? While something in my head is whispering “paycheck,” the naive soul inside me hopes there are different motivations. Either way, it will be interesting to see what new angles the story takes.

My beef isn’t with the act of remaking a film, especially when at least it’s backed by the original filmmaker. It’s the ideas that drive these remakes. It’s understandable why most people don’t enjoy subtitles. It does take some effort and, when you’re a slow reader, can become frustrating. But would you really trade the authenticity of a film in its original vision for the sake of a bastardized version? It’s my belief that one will never get the intended experience by watching a remake of any kind. As I’ve said I’m not completely against remakes, sometimes they are well executed and retain their own significance. But watching a remake that was simply made to cash in without having the slightest care to view the original work is why we’re continuing to allow movies be a big business and drift further and further from an art form.

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