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| Thema: Re:Alternativtitel | Antwort auf: Re:Alternativtitel von Don Cosmo | |
| >>Tonight, He Comes (Hancock) > >Huh, kapiere ich nicht... "By the time Hancock hit theaters, it had already been through a number of permutations. The film began as a spec script in the mid-1990s by an unknown writer named Vincent Ngo. Originally titled Tonight, He Comes, Ngo’s screenplay had a reputation as one of those projects that are simultaneously brilliant and unfilmable. Sometimes scripts with those kinds of reputations turn out to be masterpieces. Sometimes they turn out to be The Beaver, at which point it becomes apparent that they can be made, but shouldn’t be. Having read Tonight, He Comes, I think it falls into the second category. I don’t read many screenplays, because they’re fundamentally blueprints whose value ultimately lies in what they will eventually become, not in what they are on the page. Tonight, He Comes implies that’s a wise policy. Poring through the script online, I was profoundly annoyed by things that probably never would have registered onscreen, even if the film had been made directly from Ngo’s screenplay, rather than being radically rewritten to keep only the bare-bones outline of his work. I was irritated, for instance, by the screenplay’s description of Mary, the mother and wife Hancock becomes obsessed with, as possessing “breasts so full they could pop a boner in your dead uncle” and an adolescent boy’s teacher possessing “lips, legs, lungs-stuff prepubescent wet dreams are made of.” Of course, there’s no reason filmmakers would have to honor, or even humor, Ngo’s heavy-breathing descriptions of his female characters. Tonight, He Comes (the title is even more brazenly sexual than the script) follows the sorrowful travails of Hancock, an alcoholic, self-loathing, deeply depressed superhero who swoops into the lives of a lower-middle-class family. Where Hancock is so virile and powerful, he literally can destroy women with his seed, Horus, the family’s father, is defined by his powerlessness. He’s a security guard who aspired to be the cop his dad wanted/angrily demanded him to be (cheap psychology alert!) but is instead such a pathetic sad-sack that when bullies urinate on his bullied son, Horus encourages the kid to turn the other cheek. Hancock becomes fixated on Mary (and her ripe, full breasts). He quickly establishes himself as a father surrogate far superior to the dopey, sad-sack man of the house, and in the final act, he morphs from belligerent antihero into proper villain when he abducts Mary, and Horus finally defeats him. Hancock ends up acting as an accidental life coach whose speeches about doing what one must do give Horus the motivation to stop being an emasculated husk of a man, and assert himself. To underscore that this impotent-seeming girly-man is now worthy of his full-breasted wife, the script even ends with Mary moaning in pleasure during sex with her now-triumphant husband. Ngo’s script attracted the attention of filmmakers like Jonathan Mostow and Michael Mann, who ended up producing. Friday Night Lights director Peter Berg signed on, with a script radically re-written by Vince Gilligan, who juggled rewrites with preparations for a TV show he had created, called Breaking Bad." [https://thedissolve.com/features/forgotbusters/768-2008s-hancock-reinvented-the-superhero-as-a-depres/] |
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