SCHOTT: ‘Watchmen’ opinion changes with every viewing

Since my review of "Watchmen" ran in Monday's paper, I've had some interesting discussions – both friendly and hostile – regarding several of my viewpoints, specifically my decision not to compare the film to (or even mention) the graphic novel on which it was based.

I learned the term is "alternate history," not "parallel reality."

I learned Rorschach breaks a hell of lot more fingers in the novel than he does in the film.

I learned a lot of things that are forcing me to reevaluate my standpoint. Whether or not "Watchmen" is a good film has become somewhat irrelevant. It's been an absolute joy to discuss.

To be fair, I haven't read the graphic novel. If that discredits my opinion, so be it. But, nonetheless, I think it's important to consider the film as a film and not just as a supplement to the literature.

The novel stands perfectly well on its own. I'm not sure why its die-hard fans even bothered to spend their money to see the film;  there's no way they could have been satisfied.

In my original review I said I felt this material deserved something more, though I couldn't quite put my finger on it. I took the time to see it again Monday and this time was aware I was watching a fundamentally misguided adaptation.

Director Zack Snyder has created a religiously devout skin-deep recreation of a seminal work of literature. He has effectively captured Dave Gibbons' visual style and tone, but, like the heroes it portrays, the film's real power is hiding behind its mask.

The primary conflict in the film is Dr. Manhattan's escalating indifference toward humanity. He finds it harder and harder to care about such miniscule beings. I think perhaps his indifference has seeped into the celluloid.

Snyder seems too preoccupied with his glossy-yet-dystopian imagery to concern himself with the tone of the story. He's unsure when to take these heroes seriously or even when to take the entire story seriously.

Much of this has to do with a rather peculiar song selection. Not that all the songs are peculiar. It's just that many of them don't agree with one another.

Simon and Garfunkel's "The Sounds of Silence" was strangely touching during the Comedian's funeral, and Bob Dylan's "The Times They Are A'Changin'" was a brilliant guise for the opening credits.

Still, I refuse to believe Leonard Cohen's rendition of "Hallelujah" during the sex scene between Patrick Wilson and Malin Ackerman was intended to be anything other than self-mockery.

The song turns the central romance of the film into an in-joke. One can't see the two of them kiss again after that scene without chuckling at its newfound absurdity.

If Snyder can't take these characters seriously, why should we? He bounces from one tone to another like they're lily pads, never confident enough in the material to let it speak for itself.

But above all, these are heroes who are losing their humanity. Most of them don't see anything in humanity worth saving. When they walk down the grungy streets and back alleys, we don't see anything worth saving either. Why on earth should we care if this city gets blown away?

I didn't, and that's the missing piece. Watching the film the first time, I was captivated with Snyder's inventive visuals, his headlong pacing and his loyalty to a meticulously woven timeframe. For all of its faults, the film definitely works as eye candy.

It wasn't until the credits rolled (My Chemical Romance – ugh) that I realized just how numb the entire experience had left me.

If it seems I'm being hard on "Watchmen," it's because I understand what it could have been. For all its faults though, it's still certainly a must-see.  Its cultural significance alone makes it worth having an opinion on.

If I ever get around to reading the graphic novel, I'm sure I'll see "Watchmen" a third time. I'm also sure my opinion of it will change once more.

I still love the film. Not because it is good (I've arrived at the conclusion that it is not), but because it is both polarizing and popular – a critic's wet dream.

rollan schott is a junior english major. reach him at rollanschott@dailynebraskan.com