The Colour of Magic

Review by Daniel Tessier

After the well-received Hogfather, Sky One and The Mob quickly began work on a second live action Discworld adaptation. Having originally picked a relatively recent festive tale to sell as a televisual Christmas centrepiece, director and scriptwriter Vadim Jean went right back to the series' beginning to bring Terry Pratchett's The Colour of Magic to the screen. In fact, he decided to adapt both the first book in the series, The Colour of Magic, and the second, its direct follow-up The Light Fantastic. As with the previous production, the Colour of Magic was split into two lengthy episodes, this time with each instalment adapting one book.

Many might wonder why Jean and his company didn't adapt the first book first, instead of beginning with a later novel and then catapulting right back? Aside from capitalising on the Christmas hook of Hogfather, the simple truth is that it's a better book than either The Colour of Magic or The Light Fantastic. Since Pratchett published those books in 1983 and '86, respectively, his skill as an author, and the complexity of the Discworld novels, had increased considerably. The first two books are good fun, but they are pretty straightforward parodies of the sword-and-sorcery novels that were most popular in the late sixties and seventies, lacking the depth or satirical edge of Pratchett's later works.

On the other hand, their relatively straightforward style would seem to make them easier stories to adapt. The first book in particular is very episodic, and a longer series of shorter instalments may well have been a better format than the miniseries/extended movie approach used for Hogfather. Nonetheless, the simpler humour and adventure plots of these books would appear, if not a better fit for TV, then at least an easier one. There was also more scope to rewrite the material than with Hogfather, as Pratchett was frankly less precious about the early books, stating in interviews that there was “not so much emotional baggage.” On the other hand, Jean was concerned that it would be easy to “strip out the Pratchett-ness” of the stories. It's arguable that this is exactly what happened, for while it's an enjoyable enough romp, the adaptation just doesn't quite work.

The Colour of Magic boasts an impressive cast, more star-studded than that of Hogfather, but it's not necessarily the right cast. Everyone has their own images of their favourite characters in beloved books, and it would be impossible to please everyone, but the casting here does seem off in many cases. David Jason, having previously played Albert in Hogfather, returns to play Rincewind, failed wizard and central protagonist of the story. While his casting was something of a boost to the first film, and his love of Pratchett's work well known, Jason isn't quite right as Rincewind. It seems harsh to say it, with the wizard (or is that wizzard?) being his dream role, but at 68 he was too old for the role, and his performance is a bit sluggish and uninspired.

Even more controversial was the casting of Twoflower, his travelling companion and the Disc's first tourist. While, as Pratchett himself pointed out, Twoflower was merely described as “exotically foreign” in the early novels, the clear impression was of an East Asian character, with the later novel Interesting Times making the Sino-Japanese parallels of his distant country clear. The adaptation went in a completely different direction, casting Sean Astin a superstar thanks to his role as Sam in the Lord of the Rings trilogy, reinventing Twoflower as a well-meaning but clueless American tourist. Of course, on a flat planet with fictional countries is seems a little silly to quibble about foreign ethnicities, and Astin gives Twoflower such an easy charm it's hard to dislike him in the role.

The third star role is that of Ymper Trymon, the ruthless and power-hungry wizard who wishes to rise to become Archchancellor of Unseen University and achieve ultimate power. Cast as Trymon legendary Tim Curry, no stranger to over-the-top fantasy parts thanks to The Rocky Horror Picture Show, Legend, IT and more. Trymon was absent from the novel The Colour of Magic, appearing only in The Light Fantastic, and the wizardly politics are a much smaller part of the books than the adaptation. The expanded and explicitly villainous screen Trymon calls for an actor with both presence and a large supply of ham, and Curry is therefore perfect. The deadly rivalry between the wizards may have come as a surprise to those viewers only familiar with Hogfather, where the Faculty of the UU are a bunch of amiable old duffers. Trymon's quest for power drives the plot, as he desperately needs the final spell from the great grimoire Octavo, without which he can't hope to defeat the current Archchancellor, Galder Weatherwax (James Cosmo – Sons of Anarchy, Game of Thrones, His Dark Materials). Unfortunately for him, the spell is currently lodged in Rincewind's head, and he's disappeared on a world tour with Twoflower.

Rincewind and Twoflower’s meanderings take them across the Discworld, visiting many strange locations; from the Wyrmberg, an upside-down, dragon-infested mountain; to the Kingdom of Krull, perched precariously on the edge of the Disc, from which astronomer-wizards are attempting to deduce the sex of the giant turtle that carries the world. The production is a visual treat, with elaborate sets at Pinewood standing for the city of Ankh-Morpork, Unseen University and within the Wyrmberg, and the studio’s enormous exterior water tank used to create the climactic scene of part one, where our heroes are swept off the edge of the world. Complex merging of CGI and location footage of rivers and waterfalls were merged with this footage to create a suitably epic scene. Significant location shooting around the UK included Gloucester Docks for the seedy docks of Ankh and the Law Courts at Westminster for the Patrician’s palace.

 These voyages across the Disc see the heroes meet a large cast of characters, even with many more from the book cut from the adaptation. Lord Vetinari, the Patrician of Ankh-Morpork – the thinking man’s tyrant – is portrayed by a quietly sinister Jeremy Irons (Brideshead Revisited, The Borgias). Ian Richardson had both narrated and voiced Death for Hogfather but had passed in 2007. In his place, Christopher Lee voiced the Grim Reaper, reprising his role from the two animated Discworld adaptations, Wyrd Sisters and Soul Music. There may never be anyone with as perfect a voice for the character again. Meanwhile, Brian Cox, who has since voiced Death for the other major Pratchett adaptation, Good Omens, provided the narration for The Colour of Magic. Miles Richardson (Dancing on the Edge), son of the late Ian, also has a small role as the Head of the Assassin’s Guild.

David Bradley (Our Friends in the North, The Strain, After Life) plays Cohen the Barbarian, the ageing mythic hero (a lifetime in his own legend). Bradley is the perfect casting for the cantankerous old warrior (although mention must be made of Don Bridges, who starred in the 2019 short film of Troll Bridge, who is almost as good). Laura Haddock (Ripper Street, White Lines) is suitably stunning as Bethan, a young woman rescued from a druidic sacrifice by Cohen. The two of them end up becoming an unlikely pair and kick along with Rincewind and Twoflower. Other warriors who cross their path include the mercenary Herenna (Liz May Bryce – Bad Girls, Torchwood: Children of Earth) and Liessa the Dragonlady (Karen David – Once Upon a Time, Fear the Walking Dead). Liessa, in particular, is rather more modestly dressed than in the book.

As well as David Jason, several other Hogfather actors made reappearances in different roles, including Nigel Planer as the ArchAstronomer of Krull, Stephen Marcus as the barman at the Broken Drum (“You can’t beat it!”) and Nicholas Tennant, who plays the Unseen University Librarian for a short time, before he’s transformed into an orangutan. The reappearance of familiar faces isn’t a bad thing, giving it a little of the feel of a theatrical troupe. Naturally, Pratchett himself has a small role, appearing at the end of the first episode as one of Krull’s “astro-zoologists.”

Rincewind and Twoflower meet many strange creatures on their travels, including dragons, trolls and, of course, gigantic turtles. The most terrifying of fabulous fauna, however, is the Luggage, Twoflower’s magical chest made from sapient pearwood, which scurries after him on dozens of little legs, and isn’t averse to swallowing anyone who poses a threat. Other nightmarish beings from both books are omitted, due to budget, time and storytelling constraints, which stops the whole thing becoming too unpleasantly Lovecraftian.

A beautiful production with some impressive action scenes and plenty of incident, The Colour of Magic still manages to drag in places due to some very uneven pacing, with Vadim Jean’s direction failing to liven things up when it needs it. In spite of a busy and impressive cast, excellent visual effects and technical production, and a story that covers all manner of fantastical events, the adaptation never quite seems to gel, either as an adventure or a comedy. While generally not as well received as Hogfather, The Colour of Magic was successful enough that Sky commissioned a third Discworld adaptation that would prove to be the best of the three.