Warm Bodies Movie vs Book

1. Katherine Wright
Warm Bodies: The
Journey from Print to
Screen

2. • Like Richard Corliss wrote about J.K. Rowling’s The Goblet of Fire, the
different medium often calls for a simplification of both plot and character
development.
• For the sake of time, and as a result of using pictures instead of words, films
must both shorten the original novels and change plotlines.
Lost in Translation

3. Changes in Characters
• The Boneys and the Fleshies
◦ The book establishes a whole society for the Boneys and the Fleshies.
• There is an established religion. “The Dead have built a sanctuary on the runway…We
gather here, we stand here, we lift our arms and moan” (Marion 11).
• The Boneys act as a “police” system, warning other Fleshies through wordless
communication of their infractions and doling out punishments (true death).
◦ The movie, for the sake of time, eliminates these nuances.
• There is no practicing religion mentioned at all.
• The Boneys become markedly different from the Fleshies. They are more violent, and even
move faster than the Fleshies. This draws the distinction between the Fleshies immediately
solely through their appearance.

4. • R’s Family
◦ In the novel, R is married to another
Fleshie and even has two children
with her. It establishes that even
before Julie he was attempting to
grasp at some sort of normalcy, that
there was a humanness to him from
the beginning.
◦ In the movie, this family is completely
missing. R’s transformation is seen
to be spurred solely through his
relationship to Julie. While it is a
difference, the movie is still able to
portray R’s shift without his family.
There is even a few nods to his
children in the film, as two children
are seen in a number of scenes
watching R and Julie.
Missing Characters

5. Representational Characters
• In the book, there are a number of
secondary characters, including
numerous soldiers, friends of Perry
and Julie, and other citizens, that
Marion introduces.
• However, it would be impossible to
introduce and fully develop these
characters in the short amount of
time that film has. Therefore, there
is one character, Kevin, who is
used to combine these characters
and represent them in the film.
Kevin is both a soldier and a friend
to Perry and Julie.

6. • Julie’s father, General Grigio, is one
character who is noticeably different
in the film and the book.
◦ In the book, he is distant and unfeeling.
Marion uses his character to show that
being living is more than just a physical
state. He is no different than the dead,
because he has closed himself off. He
is not connected to even his daughter.
Investing in the Characters
• In the movie, these characteristics
are present in the beginning. When
he is first introduced in the film,
Grigio says zombies are “uncaring,
unfeeling.” Julie says this sounds
familiar, referring to him. However,
Grigio has a transformation that is
not present in the novel. He shows
more affection to Julie, even hugging
her in the film version. This
difference is necessary in the film
version because it would be too
difficult to justify having a character
that audiences cannot empathize
with. If Grigio was completely
callous, audiences would not be able
to invest in his character in the
shortened amount of time film allows.

7. Internal Monologues
• Much of the novel relies on R’s
internal narration.
◦ R is unable to communicate for much
of the novel. However, Marion uses
his internal dialogue to get the reader
to connect to his protagonist and to
understand his motivations.
◦ The character Perry, after R eats
him, becomes part of R and is mostly
heard through R’s thoughts
and dreams.
• Film being a visual medium does
not allow for this internal
monologue to be fully developed.
◦ There are a number of scenes that
use voice over to explain R’s
thoughts. However, it would become
monotonous if these narrations
overlaid every scene.
◦ Perry is no longer a part of R. His
death and memories spur R towards
his attraction to Julie still, but R’s
feelings are his own.

8. Character Development
Book Fleshies
• In the novel, as Fleshies change there
are more internal and mental
transformations.
• Marion uses R’s thoughts, and M’s
thoughts to portray this change. There
is an emphasis on their deeper thinking.
Film Fleshies
• Cinema cannot rely on exposition
to portray that these characters are
undergoing a major transformation.
• There are a number of physical
changes shown using make up and
even CGI.
• The Fleshies go from gray-skinned
to colored. Their hearts are shown
lighting up red. Pages of
description are summed up in two
succinct images.

9. The Importance of Imagery
• In the book, the transformation of the Fleshies is gradual and spurred by a
witnessing numerous interactions between Julie and R.
• In the film, these interactions need to be condensed and the best way to do
that is to use one image that connects with the audience and can sum up the
connection between Julie and R.
• This image is hand holding. It demonstrates the connection in an image that
the audience can relate to and has a connotation of warmth, love, and family.

10. Summarizing Setting
Book
• Novels need to use words to paint
a picture.
• There is a need for pages of
description to get audiences to
understand the world these
characters live in.
• Marion must establish R’s world
and get you to understand how
this world came to be using only
words to create a visual image.
Film
• Film has the benefit of already
being a visual form of language.
• Movies can show without
describing.
• R’s world is given authenticity
because the audience can visually
see it in the overturned cars, and
abandoned streets. The filmmakers
even sum up the transition to this
apocalypse by flashing newspaper
headlines across the screen at the
beginning.

11. Plot Changes (Spoiler Alert)
Ending of the book
• In the book, Grigio is unable to see
reason.
• He still sees the Dead as being
incapable of redemption and in turn
is himself unable to find redemption
as he plummets to his death from
the top of the arena.
Ending of the film
• In the film, Grigio is transformed
himself, like the Fleshies.
• He is able to see that love can
make a difference and sees hope
for a better future. In turn, he lives
as well.

12. Speeding up the Plot
Book Julie forgives R
• In the book, when Julie finds out
that R is the one that ate Perry she
immediately forgives him.
• However, it is a long drawn out
process to get R to make this
confession to her. In fact, he
confesses it to Julie’s friend, who
then tells Julie herself.
Film Julie mourns Perry
• In the film, when Julie finds out she
is angry with R.
• R tells her much earlier and tells
her himself, propelling the plot
faster in the film.
• Julie’s anger pushes the plot even
faster, because filmmakers use it
as motivation for her to leave R
earlier than she did in the book.

13. The Same, Yet Different
• Despite these differences, movie adaptations must stay true to the main
emphasis of its original novel.
• Without the same thematic undercurrent of asking what defines humanity,
Warm Bodies the film would not relate to Warm Bodies the book.
• Certain scenes must stay true to the book in order to convey these themes
and maintain the core relationship of R and Julie.

14. Romeo and Juliet: R and Julie
• The film stays true to the number of Romeo and Juliet references that
Marion cultivates.
• The most notable scene is when R finds Julie in the city at her home and
they interact with Julie up on a balcony and R calling to her from the
ground.
• The references to Shakespeare here demonstrate that love and
connection can cross any boundaries, Capulet or Montague and human or
zombie.

15. Human Connection is the Key to Humanity
• Both the film and the movie demonstrate that love is what makes us human.
Our ability to relate to one another is what is inherently human.
• The film even refers to it as “the key to the cure.” When Julie leaves R, film R
says “It’s easier not to feel. Then I wouldn’t have to feel like this.” He begins
to revert back to his zombie self without her.

16. Works Cited
Marion, Isaac. Warm Bodies. New York: Emily Bestler Books, 2011. Print.
Warm Bodies. Dir. Jonathan Levine. Lionsgate Studios, 2013. Film.