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[OC] An exploration to Mars reveals the eroded corpses of a legion of Roman soldiers.

Let's say I did not believe the news when I first heard it.
Humanity came to Mars to search for life; instead, we found a graveyard.
Shocking as some discoveries are, this one topped them all. Nobody could make sense of any of it—thousands upon thousands of bodies, all properly buried inside a massive cave. Their weapons and equipment too, as if they might need them in the afterlife.
Due to the Marian climate, lack of oxygen, bacterial life, and the general conditions inside the cave. The corpses and their equipment were well preserved. So much so that even the astronauts who first saw them recognized them for what they were... a Roman Legionnaires.
The period of the Late Republic - certainly post-Marian reforms - if I was any judge of it.
And here I was to do precisely that—the first Arheologist visiting Mars, ever.
It should come as no surprise that NASA did not bother to put any expert from my field of study in its original expedition. After all, nobody sane could have predicted this.
It took them three months and billions of dollars to quickly get me there. And they spared no expense, no matter the equipment I asked for. The Congress and the President have approved everything unanimously.
So to say they were eager for results on my part would be an understatement. Hell, the whole public was going mad over it.
Trust me; you know you are dealing with something crazy when internet conspiracy nuts and the worlds leading scientists are actually in a sort of an agreement.
Most blamed some aliens; others claimed previous civilizations were more advanced and had possessed some forgotten technology (a different science). But it is tough to have a solid counterpoint in this kind of situation.
Biologists present there at the moment of discovery had already confirmed that best to their knowledge, these were indeed the corpses of humans who have died more than 2000 years ago.
They had repeated DNA tests for dozens of thousands of times already, for each of the corpses. And Carbon dating too.
Sadly all I was able to do at first was to confirm the authenticity of the equipment.
Then, however, I started investigating the causes of death. And came to a startling discovery... They were all killed! Suffered battlefield type of injuries and succumbed to them.
Every corpse had traces of some trauma, slashes on their bones, puncture wounds indicating physical damage, broken parts of the skull, etc.
Medical experts that were part of the original expedition have previously seen and confirmed some of it (bashed skull being a rather obvious sign). But they did not have my experience to draw upon to conclude what they were seeing.
There was no doubt in my mind that these men have all died in battle—a rather brutal one at that.
However, the number of previous injuries that got healed was even more staggering. Disproportionate to anything I have ever seen, even on the corpses of experienced warriors that survived many battles and died of old age.
What was even more disturbing was that many of those injuries weren't something they should have survived—apparent traces of knife or a spear going through their ribcage into the heart. Multiple slashes in the inner side of their collar bone, all up to their neck.
There was no chance of somebody surviving that kind of damage, even with our modern medicine.
Yet there I was, looking at that exact type of injury, perfectly healed. Only minute traces on the bone signifying there ever was any damage in the first place.
Soon I managed to extract what seemed like fragments of arrow tips from some bones. However, their shape and general design were unknown to me.
Already there, I should have suspected something. But it was only after the other members of the research team had done a material analysis of the arrow tips that the whole scope of this mystery erupted.
It turned out that the metal used in creating them did not come from Earth, or Mars!!
Then, in what was a Eureka moment, we tested the weapons of the Legionnaires themselves for traces of DNA.
And what we found was astonishing.
Not a DNA of a single species, but that of dozens of unknown lifeforms. Many of which had a completely different genetic structure to our own.
Further testing even found traces of alien DNA in their wounds and on their other body parts.
The evidence was undeniable; these men have all died while fighting alien lifeforms that used similar primitive weapons to their own.
The ramifications of such a hypothesis were staggering! Not just that we were not alone in the universe. Instead, we had already fought some of them.
However, the complete truth would evade us for decades.
In the meantime, the scientist, historians, and artists alike would all come with their interpretations—Hollywood and Netflix in particular.
Countless series were made where a Roman legion gets transferred to another world by rare natural events, a portal, magic, or something. Take your pick.
Then there were series where "magic" existed in the past but was erased from existence by some grand event.
Not to forget the scenario where advanced aliens kidnapped a roman legion; that theme was popular too.
And that one turned out to be the closes to the truth.
Buried, deep in the cave where we first found the bodies, was a house-sized monolith.
It did not show up on any scanner, nor did it look anything special. But on its surface was carved in a perfect Latin, a story that hardly anyone would have believed -if not for overwhelming material evidence.
It told the tale of powerful foreign Gods (likely advanced aliens) deciding to pit primitive armies of mortals from countless different worlds against each other in a grand tournament—all for their amusement.
Writing described a grand arena which made a Circus Maximus look like a child's bathtub. A place where the entire armies could battle against each other. On the human side, the terrain would always be something from Earth that was familiar to Romans.
"Like somebody had cut out a part of Italy and brought it there,"- claimed the author.
On the opposing side, they would always see a part of a different world—everything from blush forests to scorching deserts. And demons and monsters which inhabited those same lands, arranged for battle.
The only rules were that there were none; either one army won or the other. The draw just meant they would fight again the next day. And refusing to fight... well, that was instant death for all.
There were also equally grand rewards and punishments to motivate the participants. No matter how unbelievable it sounded, the winning army would get all of its dead soldiers resurrected, miraculously healed. The losing one, not so much.
The weird thing was that the numbers of opponents differed wildly. Sometimes they fought smaller numbers of giant beings, twice the size of a man.
Other times they would get swarmed by things that were no larger than children.
When they dared to ask one of the foreign Gods about what made the fights fair, they were told that the mass of the two armies was always the same. Equipment, horses, and other beasts of burden included.
One centurion cursed that they did not get a few elephants, and others debated him if a single elephant was worth 50-60 men?
It was writings and descriptions like those that offered a vivid insight into a significant and unknown part of our history.
Everything from fears and the mental toll the event took on them to the details so unbelievable that one had to remind itself where this writing was found.
They even mentioned how it was often "easier to walk" on enemy land and that their armor and body felt significantly lighter. Yet legionaries struggled to understand why that was. As naturally, they did not know about the gravity, not could have they concluded that the Aliens had copied EVERY aspect of the local terrain, even the gravity it semed.
Instead, they reasoned it was a buff given to the one who dared to attack first and encroach on enemy territory. As to motivate both sides to be more aggressive.
It was only later when they fought and the army of "yellow children," which were riding some gracious beasts, skinny horses with disproportionately long legs. That they noticed how their enemies slowed down considerably once they would step on the soil of "Italy".
Sadly no explanation was given as to how were the effects of different atmospheres mitigated. But considering the Romans never mentioned breathing problems, we can assume some advanced technology at play there too.
Then, after tens of Battles, they arrived at what was a grand finale. By now, all of them were experienced veterans who saw things others could only dream about. Heck, some of them had even died on multiple occasions, only for their injuries to heal miraculously.
And now, everything was coming to an end.
In front of them, on a rocky terrain covered in moss and low foliage, stood an army of wolf-sized insects with slick and elongated bodies. Their legs were resembling that of a spider. While on the top of their elongated bodies flayed three razor-sharp tentacles, the length of a human arm.
A nightmarish looking creatures that did not seem to use any armor or weapons except their own body. Their skin black as the night.
However, the most horrifying thing about them was not their looks, but rather the sheer numbers. They outnumbered the Romans by at least 4 to 1—a far wider margin than any previous opponents.
Worst of all, they got informed that after this battle, there would be no miraculous healing. Once dead, they would stay so. Supposedly the Gods found that amusing.
Still, the 17 thousand legionaries formed up as one; their lines disciplined as ever. They were putting faith in their battle-tested strategy. Noticing that enemies often relied on their charge's sheer ferocity and brutality, rather than drill and battle formations.
Except for a few factions that heavily favored skirmishing tactics.
Usually, after absorbing the initial charge, all that was left was to grind down the enemy in the battle of endurance that always seemed to overwhelmingly favor the humans.
However, to their surprise, the enemy too formed up into a hundred or neatly organized swarms—each numbering around 600 or so insects.
Then the opposing army rushed at them as if it was a single being, every individual monstrosity moving with the speed of a horse, yet in perfect synchronization. As if they got drilled on how to move in groups ever since they were born.
In turn, the legionnaires tightened their ranks and prepared to receive the charge—their breathing heavy. Pulling their calvary inside, safe behind the infantry.
Many were relieved to see the enemy soldiers slow down considerably once they crossed the line separating the environments of the two worlds.
But they still ran faster than any human ever could.
Soon, to the surprise of the most, the enemy unleashed a rain of arrows upon them. They did not use bows but rather their tentacles to fire small arrow bolts at a considerable distance, almost rivaling human archers. In response, the legionnaires quickly formed up into their testudos, negating whatever damage the insects wished to inflict on them.
Enemy swarms surrounded and circled the Roman army, peppering it with arrows bolts, for close to an hour. However, the projectiles landing on the legionary shields bearly did any damage initially, as they were far lighter and had less force behind them than the arrows generally used by humans.
Still, the losses mounted a bit by bit, but humans held firm, experienced as they were by now.
Luckily, the enemy was soon out of ammunition and seemed uneager to engage directly. Yet its swarms were continuing to circle and wait for some opportunity.
Then, one of the swarms got closer, as if to bait the Legionnaires to break their formation. Yet it was instead greeted by an avalanche of javelins that easily implied the bodies of enemy combatants.
The swarm retreated in panic, breaking its cohesion and reforming only when it was a safe distance away.
The stalemate lasted for two more hours before the insectoids retreated to their territory.
This, in turn, raised the morale of every single legionary. They did suffer some minor losses in men, but the enemy spent the last three hours circling and firing upon them with no avail.
Undoubtedly, the swarms were exhausted and it would be a folly to give them time to rest or restock on ammunition.
With trained precision, the Roman army moved forward, eager to finish its last battle. True, the enemy looked nightmarish, disgusting, but these men have seen a lot.
Their morale only grew ever more when they passed the border between two terrains, two worlds. They felt their body and equipment lose a third of its weight.
A serious advantage in combat.
The enemy waited for them to march further in, while harassing them on flanks, skirmishing.
Once they were deep enough, dozens of swarms rushed forward with speed far more significant than they were previously capable of. After all, they were no longer restricted by the level of gravity on the Roman territory.
A fierce battle erupted as the legionnaires found themselves surrounded by the enemy, which seemed able to coordinate its strikes perfectly.
The initial attack took down many Roman soldiers, but for every human that died, three insectoids got crushed. Their sharp tentacles were flaying in defiance.
Soon, however, the situation stabilized, and the momentum of the enemies' charge slowed to a crawl. All while the Roman soldiers were hacking and bashing with their swords and shields alike.
Swarms tried to breach the formation with brute force, climbing over their shields, suicidally pushing at even the smallest gap they could find. Retreating and again striking at any spot, they thought weaker than the others.
However, despite their warriors' sheer biological strength, their sharp talons and tentacles could not match metal armor and weapons.
They coordinated their strikes with ever-increasing precision, using what projectiles they had left to snipe any exposed legionaries.
Such a tactic would have broken any other human army, but not one experienced as this one. And enemy losses continued to mount disproportionately to the human ones.
And just as it seemed, the end-result was a forgone conclusion; a roar shook the surrounding area.
Twenty or so elephant-sized monstrosities rose from the back of the enemy army. Every beast had its body covered in thick chitin, while dozens of tentacles -each three times the length of a man- swirled in the air.
They chared forward with unstoppable momentum, supported by a swarm of somewhat larger insects.
Quickly the commanding centurions realized the enemy was using its elite forces. Legionaries prepared their javelins and adopted anti-elephant tactics.
Yet it did not work. The beasts that charged their lines were not some mindless animals, but vicious sub-species of warriors, consciously smashing into the line of man despite the pain and punishment the javelins inflicted on it.
The chaos caused by their impact vibrated through the Roman army and its formations.
Smaller groups of soldiers got separated and were quickly swarmed and overwhelmed. But, they did not rout. Everyone knew there was no salvation but victory.
One by one, the giant beasts fell, but each extracted a hefty price in the form of dead legionnaires it slaughtered.
An hour later, when the dust settled, and the battle was over, only about a few hundred legionaries were unhurt, many others were wounded, the rest -a vast majority- were dead. On the other hand, insectoids were littering the ground, dead to a single of their number.
Humankind was victorious.
Yet without miraculous healing provided to them, many more succumbed to their injuries. In the end, bearly more than a thousand survived.
When asked what they would wish to be done with their dead comrades. The highest-ranking centurion answered.
"Honor them as warriors they were and give them to Mars. He is our God of war! May they be remembered for their courage ."
And so they were laid down in a cave of a red planet with a monument retelling their deads.
What happened to survivors is unknown. Theories are too numerous to count, but it does remain as one of the greatest mysteries.
Were they returned to Earth, their memories deleted? Or they lived out their lives somewhere else?
We will maybe never know.
But we will always remember that when put into an impossible situation, humans proved themselves more than capable.
Even when they had to face real Gods and monsters.
submitted by _Sky__ to HFY

7

Devdas and What makes a Remake different?

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In a world where everything is a remake of a remake and every idea is inspired by every other idea, what exactly warrants a film being called ‘original’?
Devdas is a tale as old as time. It was first penned down in writing by Sarat Chandra Chatterjee in 1917 but it has existed long before that.
Let’s examine the two main characters in Devdas, Parvati and Chandramukhi. Parvati or Paro as she is often called by the protagonist is literally named after a goddesses. She is also often described to be with no flaw, at least not until Dev leaves a mark upon her face in a fit of rage. Paro fits the personality of Madonna perfectly.
Chandramukhi too, on the other hand, perfectly fits the personality of ‘the debassed prostitute.’ She is, after all, a prostitute.
These are the exact same characters in Martin Scorcese’s hit film Taxi Driver too. Betsy has been described as a goddess in the movie several times and Iris is an escaped prostitute. The question is, how do these characters keep recurring?
The Madonna Whore Complex was first identified by popular psychologist Sigmund Freud in men that could not maintain loving stable relationships. It states that men either see women as saintly godessesses or debassed prostitutes. The screenwriter for Taxi Driver, Paul Schrader has also confirmed that his characters were based on this complex to give the film a deeper subconscious appeal, something that has worked very well in his viewers that obsess over this film and it’s little aspects. But what of Devdas?
There is no clear date given on when Devdas was first written and when Freud first theorised this complex but we know that there was a significant overlap in the timeline. What we know for certain is that Chatterjee had more than likely never read Freud. Chatterjee has also confirmed that most of Devdas was written under the influence of alcohol and that many elements in the book are autobiographical in nature, including the character of Paro, based on that of his second wife. It is possible that this story was a reflection of the author’s own personality and this is the reason Devdas has held it’s popularity in the history of India. This is the reason that the same story has been adapted in film more than 20 times with prequels, alternate endings and variations across the ages.
The first adaptation of Devdas was in 1928 but I couldn’t find that version anywhere on the internet so I am inclined to believe it does not exist. I would have loved to examine how the story translated over in the form of a silent film but since there is a fair chance the film was destroyed completely like so many other classics of the time, I am going to move on to the film’s 1935 P.C. Barua version.
This film is historic for a lot of reasons. You can find a copy of the film on YouTube and enjoy this masterpiece for yourself. I am not an expert of films this old but I think it would be safe to say this film was definitely ahead of the time. It takes the skeletal structure of Devdas and uses it to talk of the wrong influence of British, something that every other adaptation of Devdas also does. The parallels between the stories of Dev and Paro draw out the emotional impact and it is one of the first time Indian cinema used this technique. The impactful scene where Devdas returns to his home village is beautifully depicted and the black and white film makes the experience all the more haunting. One scene I thought was really impactful in this adaptation was how masterfully the blame of Devdas’s alcoholism is shifted to the British. At the time, the British board would censor anything that they found to be overtly against their rule but the actor-director P.C. Barua found a loophole by referring to them as ‘the people from Calcutta’. In this film, it is shown as if Devdas was a good person before he went to Calcutta, the British capital city, where he was influenced by Chunnilal, a clearly British caricature, to indulge himself in alcoholism and prostitution. This is definitely the work of the director since the original source of the novel shows no such resemblance. Infact, in the original film Devdas was already indulged in wrongful activities like smoking Hookah, something the director purposely didn’t mention. The acting of this film is terrible and I have no regrets in saying this. The dialogues are delivered poorly and the impact of them feel drawn out. The actress for Paro had the same expression throughout the film and the film recorded sound live so there was a lot of background noise. That being said, the music is amazing and fits perfectly. The scene where Paro runs towards the closing doors and falls to the ground and the needle drops feels like the work of a modern director like Martin Scorcese more than that of a 1935 film.
The next adaptation of the film is the 1955 Bimal Roy version, most well known by the older generation, starring none other than the King of Tragedies, Dilip Kumar. This film adaptation is closest to the novel. It deals with caste inequalities in India and employs some great filming techniques to do so, some that once again, may be considered ahead of it’s time. In the beginning of the film, the younger version of dev can be seen smoking, employing use of clever foreshadowing. There is a scene where the child Paro is at the ghat to wash the clothes and the camera pans over from her to show an unbloomed lotus. The lotus blooms in front of the camera and it pans back over to where now an adult Paro is sitting, washing clothes. Not only is this great editing and dramatic in itself but it signifies how Paro has matured since she was younger. Classic show don’t tell. Every character in the film is fleshed out perfectly and the story progresses a lot more smoothly than it did in the 1935 version, which seemed to fall flat around the midpoint. This film puts more emphasis on the caste inequality of India at the time. It emphasizes how Dev and Paro could not marry because they were of different castes and also gives emphasis on how this was wrong, making this the central theme of the film. The actors also give iconic acting performances, with Dilip Kumar’s “Kaun kambakht hai joh bardaasht karne ke liye peeta hai ... main toh peeta hoon ki bas saans le saku,” still being a well remembered dialogues, more than sixty five years later.
Fast forward to Anurag Kashyap’s cult classic, DevD. It is known as the modern adaptation of Devdas but I don’t think that’s the right title for it as every adaptation I know of of Devdas has been adapted to the time it was filmed in. What I do love about this film is the starkly original and, forgive me for saying this for the third time in this article, ahead of it’s time cinematography. Like many of Anurag’s older films from his rebellious stage, this film challenges societal norms in the best way they can. The filming is simplistic and the writing is majestic, making references to MMS scandals, hit-and-run cases and so on while holding relevance to the original plot. It gives a stark commentary on toxic masculinity and raises strong questions on what it means to be a man. Unlike what you’d expect from a Kashyap film, this film does end with a happy ending of Dev’s character realising that he does not really love Paro, he loves Chandramukhi. There are so many unique elements of this film that deserve recognition like Abhay Deol’s fantastic acting in the film and Amit Trivedi’s catchy soundtrack that I’d recommend you watch this film for yourself and try to decipher what it all means.
And now, before we jump into the most iconic adaptation of the film, it’s time to take note of a few honourable mentions. First is Daasdev, a political look at the story with references to the film itself and DevDD, a genderbent take on the film where Dev is played by a woman and Chanda and Paro’s characters are men to show how excessive drinking is excusable in men but not in woman. I was actually really interested in this version before I noticed that it was produced by Ekta Kapoor and decided it was not worth my time. Other than these two, there are numerous other adaptations to the film in different languages, different premises and one sequel, Devadasu Malli Puttadu, where Devdas is reincarnated and the film shows whether he keeps up to the promise he made to Chandramukhi about marrying her in his next life, and I’d recommend checking them all out to understand for yourself how deep the well of Devdas really is.
I think everyone can agree when I say that Sanjay Leela Bhansali’s adaptation of Devdas starring Shah Rukh Khan, Maduri Dixit and Aishwariya Rai has to be the most iconic interpretation of the film to this date. There is not much to say about this film except for the fact that it is the ultimate Devdas film to have ever been made. The lights burn into your eyes as you consume the film bit by bit and it paints such a stark picture of the world that when you’re done watching, you need to lie down on your back in a dark room just to digest it all. Bhansali’s Devdas is like watching a dream, a slightly distorted version of reality that surrounds you. Everything is multiplied and raised to extremes beyond comprehension. Devdas is an alcoholic? He is now going to lay in piles of empty glass bottles. Devdas is rich? He is now going to live in a palace. Paro eternally loves Devdas? She is now going to light a candle for him that will somehow not extinguish until Dev truly dies. There are also some great parallels being used between Dev and Paro. Her younger self runs behind the car when he is leaving for America and then Dev runs behind her when she is being taken for marriage. There is so much to say about this adaptation, from the colour theory used, the interaction between characters, the iconic and quotable lines, the great acting performances, the set design and costumes, the choreography for the dances, the music, everything. Everything! feels! like! it! has! an! exclamation! mark! at! the! end!
I like to examine this adaptation of Devdas by looking at it as fanfiction. Bhansali has read the book and watched films based on the book and he has absorbed the story, like I have. He has understood the world of Devdas and recreated it from his imagination. It is not an accurate representation of a small town in West Bengal by any means and there is no suggestion as to which year this is, and that is what makes this version of Devdas timeless, the fact that it literally is. It feels like it is set in the past but it could be Ancient India or last year and there is no suggestion to indicate which interpretation is true. It could even be set in an alternate future or a timeline that never existed, the possibilities are endless.
Another reason for me calling this fanfiction is the fact that Chandramukhi and Paro have so many moments of interaction, strange for characters that have never met in the main adaptation. Sanjay Leela Bhansali literally tests the chemistry of the two lead characters of the film. They both have significant moments of dialogue to highlight their own characters as one in contrast to the other. The women highlight the failure of the Bechadel test, the test that determines whether women are depicted in films properly by highlighting conversations they have not involving men. Chandramukhi and Paro’s first conversation clearly fails the Bechadel test but it shows that failure of the test does not equate to poor representation of women as the scene itself highlights the strengths of the characters and establishes them as the leading characters of the film.
Another distinction of Devdas from other interpretations is that Devdas is the victim here. He is simply the character that is suffering the consequences of problems that other characters in the story have created for him. It explains why Devdas is wasting his life away in alcoholism, it is because he has nothing to live for because he is literally trapped in the prison cell of his own life. As a self-absorbed, selfish character who is by no means too good for this world, Devdas cannot adjust his damaged ego to what Freud would call the reality principle; indeed, part of the figure’s modernity is in his being defined by an individual ego rather than a class or caste-based morality, a difference that makes traditional heroes appear as unrealistic ideals rather than the type of young man one could actually imagine encountering on the streets of Calcutta in the early decades of the 20th century. While every adaptation has made it clear, if not explicitly clear, that Devdas brought his sorrows upon himself, here he is not a victim of himself but a victim of society, an unwilling puppet in the hands of a puppeteer. He is symbolised as the inaction that binds him. I think the best way to put it is to compare him to Raj from Dilwale Dulhania Le Jayenge if he never went back to India or Romeo if he stopped pursuing Juliet after he realised she was a Capulet. I think Bhansali sympathises with Dev’s character when everyone else understands that he was wrong. He does not, however, portray Dev as a good person. He just simply lets Dev be a complex character, like so many others. Dev is the eternal stalemate and the beauty of the entire film is how he fills his life when he has nothing to live for and how he is controlled by his family, by the women in his life and by society as a whole and their double standards.
Dev also has issues with his father, something I am sure further pushes my Freudian interpretation of this film. I think his father here is the representation of society. His objections have consequences to Devdas. There is a scene in the 1935 version where Dev and Paro meet at night and Dev saying something along the lines of “What will people think?” and Paro says this very strong line that is still relevant today, “You are a man Devdas, people will forget your actions sooner or later.” I think that when Dev meets Paro at night in Bhansali’s 2002 version, his father appearing is indication that it is quite literally society viewing him and his actions as inappropriate while to him they are perfectly justified.
I think all in all, this version has to be the best understanding of the story of Devdas, not just for what it stands for in it’s face value but what the words truly mean beneath the surface. There is melodrama and there are certain scenes that make you cringe but at the end of it all, this movie deserves to be titled a masterpiece and a future classic. The chemistry between the actors is amazing. Shah Rukh Khan is as good at accurately portraying Dev’s love for Paro as he is at showing the transition of hatred to love towards Chandramukhi and Chandramukhi and Paro contrast each other perfectly and I am sure that in this film, there is no actor that could replace these two.
Now, back to the question we opened with. What is an original film? Recently, there has been controversy on Akshay Kumar’s Laxmii, not just for it’s name and problematic representation of transgenderism but because it is a remake of the film Kanchana. He has been remaking South Indian films for years with Rowdy Rathode, Gabbar is Back, Bhool Bhulaiya and so many more. If you look at it that way, there are so many good films that are remakes of older films and nearly every film is inspired by one film or another, however vaguely it may be.
I think, at the end of it all, what matters is the theme. For every adaptation of Devdas there has been, while the story may have been the same, the theme of the story and the way the story is told is completely different. This is why Sherlock Holmes and Dracula are remade so many times, because they have a simple premise and huge scope for interpretation of this premise into a variety of plots. The story is the same for Devdas. You can’t watch one interpretation of Devdas and assume you have understood them all because each adaptation brings something new to the table.
Let’s talk about the Hong Kong action thriller Infernal Affairs trilogy with Martin Scorcese’s The Departed. Both films are based on the same plot but while Infernal Affairs deals with the story emotionally and dramatically, The Departed is more realistic in it’s portrayal and tells the story like it is. I am not saying one is better than the other, I am highlighting that a simple remake of a story can be so varied that when you watch them both, the stories feel different.
At the end of it all, remakes do not decide whether a film is good or bad. It is the interpretation of the film that does. Are you remaking the film because it worked before and wish to copy the story scene by scene in a different language with a new cast or do you have what it takes to tell the same story in a different way?
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