I was baffled by the inclusion of Tom Sawyer, though. As one commentator said at the time, he was unnecessary unless they were trying to get some fences painted.
Tom Sawyer was added because the film "needed" an American character, and Tom as a secret agent isn't a totally unreasonable extrapolation from the title of one of the later books in the series; the problem was that most people don't realise that Mark Twain wrote more than two novels about Sawyer and Huck Finn. The character I found a pointless addition was Dorian Grey.
Jason Flemyng, I vaguely remember, was the best thing about the film. Sean Connery's Home Counties accent seems indistinguishable from his Irish, Irish-American, Welsh-American, Norman French or Egyptian Spanish accents (funny, that). Richard Roxburgh is in it, despite having only recently given a dreadful performance on the BBC as Sherlock Holmes (hmm.. maybe that was part of Moriarty's plot?). Captain Nemo was twenty years ahead of the rest of the motor car industry, as well as having invented an incredible submarine that doesn't displace water. Somebody asks him if he can track another vessel, despite there being no reason why anybody would even think that was technologically possible (luckily, it is).
But, as so many people have said, why make a film about a peculiar and ambiguous woman, a drug addict and some psychopaths, if you don't want to make one?
No doubt from a production standpoint Dorian Gray was merely shoehorned in but I guess from a in universe standpoint I could see the benefits of recruiting an immortal to the League?
Mind you, considering Mina’s presence and the fact it’s implied M is aware of her vampiric condition there is really no need for him.
Although... I suppose Penny Dreadful and similar have helped fill that gap, after a fashion, haven't they?
Same reason why there's no Anno Dracula series either. Kind of took care of both (and even then, it couldn't pull another hat trick with City of Angels).
That's what I find happens with a lot of these series. The popular iterations of these ideas can come just as much from a spiritual successor as a direct adaptation. Star Wars is positively booming these days in what would be considered television series (The Mandalorian, The Clone Wars, Rebels, etc.), but between the films and the cadre of shows now, there were also things like Adventures of the Galaxy Rangers and Battlestar Galactica. Things which didn't have the IP, but riffed on the same tone that'd end up being explored later. Persons of Interest, for instance, is a very good William Gibson Sprawl series that Gibson never wrote for.
"Courage isn't a matter of not being frightened you know; It's being afraid and doing what you have to do anyway."
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