The Evolution of Musical Remakes: From Screen to Stage

The Rise of Musical Remakes

Over the years, some movies have been remade as musicals, but they haven't always been improved upon in the process. With The Color Purple and Mean Girls shaping up to be two of the biggest movies in January, musical remakes are bigger than ever. It seems possible that there will be more on the horizon if there proves to be an appetite for musical remakes, but there are already plenty of examples to look back on.

Some of the most popular musicals of all time started out as movies without any songs. Their very existence is a great example of lateral thinking, and the artistic spirit of reinvention. Some movies are recreated as musicals decades after they are first released, showing that any movie could potentially be given the same treatment years down the line. The best musical remakes might change the tone and style of their source material, but they can succeed as long as they keep the essence of what makes the original movie so popular. Musical remakes don't need to resemble the originals too much, but they should enhance a different aspect of the material.

The evolution of musical remakes has brought forward a diverse range of adaptations, each with its unique approach to bringing the magic of cinema to the stage. From iconic classics to modern hits, the influence of musical remakes on the entertainment industry is undeniable.

Iconic Musical Remakes

Federico Fellini's introspective surrealist masterpiece, 8 1/2, may not have seemed like a perfect choice for a musical adaptation, but Nine enjoyed a long and successful run on Broadway, attracting a prestigious ensemble cast to the movie, which includes Daniel Day-Lewis in the lead role. The musical adaptation, while lacking the personal touches of Fellini, managed to carve its own identity, albeit toeing the line between adaptation and pastiche. Marion Cotillard's standout performance and her moving ballad added a unique touch to the musical, showcasing the potential for reinvention in the world of musical remakes.

Daniel Day-Lewis on the catwalk as photographers crowd around in Nine (2009)

Elvis Presley's Kid Galahad underwent a transformation in its musical adaptation, altering the story to heap more focus onto Elvis and giving him a chance to showcase his talent. The musical version, while not producing massively popular songs, managed to capture the essence of the original film, with Elvis's smooth drawl adding a distinct charm to the performance.

Elvis Presley as a boxer surrounded by his team in Kid Galahad

Reefer Madness, originally an exploitation film designed to scare young people away from the effects of marijuana, found a new life in its musical adaptation. The 2005 musical mockingly portrayed the absurdity of American moralist paranoia, injecting its dance scenes with dynamism and humor, offering a fresh perspective on the original film's content.

Reefer Madness musical dance sequence

Timeless Classics and Modern Hits

State Fair, a charming slice of life story about a family visiting the Iowa State Fair, stands as a unique example of a musical written for film rather than the stage. Its enduring popularity spawned another remake in 1962, highlighting the endearing appeal of the original story and its ability to transcend generations.

Margy and Pat in State Fair (1945)

High Society, an adaptation of the popular screwball comedy The Philadelphia Story, provided a platform for immense musical talent, yet fell short of its incredible potential, lacking the emotional resonance of the original. The juxtaposition of the two versions reveals the challenges and opportunities presented by musical remakes.

Grace Kelly in High Society

The Producers, originally featuring Gene Wilder and a number from the fictional musical Springtime for Hitler, underwent a lavish transformation in its 2005 remake, adding extra songs and flamboyant performances. The contrast between the two versions highlights the evolution of musical remakes and their impact on the portrayal of iconic characters and stories.

Will Ferrell sings to Matthew Broderick and Nathan Lane in The Producers