The Hollywood toy story

Films based on children's toys are proving popular in Tinseltown, but are the commercial gains super

Earlier this week Warner Brothers announced that it is set to bring a film adaptation of Lego to the big screen in 2014. The Lego film will, excuse the pun, build on Hollywood's proven track record of making films based on children's toys. Michael Bay's Transformers trilogy has grossed a staggering $2.6 billion since the first film was released in 2007. While toy manufacturer Hasbro and Spyglass Entertainment studio will be hoping that next year's follow-up to the 2009 G.I. Joe film can match the $300 million box office takings of the first.

Though it would do both the film-makers and marketeers a disservice to assume that making money from films based on toys is child's play, Hollywood is certainly enthusiastically tapping a fruitful resource.

Next year will see the release of perhaps the strangest of these toy adaptations to date with Battleships. Liam Neeson may have "acquired a certain set of skills" throughout his acting career , but it is questionable quite how many of them he will need to draw on when he stars alongside Rihanna in John Berg's interpretation of a game many of us associate with long car journeys.

With a budget of $250 million dollars, headline writers may already be perfecting their variations on a box office sinking pun, but Hollywood's major studios seem to think they are onto a winner with the boardgames on the big screen formula. So much so in fact that a strategic partnership between Hasbro and Universal has put film versions of Risk, Candy land and Monopoly purportedly in the pipeline. Indeed the latter has even managed to get Ridley Scott on board as director.

Dorothy Parker is once thought to have said "the only 'ism' Hollywood believes in is plagiarism". It is certainly true that Hollywood has a voracious appetite for adapting certain genres to cinema and it is also true that over time the source of Hollywood's inspirations regularly changes. Books (Lord of the Rings, The Godfather), plays (Driving Ms Daisy, Romeo and Juliet), TV programmes (Star Trek, Naked Gun), comics (Batman, Superman, Spiderman), video-games (Tomb Raider, Resident Evil) even theme park rides (Pirates of the Caribbean) have all at one time or another been the stimulus du jour, and now it seems, it's children's toys and boardgames.

But isn't this latest development slightly different? Isn't Hollywood now fishing for ideas in such shallow waters, not because of their artistic merit, but because of their potential for commercial gains?

Professor Thomas Leitch, Director of Film Studies at the University of Delaware and author of Film Adaptation and its Discontents, believes this was always the case.

"I'd question the assumption that Hollywood used to be abrim with creative energy but has lately run dry, since it seems to me that Hollywood has always quite deliberately chosen to be in the business of manufacturing reliably reproducible mass entertainment, an enterprise in which originality is neither sought nor welcomed except insofar as original concepts can be readily replicated."

If Hollywood's methods haven't changed, what of its purpose? The overt messages in films like G.I Joe or Transformers seems more mass marketing than mass entertainment. What was once an ancillary function, even a necessary evil to fund a project - the merchandising - now seems to be the sole intention of some films.

This Leitch concedes to be true in some cases, but notes that it is not as recent a phenomenon as we might suspect.

"I think the pivotal figure here is Walt Disney and the crucial period the mid-1950s, when Disney was launching both his television program and Disneyland, the first of his theme parks. Each of these endeavours was clearly designed to promote the others, and to showcase both Disney's forthcoming projects and his impressive back list as well."

In 1995, another American professor, Janet Wasko, wrote:

"It is not inconceivable that in the future...manufacturers and joint promoters will demand more knowledge of the film and may even try to influence the production in order to maximise the benefits accruing to them."

Writing at a time when films sold commemorative toys and weren't based on them, Wasko's comments seem almost innocent now. Although avarice has probably always trumped art in mainstream cinema, it has never done so in a more apparent way than now, leaving the marketing tail well and truly wagging the Hollywood dog.

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If the SNP truly want another referendum, the clock is ticking

At party conference in Glasgow, I heard Scotland’s governing party demand a future distinctly different from the one being sketched out in Westminster. 

Nicola Sturgeon described Glasgow as the “dear green city” in her opening address to the SNP party conference, which may surprise anyone raised on a diet of Ken Loach films. In fact, if you’re a fan of faded grandeur and nostalgic parks, there are few places to beat it. My morning walk to conference took me past chipped sandstone tenements, over a bridge across the mysterious, twisting River Kelvin, and through a long avenue of autumnal trees in Kelvingrove Park. In the evenings, the skyline bristled with Victorian Gothic university buildings and church spires, and the hipster bars turned on their lights.

In between these two walks, I heard Scotland’s governing party demand a future distinctly different from the one being sketched out in Westminster. Glasgow’s claim to being the UK’s second city expired long ago but I wonder if, post-Brexit, there might be a case for reviving it.



Scottish politics may never have looked more interesting, but at least one Glasgow taxi driver is already over it. All he hears in the back of his cab is “politics, fitba and religion”, he complained when he picked me up from the station. The message didn’t seem to have reached SNP delegates at the conference centre on the Clyde, who cheered any mention of another referendum.

The First Minister, though, seems to have sensed the nation’s weariness. Support for independence has fallen from 47 per cent in June (Survation) to 39 per cent in October (BMG Research). Sturgeon made headlines with the announcement of a draft referendum bill, but read her speeches carefully and nothing is off the table. SNP politicians made the same demands again and again – devolved control of immigration and access to the single market. None ruled out these happening while remaining in the UK.

If Sturgeon does want a soft Brexit deal, though, she must secure it fast. Most experts agree that it would be far easier for an independent Scotland to inherit Britain’s EU membership than for it to reapply. Once Article 50 is triggered, the SNP will be in a race against the clock.


The hare and the tortoise

If anyone is still in doubt about the SNP’s position, look who won the deputy leadership race. Angus Robertson, the gradualist leader of the party in the Commons, saw off a referendum-minded challenger, Tommy Sheppard, with 52.5 per cent of the vote.

Conference would be nothing without an independence rally, and on the final day supporters gathered for one outside. A stall sold “Indyref 2” T-shirts but the grass-roots members I spoke to were patient, at least for now. William Prowse, resplendent in a kilt and a waistcoat covered in pro-indy
badges, remains supportive of Sturgeon. “The reason she has not called an Indy 2 vote
is we need to have the right numbers,” he told me. “She’s playing the right game.”

Jordi McArthur, a member for 30 years, stood nearby waving a flagpole with the Scottish, Welsh and Catalan flags side by side. “We’re happy to wait until we know what is happening with Brexit,” he said. “But at the same time, we want a referendum. It won’t be Nicola’s choice. It will be the grass roots’ choice.”


No Gerrymandering

Party leaders may come and go, but SNP members can rely on one thing at conference – the stage invasions of the pensioner Gerry Fisher. A legendary dissenter, Fisher refused this year to play along with the party’s embrace of the EU. Clutching the
lectern stubbornly, he told members: “Don’t tell me that you can be independent and a member of the EU. It’s factually rubbish.” In the press room, where conference proceedings were shown unrelentingly on a big screen, hacks stopped what they were doing to cheer him on.


Back to black

No SNP conference would be complete without a glimpse of Mhairi Black, the straight-talking slayer of Douglas Alexander and Westminster’s Baby of the House. She is a celebrity among my millennial friends – a video of her maiden Commons speech has been watched more than 700,000 times – and her relative silence in recent months is making them anxious.

I was determined to track her down, so I set my alarm for an unearthly hour and joined a queue of middle-aged women at an early-morning fringe event. The SNP has taken up the cause of the Waspi (Women Against State Pension Inequality) campaign, run by a group of women born in the 1950s whose retirement age has been delayed and are demanding compensation. Black, who is 22, has become their most ­articulate spokeswoman.

The event started but her chair remained unfilled. When she did arrive, halfway through the session, it was straight from the airport. She gave a rip-roaring speech that momentarily convinced even Waspi sceptics like me, and then dashed off to her next appointment.


Family stories

Woven through the SNP conference was an argument about the benefits of immigration (currently controlled by Westminster). This culminated in an appearance by the Brain family, whose attempt to resist deportation back to Australia has made them a national cause célèbre. (Their young son has learned to speak Gaelic.) Yet for me, the most emotional moment of the conference was when another family, the Chhokars, stepped on stage. Surjit Singh Chhokar was murdered in 1998, but it took 17 years of campaigning and a change in double jeopardy laws before his killer could be brought to justice.

As Aamer Anwar, the family’s solicitor, told the story of “Scotland’s Stephen Lawrence”, Chhokar’s mother and sister stood listening silently, still stricken with grief. After he finished, the delegates gave the family a standing ovation.

Julia Rampen is the editor of The Staggers, the New Statesman’s politics blog

Julia Rampen is the editor of The Staggers, The New Statesman's online rolling politics blog. She was previously deputy editor at Mirror Money Online and has worked as a financial journalist for several trade magazines. 

This article first appeared in the 20 October 2016 issue of the New Statesman, Brothers in blood