There were also things I liked about the movie—Rorschach's death was played remarkably well, for example—but mostly it felt to me overly faithful to the surface properties of the comic while completely missing its soul. I'd compare it to a note-for-note cover of, say, an early Elvis Costello song, played on "updated" instruments and sung by someone who doesn't speak English and is only repeating the sounds of the words phonetically. Maybe all the right sounds are there, but everything about the rhythm of meaning is screwed up.
And then there's the question of blood, which is the reason I've gathered you all here tonight. Moore & Gibbons's Watchmen has some brutal violence in it, especially considering the context of mid-'80s superhero comics it was written in. (Many more violent mainstream superhero comics would eventually emerge, but that hadn't happened so much yet.) And when people are hurt badly in the original Watchmen, they do bleed. But watching Zack Snyder's Watchmen, I got convinced that he thinks the human body is a highly pressurized balloon full of blood and bones. It's an alarmingly gory movie, and many of the bloodiest moments are actually places where Snyder and his screenwriters depart from the text they're otherwise following so faithfully.
For example: Big Figure's tubby henchman never gets removed from in front of Rorschach's cell; he's killed quickly so that he won't suffer when the other henchman cuts through the lock with an acetylene torch. No bloody stumps waved at the camera.
When Dan and Laurie are ambushed by the knot-tops in the alleyway, they fight back brutally—the book certainly gives the idea that the way superheroes survive their tussles is by fighting dirty—and there are probably some broken bones. But click this image to enlarge it, and see if you can find a compound fracture:
When Dr. Manhattan is "fighting crime" at Moloch's gambling den ("Dante's"), we don't see human debris splattered onto women's faces or the ceiling. In fact, I'd always assumed this guy was just getting a face full of nitrogen or something like that.
Similarly, when Dr. Manhattan is winning the Vietnam War for Nixon, we don't see him exploding any people. In fact, the trio of enemies in the foreground (uniformed here; in stereotypical conical hats in the movie) seem to flee in fear pretty successfully:
I'm not sure whether these changes are meant to make Dr. Manhattan seem more distanced from human morality (something that's supposed to happen gradually, not all at once, so placing that change in his past is a problem), or whether they're just meant to make him seem more dangerous, or more of a badass. Given some of the other aspects of the movie, I'm inclined to guess that Snyder's driven here by the cheapest and dumbest motives, but I could be wrong.
Similarly, there's more blood when Rorschach fights people. As a boy, Walter Kovacs bites the cheek of a boy who has been teasing him. (That's fruit juice on young Walter's face.) The cheek never splits open to gush blood.
The man who kidnaped Blaire Roche doesn't exactly get off easier in the book, but his demise seems to require a more cold-blooded detachment or dissociation from Rorschach. It's not a crime of passion. (Killing the dogs might have been.)
(In the movie, Rorschach tells the kidnaper that "dogs get put down" before he swings the cleaver. If anything, Chapter VI figures Rorschach, not the kidnaper, as being like a dog: in the panel right after he bites the other boy, two different speech balloons say he's "like a mad dog." And of course the split dog's head has the same fearful symmetry as a Rorschach blot.)
When Rorschach dispatches Big Figure in the prison bathroom, it's pretty clearly a death by drowning. As he walks out of the bathroom, Laurie tells him they shouldn't "dive head-first into things," and he answers:
Somehow, in Snyder's Watchmen, that turns into a seeping puddle of blood, not toilet water. (I hesitate to speculate how Snyder's Rorschach got that much blood out of Danny Woodburn.)
In these instances, I can really only guess that Snyder just thinks blood spatters are kewl, and that a badass super-vigilante would be even more awesome and extreme if he left a trail of bloody carnage.
Remember that flashy kung-fu sequence in the prison riot? Well, in the book, Dan and Laurie incapacitate most of the prisoners who are still alive after the riot by turning on the "screechers" in Dan's Owl-ship. These seem to give the prisoners nausea and headaches. So here's the kung-fu fight sequence from the original prison break:
That's some adrenaline-pumping action, isn't it? (Again, I think Snyder is mainly at pains to make his superheroes seem like badasses, instead of like out-of-shape middle-aged people with sharp minds, a bit of preparation, and some martial arts training.)
Oddly, there are a few scenes of blood in Moore and Gibbons's Watchmen that get played less brutally in Snyder's movie version.
One of them is the moment when Adrian Veidt is attacked by a gunman in his corporate offices. In the movie, Snyder's camera lingers over the bullet piercing Veidt's secretary's calf (in the book, she takes the bullet in the chest, and bleeds a lot). This is one of the few moments when his Matrix-style slow motion is justified by the tempo of the scene in the book. But look at how harshly the original Veidt handles his assailant, compared to the movie's quick, balletic strike:
My guess is that Snyder's Veidt doesn't hit as hard because he's never as athletic as the original Veidt. Snyder seems to want Veidt to be merely an effete ultra-rich celebrity, not a match for all comers in hand-to-hand fighting.
In fact, one of the other places where blood disappears in Snyder's adaptation is in Veidt's super-fast dispatching of Nite Owl in their "final battle."
That hurts. And in fact, that's the last moment when Dan tries any sort of attack against Veidt. (Rorschach keeps coming, and Veidt almost absent-mindedly neutralizes him several more times while Dan stands around, pats a cloth against his nose, and talks to Veidt.) In Snyder's vision of Watchmen, Nite Owl isn't pudgy around the middle, and is still able to imagine taking Veidt in a hand-to-hand fight. Moore's Nite Owl knows better than that.
And of course, there's one other scene in which the blood totally disappears.
Snyder shows us a few immolations in the climactic attack on New York, but the only aftermath we really see is architectural. What do you think that says about Snyder, or about his fetishization of blood?
