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Cats the Musical the Movie Cats the Musical the Movie: Mixed Message Mediums and the Challenge of Adaptation Kaycee Genualdo ABSTRACT Elitism in film studies plays a significant role in dictating the parameters of legitimate study and maintaining the status quo and dictating; serious academic research and theoretical analyzation are often reserved for features considered historically significant—masterworks that reflect technological breakthroughs and revolutionary techniques of the craft. As such, the reluctance to stray from the accepted canon leads to the oversaturated and derivative nature of academic discourse. What if one decided to engage with works that are meritless and insignificant as intensely as they are encouraged to mentally engage with the works of Sergei Parajanov or Claire Denis? For this mental exercise, I use psychoanalysis, film semiotics, and communication theory to understand the fundamental failings of the notorious 2019 film adaption of Cats the musical, to argue that the study to failure is not only a worthwhile pursuit, the findings of these studies also illuminate the inherent complexity of the field. In the case of Cats, I argue that the film fails due to its inherent lack of adaptability, rather than the source material itself. Great film adaptations of other in your mind's eye, the before time— forms of media are seldom found; the a time when you could enjoy a night successful execution of such a venture at the cinema. What wouldn't you is subject to numerous theoretical give to be back in the movie theater? and technical hurdles that impede a If you could turn back time, what films satisfactory transition into a new would you see? The answer is most mode of representation. Think back likely not "a musical," as the movie to nearly any Young Adult novel musical has dramatically waned in movie adaptation to be released in popularity among the general public, the past ten or so years; most likely, as they are notoriously difficult to impressions range from "very bad" to adapt to the screen. If I could turn "pretty good." Adaptations are at a back time, if I could find a way, I disadvantage because they must would unsee Cats (2019), as it is the adjust facets of the story inherent to manifestation of every reason why how they are perceived by audiences Broadway shows should not be and are thus filtered through a layer adapted to film, featuring every of obstruction. Now, try to remember, 26 November 2020 Vol 1.2 Cats the Musical the Movie possible mistake that could be made also makes it increasingly enticing for if that warning was not headed. the audience to partake in its Why am I doing this? There are a shamelessness. You see, the flaws few reasons, the first being that I love that are commonly highlighted by to punish myself by stretching my uniform parties not only play a brain out in a million different minimal role in the failure of the film directions in the pursuit of not-so adaptation, they also play a critical noble truths that mean nothing to role in the theatrical production's nobody, save for myself. The second enduring success. To be sure, the is that, well, frankly, I am tired of failure of the film adaptation is not the writing about good movies. How product of an inane plot or strange much more needs to be said about concept; the chief failure of the film the likes of Kurosawa or Bergman's adaptation is that it exists at all. masterworks? What can I contribute As every film critic and aspiring to the discourse surrounding Italian Twitter comedian rushed to their neorealism or French New Wave? keyboards to produce the most Everyone can, and has, written about scathing, vitriolic diatribes against the these subjects, nobody is writing CGI monstrosity (and it is a CGI about Cats. Nobody is writing about monstrosity), it became increasingly this because I am the only person who apparent that nobody knew what they can—I am the only person who is were talking about. One reviewer, simultaneously intelligent, reckless, Scout Tafoya of The Film Stage, wrote and, most importantly, brave enough of the film's original live production: to pull it off. I saw the 1998 live "Cats, like most of Webber's career, recording of the musical when I was was the best-kept dirty secret of about four years old and went Broadway." A baffling statement, as bonkers for it, most likely because I Cats is one of the most universally was, again, a very small child. I have recognized Broadway musicals of all since seen the live show three times, time, with a record-breaking including the 2016 Broadway revival. theatrical run, multiple Tony wins, and Guess what? It was awesome—the is, most crucially, credited with cats interact with the audience, and it spearheading the mega-musical rules. More importantly, however, not trend as the first blockbuster only does the audience interaction Broadway musical. Further, nearly augment the shamelessness and every critical review goes through absurdity of the production, but it great pains to elevate the mind- Screen Studies Quarterly 27 Genualdo numbingly simple plot to highlight its the perception of film and its relation apparent insanity. Olivia Truffaut- to reality. In Film Language: A Wong of Bustle ponders whether the Semiotics of the Cinema, film theorist cats of Cats are members of a death- Christian Metz begins by highlighting cult, writing: "Watching Cats, it's one of many problems of film theory: impossible not to wonder: what if a the impression of reality. Metz states "Jellicle" isn't just a weird term for that, "One of the most important of this strange group of cats, but the the many problems in film theory is name of an actual cult? It all fits: the that of the impression of reality blind faith, the mysterious, experienced by the spectator" (4). unquestioned leader, the strange Films give viewers a feeling of new vocabulary (reaching Heaviside witnessing an "almost real Layer might as well be synonymous spectacle." More so than other with "going clear"), and the strange mediums, such as plays and novels, ritualistic singing." Indeed, the films, Metz contends, "release a neurotic compulsion to publish the mechanism of affective and funniest tirade against the movie perceptual participation in the ironically prompted many spectator" (4). Metz draws on Barthes professional film critics to to highlight the contrast between embarrassingly admit that they do not photography and cinema; according understand the gossamer-thin plot of to Barthes, when we see a a family show that is based on poems photograph, "we do not see the for children. It also became presence of 'being there'…but a increasingly apparent that I am the presence that 'has been there'" (5). only person, possibly on earth, who Photographs, Barthes states, are could accurately explicate the "place present" but "time past" in complexities of Cats. nature, which creates an "illogical To understand the mess that is conjunction of here and there" and a Cats, it is necessary to first sense of a "real unreality" (Metz 6). understand the differences between What is the main contrasting film and theater, from differences in feature of photography and film? The narrative structure to the contrasting most obvious answer is movement. psychoanalytic responses each Movement produces a strong medium elicits within the viewer. impression of reality with its There can be no doubt that combination of the reality of motion psychology plays a substantial part in and the appearance of forms, as 28 November 2020 Vol 1.2 Cats the Musical the Movie "forms lend their objective structure musical genre of theater pushes this to movement…" (Metz 7). Motion unreality even further, as the offers a higher degree of corporeality audience is yet again prompted to of objects, which indirectly suspend their disbelief to accept that contributes to the impression, as breaking out into song is not as movement is psychologically ridiculous as it would be in real-life perceived as "real." "It is, in fact, a contexts. general law of psychology that Film and theater are movement is always perceived as fundamentally different, and these real—unlike many other visual irreconcilable differences lend to the structures" (Metz 8). Movement, incompatibility of both storytelling however, cannot explain the unreality methods and audience perception. of the theater. Perhaps the illusory Theorist Marshall McCluhan takes this deception Freud describes is concept even further, coining the beneficial for the film, as the lack of now-famous phrase "the medium is space between a play and the the message." McCluhan writes: spectator renders it less realistic. "The In a culture like ours, long stage setting, for example, does not accustomed to splitting and dividing have the effect of creating a diegetic all things as a means of control, it is universe; it is only a convention of the sometimes a bit of a shock to be real world" (Metz 10). When one reminded that, in operational and watches a theatrical production, they practical fact, the medium is the are in the same room as the actors on message. This is merely to say that stage, making the buy-in to the the personal and social consequences production's narrative reality much of any medium—that is, of any more difficult. Theater, Metz explains, extension of ourselves—result from "cannot be a convincing duplication the new scale that is introduced into of life, because it is itself a part of life, our affairs by each extension of and too visibly so…" (Metz 10). As ourselves, or by any new technology. such, the unreality of theater is often (7) emphasized, with actors performing on minimalist sets, making use of In simpler terms, the medium of pantomime to articulate the use of the story or concept being presented props that are not present, and even maintains precedence over the making use of fourth wall breaks, content itself regarding its perception addressing the audience itself.
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