Let The Magic Take You

I happen to love the movie for this book, and I didn’t even know until after I had seen it that it was originally in book form. After finally getting a copy of the book and reading it, something magical happened: I didn’t know which one I liked better. Usually, having to decide favorites between the book and the movie is very easy. Except in the case of The Pelican Brief, and The Firm, I almost always prefer the book versions. In some cases (as with Gone with the Wind and Scarlett), I simply refuse to see the movie, while in other cases (like The Great Gatsby and Jurassic Park) I prefer the book hands-down though the movie versions are certainly more than tolerable. With Hoffman’s Practical Magic, I just don’t know.

Part of the reason for this anomaly in my reading life may be the fact that the movie and book bear little resemblance to each other. Here is what is in the book that is also in the movie: the names of the characters (which in itself is a bit skewered), and the fact that this all has to do with witches, family, and magic. That’s about it. Other than that, even the basic plotline is very different. I can understand how the movie might need to condense the plotline to fit its regular two hours, but this plotline has been almost completely altered.

Unlike the movie, the book gives more equal attention to each of the sister protagonists, Sally and Gillian. This was both a good and a bad thing for me, due to my fascination with the characters and my partiality towards actress Sandra Bullock, who plays Sally in the movie version. The aunts, who are prominently figured in the movie as well, appear only as absent characters throughout most of the book. The children, Antonia and Kylie (their names are switched in the movie), are much older than their elementary school-age movie counterparts, and have very deep and intriguing characterizations that are lacking from the movie. Overall, the book does a better job of observing and presenting the importance, history, and closeness of sisterly relationships.

Hoffman’s writing has an utterly absorbing lyrical and poetic quality to it that I greatly admire. I ate this book up, partly because I was pushing for the protagonist Sally’s vindication (a point made in such a focused and concentrated manner in the movie), and partly because Hoffman’s writing is just superb and catching. I swallowed down pieces of this book for hours at a time, and would have to literally shake myself out of the mood of it all if I were so RUDELY interrupted. =)

The “magic” is of a different kind in the book, less magical in some senses, and focusing more on clairvoyance and intuition, a point much easier made and mystified in book form. Hoffman takes full charge of this, infusing this in every sentence of her text, and making the readers literary clairvoyants in their own sense. The predictability and unpredictability of this story makes it a book that can be read as I did in one gulp as I did or in a strolling leisurely fashion without losing anything of the book’s power or meaning.

Without a doubt, the movie has tainted, and at the same time, enhanced my reading of the book, so much so that I don’t even have a suggestion as to which medium persons should expose themselves to first. Should you read the book after seeing the movie, though, there are some things you should keep in mind. Certainly, one of the main things to remember is that Hoffman’s Gillian is no Nicole Kidman. Another thing to remember is that the movie, because of its required brevity, only touches upon the deep psychological implications and character insight of the book. Most importantly, the book characters don’t get wasted on midnight margaritas and dance around the dinner table to Harry Nillson’s “Coconut” song.