The screenwriters of the latest Crow film haven’t retained too much from previous versions of the material beyond the title and the basic premise.
Somebody in power has spoken: Bill Skarsgard is our new champion against the 1 per cent. A few months ago in Moritz Mohr’s, he was a stoic but bloodthirsty avenger pitted against the upper crust of a near-future dystopia.The Crow
is more of the same, except the setting is nominally the present and Skarsgard’s character is literally back from the dead – meaning he can’t be killed, no matter how much damage is inflicted on him, although he can physically suffer.creator James O’Barr got there first. Otherwise known as Eric Draven, the character made his comic-book debut in 1989, then was famously played by the late Brandon Lee in Alex Proyas’ 1994 film adaptation, compulsory viewing ever since for aspiring Goths.
But the truth is that screenwriters Zach Baylin and William Schneider haven’t retained too much from previous versions of the material beyond the title and the basic premise, which in itself isn’t too far from the myth of Orpheus. Where Lee’s version of Eric was a famous rock star, Skarsgard is just a damaged young man with an artistic streak, who ends up in rehab where he falls for fellow patient and former piano prodigy Shelly .
Much of the first half of the film is devoted to their grubby but innocent romance – ensuring we understand that when it all goes wrong and Eric starts slicing people up in gruesomely imaginative ways, he’s doing it all for love.Equally, we’re left in no doubt about the evil of his foes, especially snooty crime lord Vincent Roeg who steals souls to ensure his own immortality when he isn’t doing rich-guy things such as going to the opera and combing his hair in a dressing gown by candlelight.
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