But back to the screenplay: Written by Jessica Sharzer, this version of Dirty Dancing doesn't do what so many remakes before it have done – namely, a literal beat-for-beat recreation of the source material. (See: Beauty and the Beast.) Originally written by Eleanor Bergstein, Sharzer rewrote the movie with added depth. Her screenplay explores story lines hinted at in the original: Baby's mother (Debra Messing) is a frustrated housewife contemplating divorce. Kellerman's son (Trevor Einhorn) tries to impress Baby with knowledge of The Feminine Mystique. Robbie (Shane Harper) really is a dirtbag, like, salt in the wound uber-dirtbag. (But yeah – didn't really find it necessary for Baby's sister (Sarah Hyland) to become a Hairspray-style checkerboard chick who sings Bob Dylan, or for Johnny to be a dyslexic ex-con.)
Sharzer's working with the material means that she recognized and respected the audience's familiarity with the original movie. Obviously the people watching her remake would know the 1987 version by heart, and any lines lifted directly from it would feel disassociated and hollow. It's like a cover of a classic rock song where the singer knows her voice isn't as good, but by looking for new meaning in the piece she can bring something else to the table.
Watching the 2017 Dirty Dancing feels like a commentary on the original 1987 Dirty Dancing. Adaptation is a tricky process, and I love when it's done in a new and original way.
I felt the same watching Syfy's television show, The Magicians (2015-present). Now two seasons in, it's an adaptation of the book series by Lev Grossman. Take some young angsty millennials in modern times and have them learn that magic exists, along with their versions of Narnia and Hogwarts -- Fillory and Brakebills, respectively. The antagonist is a sadistic creature called The Beast. Another character informs students that she's been using time warps to figure out what the students can do to finally defeat The Beast in the present. In all honesty, I stopped reading the series after the first book, but my friend liked it so much that I got the sequel for us both to read. The sequel is when protagonist Quentin goes to Fillory and boy, does it pick up speed there. It's also where Quentin's best friend from childhood, Julia, gets her story told. The third book was even better, the best in my opinion.
While Quentin is often perceived as depressive and whiny - getting by mostly on his intellect and willingness to try anything - Julia doesn't get that luxury. In the books, she is rejected from Brakebills. The memory wipe of her entrance exam doesn't work, though, so she picks herself up and figures out how to become a hedge witch instead, learning magic outside of the clean and safe academia. Her story is tragic and it details the sacrifices she has to make to get what Quentin is handed on a silver platter.
When the Syfy series began, it was clear from the pilot that we weren't going to have to wait around for Fillory like we did in the books. Neither, as it turned out, did we have to wait for Julia (Stella Maeve). Quentin (Jason Ralph) gets in to Brakebills as he does in the books, and Julia's story parallels his from there. The series, however, works the material even further: Julia's rejection from Brakebills is not arbitrary in the series. Her rejection isn't because she's not smart enough or talented enough, because clearly she is. She proves herself more resilient and powerful than many of the successful students. Instead, in all of the previous time warps used to calculate The Beast (Charles Mesure), she was a student at Brakebills. She was happy and learning and not abused. The difference in the present time warp was that she was rejected and thus had to go on her journey to learn her magic on the streets, bargain for it, work for it, and therefore be able to defeat him this time around. Her pain is given more meaning in this version of events.
Instead of repeating the material over, Syfy's series - the creation of which Grossman is extremely involved in, by the way - works the material in a new way to create a new experience. It's building on the books and the story they tell. Remakes don't have to be nostalgic revisits of old stories. In both the Dirty Dancing remake and The Magicians, I felt that through the adaptation process the writers were able to enrich the original story with a commentary.