When I was fairly young, my dad decided to rent The Princess Bride (1987). Back then, we had one of those huge, wood-encased TVs, and we lived too far out of the small town that I grew up in to get cable TV at our house. Instead, we had this huge satellite in our yard and a box on the TV that would turn the satellite, allowing us to get an additional two channels–bringing us to a grand total of four channels. But we had a VHS player, and there was a local video store. Fridays were “stay up late nights,” and my dad and I would rent a movie or two.
My dad’s predilection for romantic comedies with happy endings makes me think he chose the movie, but it could’ve been one of my siblings. The thing is–I don’t remember seeing it for the first time. I just remember loving it. I doubt I chose The Princess Bride the first time I watched it, but I remember choosing it many times after that.
It wasn’t until 2003, though, that I realized The Princess Bride was based on a book published in 1973. I was wandering through a bookstore, a sophomore college student hunting for summer reading, when I saw a display of the 30th anniversary edition. I think I probably let out an audible laugh as I picked it up. And I let out a lot more laughs as I read the novel. I’m hard-pressed to tell you whether I prefer the novel or the film. Though there are some key differences, they retain the same basic plot.
Buttercup and Westley fall in love. They are parted as Wesley goes to earn his fortune; Buttercup is betrothed to Prince Humperdink after Westley fails to return for several years. Huperdink arranges for Vizzini, Fezzik, and Inigo to capture and kill her to start a war; Westley, disguised as the Dread Pirate Roberts, steals Buttercup back from the group. But Buttercup and Westley are lost in the Fire Swamp, after which they are captured by the Prince. Wesley is killed but then rescued and revived by Fezzik and Inigo; the group escapes on the night Buttercup is supposed to be married.
Film Versus Book:
Perhaps the biggest change from book-to-film is the frame story. Both frame stories involve the book being read aloud, but the frame story in the novel is more elaborate. In the novel, we are introduced to the story as an abridged version of a longer work by S. Morgenstern. We’re led to believe that Goldman bought the book for his son, not realizing that he enjoyed the story because his father read it aloud, skipping the boring parts. This is supposed to be Goldman’s abridged, only-the-good-parts version. And that makes for really good reading—we get moments that Goldman is able to satirize the publishing industry, question the literary canon, and explore just what the differences are between what kids enjoy and what adults enjoy (if there are any).
That frame is partially eliminated in the film. What we get instead is a grandfather reading a story to a sick little boy. The retention of a frame works to keep us considering the film as a text (and really, that’s one of the most important functions of the original frame story). We’re aware that it’s all made up, and every time the film stops so that the grandfather and young boy can talk, we’re thrown back into that realization.
In addition, the back-stories of the characters are mostly simplified or lost in the film. Naturally, this has to happen. Goldman’s book is a bit lengthy, with a sprawling cast of characters and events that occur over time. On film, the simplifications work to provide a cohesive visual story that works within the also simplified frame. Fezzik and Inigo are both given fuller back-stories in the novel, rendering them more fully fleshed out characters. In the film, it is enough to know that they are with Vizzini and to know that Inigo’s father was killed by the six-fingered man. The book, in addition, gives us more reason for the conflict between Florin and Guilder, as Prince Humperdink feels tricked when he discovers that his betrothed, princess of Guilder, is bald.
The love story between Buttercup and Westley is also simplified. In the novel, Buttercup realizes that she loves Westley after becoming jealous of the way the visiting Countess Rugen looks at him, and she tells him, only to have the door slammed in her face. He of course informs her soon after that he does love her but must go and make his fortune first. In the film, this is simplified to Buttercup realizing Westley’s love one day when he says “as you wish” and the two professing their love before he leaves to seek his fortune.
Vizzini’s plot to capture and kill Buttercup and Westley’s pursuit of the group are almost identical in film and book. The film has Fezzik knock Buttercup unconscious; in the novel it is Vizzini. The group notices the ship’s pursuit before Buttercup throws herself overboard in the film; in the book the group notices the ship after Buttercup is returned to the boat. The film has shrieking eels; the novel has sharks. During the sword fight, Inigo is able to wound Westley in the book, but in the film he is not able to. Vizzini’s death is much the same in both versions. And the pacing of the swamp scene is faster in the film version, the couple barreling toward Prince Humperdink.
In another large change, the book’s Zoo of Death is replaced by the Pit of Despair. In the book, one of the first things we learn about Prince Humperdink is that he’s an avid hunter. The Zoo of Death is a 5-story building full of dangerous animals; Humperdink kills one of them a day. In the novel, when Westly is caught by Prince Humperdink, he is sent into the Zoo of Death. He is tortured for a month or more before being finished off by the Machine. In the film, he is instead thrown into the Pit of Despair, attended
by the albino, is only hooked up to The Machine, and his torture only seems to last a day or two. This vastly simplifies Westley’s rescue, as Fezzik and Inigo only have to walk in to retrieve Westley rather than fight through 5 levels of creatures.
The visit with Miracle Max retains its book form, though the film makes a small change by not mentioning the 1 hour limit that the novel places upon the miracle pill. In each version, though, Westely manages to remain alive, fight Humperdink, and leave him tied up, and retrieve Inigo (who has gotten revenge on the six fingered Count who killed his father), Fezzik, and Buttercup, and the group escapes on horseback.
I find it difficult to choose between the two. The nostalgia that I experience when I watch the film gives it big ups. And the quotable quotes are everywhere. Rob Reiner masterfully directed, and the film had the bonus of having the novel writer as its screen adapter. But the entertainment of Goldman as an editor in the novel’s frame story is difficult to match, and I miss the back stories of Fezzik and Inigo when we lose them in the film. So the film wins, but only by a small margin. If you haven’t I seriously suggest checking out this book—it’s well worth the time, and you’ll probably laugh out loud.
*Note: This is a contest entry for The Artistic Christian’s Summer Blogging Challenge. This week, the Monster will hold its regular If We Were Having Coffee post on Sunday; next week, the feature returns to Saturdays.