Jeremy Kay's "MIRACLE MAN" Introduction to a New Screenplay based on H.G. Wells' 1936 Movie: MAN WHO COULD WORK MIRACLES. & The Man who Could Work Miracles (the 1895 Book)
MAN WHO COULD WORK MIRACLES (1936 Movie) and THINGS TO COME (1935 Movie) have long been stepchildren in studies of H.G. Wells. The Films have never been examined significantly beyond occasional plot summaries and production information. MAN WHO COULD WORK MIRACLES (the 1895 Book) has been out-of-print for decades and evaded scholarly attention to a surprising degree.
Who wrote the Screenplay? Film Credits state "scenario and Decalogue by H.G. Wells"; the Book is subtitled A Film by H.G. Wells. Film production reference works mention that Wells was assisted by Lajos Biro (1880-1948), a Hungarian / Hollywood Scriptwriter who served as scenarist for producer Alexander Korda. Wells never mentioned Biro in print, although he did referred contemptuously to William Cameron Menzies and Lothar Mendes, directors of his Films. MAN WHO COULD WORK MIRACLES was released shortly after THINGS TO COME. "It was directed by Lothar Mendes, a far worse director even than Menzies, dull beyond words" (H.G. Wells 213).
Korda's associates argued that the Script of MAN WHO COULD WORK MIRACLES was really not Wells' work: but was "Scripted by Lajos Biro, and that H.G. Wells interfered little with the development of the story" (167). Biographer, Karol Kulik, went further: "Since Wells's presence throughout the former Film's production (THINGS TO COME) had demanded constant patience, conciliation, and accommodation from the Film-maker, Korda kept Wells away from the Film as much as possible. Although Wells received sole screen credit for the Script, Lajos Biro was the responsible party."
As with the earlier THINGS TO COME, there was a basic disagreement between Korda and Wells, although their personal relationship seems to have been cordial. In MAN WHO COULD WORK MIRACLES, Korda was interested in comic situations, special effects and theater. It is significant that his working title for the Film was "The Miracle Maker". Wells was interested in social and political ideas "which weigh the Film down".
Wells, had less influence on MAN WHO COULD WORK MIRACLES than on THINGS TO COME (despite his thorough dissatisfaction), but he did try to make his presence felt, in spite of the attempts to bypass him: "...I shall go back to do MAN WHO COULD WORK MIRACLES cut and clean it up - for most of it is shot already. I'm a little disillusioned about Films (industry). They could be magnificent Art, but has to be learned..."
A second question, What is the text? The two versions, Film and Book, differ considerably. The Book contains much material omitted from the Film; and many changes of Scenes were shifted in place. So, was the Book closer to Wells's intention and the Film Script was Biro's?
Although Stover tries to force a theme between the original Short Story, "THE MAN WHO COULD WORK MIRACLES" (1898) and the Movie, MAN WHO COULD WORK MIRACLES (1937), ~ it is obvious the Short Story and the Script are enormously different in theme.
The Short Story was what Wells called a "single sitting" story. "It seems reasonable that the important "little possibility" in the Short Story was the Cataclysm resulting when the rotation of the world was stopped for an instant, with a little satire on religion.
The Book's title can be interpreted as indicating the new direction which Wells attempted to remake an old story. The Short-Story title calls attention to the actions of an individual in the Past. It might be restated as "The Man Who Was Able To Work Miracles and What He Did," with some emphasis on the protagonist. Restated again: "Mankind Could Work Miracles If It Really Tried." This is fortified by the optimistic last words of the Player, when the Elemental Powers argue about the Future of Mankind: "Come back here in an age or so and you shall see..."
No one has ever questioned that Wells' Elemental Powers at the Prologue are four, not three: the Master, the Observer, Indifference and the Player. Why are the "elemental powers" nude males, and why do they ride horses? Is this a theatrical image of Biro's making? What exactly did Wells mean by "Elemental"? Is he suggesting the traditional elements or occult elemental forces? Is there any principle behind the differences between the two texts, Film and Novel, beyond brevity?
There are so many major things wrong with this bad Book that it may seem nitpicking to call attention to minor examples of carelessness, but they should not be ignored: Wells, was not "in control of two Films". It is curious that in 2004 three major Hollywood Production companies announced their proposed re-make of this very unsuccessful project.
Copies of the out-of-print 1895 Book are available free on the Internet. Films are available on DVD.
MAN WHO COULD WORK MIRACLES (1936 Movie) and THINGS TO COME (1935 Movie) have long been stepchildren in studies of H.G. Wells. The Films have never been examined significantly beyond occasional plot summaries and production information. MAN WHO COULD WORK MIRACLES (the 1895 Book) has been out-of-print for decades and evaded scholarly attention to a surprising degree.
Who wrote the Screenplay? Film Credits state "scenario and Decalogue by H.G. Wells"; the Book is subtitled A Film by H.G. Wells. Film production reference works mention that Wells was assisted by Lajos Biro (1880-1948), a Hungarian / Hollywood Scriptwriter who served as scenarist for producer Alexander Korda. Wells never mentioned Biro in print, although he did referred contemptuously to William Cameron Menzies and Lothar Mendes, directors of his Films. MAN WHO COULD WORK MIRACLES was released shortly after THINGS TO COME. "It was directed by Lothar Mendes, a far worse director even than Menzies, dull beyond words" (H.G. Wells 213).
Korda's associates argued that the Script of MAN WHO COULD WORK MIRACLES was really not Wells' work: but was "Scripted by Lajos Biro, and that H.G. Wells interfered little with the development of the story" (167). Biographer, Karol Kulik, went further: "Since Wells's presence throughout the former Film's production (THINGS TO COME) had demanded constant patience, conciliation, and accommodation from the Film-maker, Korda kept Wells away from the Film as much as possible. Although Wells received sole screen credit for the Script, Lajos Biro was the responsible party."
As with the earlier THINGS TO COME, there was a basic disagreement between Korda and Wells, although their personal relationship seems to have been cordial. In MAN WHO COULD WORK MIRACLES, Korda was interested in comic situations, special effects and theater. It is significant that his working title for the Film was "The Miracle Maker". Wells was interested in social and political ideas "which weigh the Film down".
Wells, had less influence on MAN WHO COULD WORK MIRACLES than on THINGS TO COME (despite his thorough dissatisfaction), but he did try to make his presence felt, in spite of the attempts to bypass him: "...I shall go back to do MAN WHO COULD WORK MIRACLES cut and clean it up - for most of it is shot already. I'm a little disillusioned about Films (industry). They could be magnificent Art, but has to be learned..."
A second question, What is the text? The two versions, Film and Book, differ considerably. The Book contains much material omitted from the Film; and many changes of Scenes were shifted in place. So, was the Book closer to Wells's intention and the Film Script was Biro's?
Although Stover tries to force a theme between the original Short Story, "THE MAN WHO COULD WORK MIRACLES" (1898) and the Movie, MAN WHO COULD WORK MIRACLES (1937), ~ it is obvious the Short Story and the Script are enormously different in theme.
The Short Story was what Wells called a "single sitting" story. "It seems reasonable that the important "little possibility" in the Short Story was the Cataclysm resulting when the rotation of the world was stopped for an instant, with a little satire on religion.
The Book's title can be interpreted as indicating the new direction which Wells attempted to remake an old story. The Short-Story title calls attention to the actions of an individual in the Past. It might be restated as "The Man Who Was Able To Work Miracles and What He Did," with some emphasis on the protagonist. Restated again: "Mankind Could Work Miracles If It Really Tried." This is fortified by the optimistic last words of the Player, when the Elemental Powers argue about the Future of Mankind: "Come back here in an age or so and you shall see..."
No one has ever questioned that Wells' Elemental Powers at the Prologue are four, not three: the Master, the Observer, Indifference and the Player. Why are the "elemental powers" nude males, and why do they ride horses? Is this a theatrical image of Biro's making? What exactly did Wells mean by "Elemental"? Is he suggesting the traditional elements or occult elemental forces? Is there any principle behind the differences between the two texts, Film and Novel, beyond brevity?
There are so many major things wrong with this bad Book that it may seem nitpicking to call attention to minor examples of carelessness, but they should not be ignored: Wells, was not "in control of two Films". It is curious that in 2004 three major Hollywood Production companies announced their proposed re-make of this very unsuccessful project.
Copies of the out-of-print 1895 Book are available free on the Internet. Films are available on DVD.