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15 Books With Completely Different Movie Endings

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So you read the book before you saw the movie. Congrats! Unfortunately—as these examples prove—that doesn't always make you an expert on what, exactly, is going to unfold on the big screen. (It should go without saying, but this article contains spoilers—lots of them. You've been warned!)

1. Jurassic Park


Jurassic Park, 
one of the most popular summer blockbusters of all time, doesn't completely line up with the events described in Michael Crichton's best-selling novel of the same name. At the end of the book, the Costa Rican military comes to the rescue by bombing Site A on Isla Nublar. But director Steven Spielberg felt like changing it up. Instead of a military intervention, Spielberg decided to have the T. Rex return to save the protagonists from a Velociraptor attack. "I think the star of this movie is the T. Rex," Spielberg explained at the time. "The audience will hate me if the T. Rex doesn't come back for one more heroic appearance."

The book and movie's body counts vary, too. By the end of the novel, John Hammond has died, and it is implied that Ian Malcolm has as well. Both survive in the movie. On the other hand, the park's game warden, Robert Muldoon, and IgGen's attorney, Donald Gennaro, perish in the big screen adaptation, but live on in the book. 

2. Planet of the Apes


Planet of the Apes
features one of the most iconic twist endings in movie history: Astronaut George Taylor (played by Charlton Heston) discovers he has been marooned on a post-apocalyptic Earth the entire time. But in La Planète des Singes, the French novel it is based on, the main character—journalist Ulysse Merou—lands on a different planet during the course of his travels, one inhabited by self-aware apes, sentient monkeys, and tribes of dimwitted humans. When Ulysse finally makes it back to Earth, he is shocked to learn that it is now 700 years in the future, and that a similar hierarchy has emerged at home. 

Twilight Zone creator Rod Serling, who co-wrote the film's screenplay, was the one who ultimately decided to make the planet of the apes Earth in the distant future. 

3. A Clockwork Orange

Stanley Kubrick based his screenplay on the shortened American version of the British novel by Anthony Burgess. This telling omitted the final chapter of the book, focused on Alex after he is rehabilitated. Though he grows out of his murderous tendencies in Burgess' text, in Kubrick's interpretation, Alex remains as psychotic as ever. Kubrick didn't like the tale's original ending; he felt it was entirely too optimistic given the story's tone and themes. "I think whatever Burgess had to say about the story was said in the book,” Kubrick said. “But I did invent a few useful narrative ideas and reshape some of the scenes." 

Burgess was not a fan of the final product. "The book I am best known for, or only known for, is a novel I am prepared to repudiate: written a quarter of a century ago," Burgess later recalled. "It became known as the raw material for a film which seemed to glorify sex and violence. The film made it easy for readers of the book to misunderstand what it was about, and the misunderstanding will pursue me until I die."

4. Fight Club

The film version of Fight Club remains faithful to author Chuck Palahniuk's original plot—until the very end, that is. The movie version wraps up as the narrator, standing beside Marla, watches a series of explosions caused by his now-absent alter ego, Tyler Durden. At the end of the book, however, the narrator wakes up in recovery from his gunshot wound. He thinks he's in heaven, but Palahniuk makes it clear that he's actually in a mental institution. Several hospital attendants ask him when he's going to start Project Mayhem again, inferring that Tyler Durden is still very much a part of him.

Director David Fincher explained his choice by arguing that the book was too devoted to the narrator's alter ego: "[I] wanted people to love Tyler (Durden), but I also wanted them to be OK with his vanquishing." 

5. The Scarlet Letter

Nathaniel Hawthorne’s novel The Scarlet Letter is an exploration of guilt, punishment, and mob mentality in 17th-century New England. At the end of the classic tale, the townspeople persecuting Prynne learn that the father of her baby is Reverend Dimmesdale, who eventually dies from immense guilt.

The 1995 film version of The Scarlet Letter opted instead for a happy Hollywood ending (read: no one dies). Instead, Reverend Dimmesdale and Hester Prynne leave their town in order to build a new life together.

6. Breakfast at Tiffany’s

Truman Capote's beloved novella was also given a simplified and sanitized Hollywood ending. In the book, Holly Golightly loses her cat and abandons New York for Argentina—it's unclear where the free spirit will end up next. The movie, on the other hand, ends with Audrey Hepburn's Holly reuniting with Cat and sharing a passionate kiss with neighbor Paul. (There's no romance between them in Capote's version.) 

Capote wasn't a fan of the movie based on his work, nor of the casting of Audrey Hepburn. "I had lots of offers for that book, from practically everybody," Capote said in an interview. "And I sold it to this group at Paramount because they promised things, they made a list of everything, and they didn't keep a single one."  

7. My Sister's Keeper

Jodi Picoult's My Sister's Keeper tells the story of a young leukemia patient named Kate, whose parents conceive another daughter, Anna, in order to have an organ donor for their firstborn. When she turns 13, Anna is asked to donate one of her kidneys to her dying sister. She refuses and sues her parents for medical emancipation. 

In the book, Anna gets into a terrible car accident, and her kidneys are posthumously harvested for Kate, who survives. But for the 2009 adaptation, director Nick Cassevetes chose to reverse the sisters' fates. Kate ends up succumbing to her illness after she refuses to accept her sister's organs. Cassevetes believed his movie's ending was more accurate after he visited pediatric hospitals and talked to terminally ill patients. 

"Going and visiting people in the hospital, this story repeated over and over and over again," Cassevetes told About.com. "In reality, none of these stories ended like the book did." 

8. The Mist

Stephen King's The Mist ends on a vague note—a few survivors head towards the source of a mysterious radio transmission as the titular mist creeps around them. But director Frank Darabont decided to give the film a more definitive—and more gut-wrenching—conclusion. David, played by Thomas Jane, comes to realize that the group's survival efforts are futile. To prevent any further suffering, he kills the remaining survivors, including his son, just before the military shows up to inform him that the situation is now under control. 

"How primitive do people get?" Darabont said of his new ending. "It's Lord of the Flies that happens to have some cool monsters in it." King, for his part, gave the new ending two thumbs-up: "The ending is such a jolt—wham! It's frightening. But people who go to see a horror movie don't necessarily want to be sent out with a Pollyanna ending."  

9. The Lorax

At the end of Dr. Seuss' The Lorax, the tale's Once-ler gives the boy the last-ever Truffula seed in the hopes that he'll be able to grow a new forest. But there's no room for ambiguity in the story's 2012 cartoon version: Before the credits roll, new Truffula Trees are flourishing and The Lorax has returned to the forest. 

10. Red Alert

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, based on Peter George's Red Alert, takes a comedic approach to the source material. Instead of narrowly avoiding a nuclear catastrophe at the zero hour (like the book does), Stanley Kubrick decided to blow up the world because of some petty bickering. 

Originally, Kubrick planned to have everyone in the situation room get into a big pie fight. But "I decided it was farce and not consistent with the satiric tone of the rest of the film," he said.

11. Forrest Gump

There are some pretty major differences between Forrest Gump's book and film versions. Though the movie ends with Jenny's death and shows Forrest raising their child alone, the book wraps up with Forrest starting up his own shrimp business, in memory of his college friend Bubba. (Another key difference: in Winston Groom's book, Jenny survives, but marries another man and has his child.) 

"[Screenwriter] Eric Roth departed substantially from the book,” Zemeckis told the Chicago Tribune. “We flipped the two elements of the book, making the love story primary and the fantastic adventures secondary. Also, the book was cynical and colder than the movie. In the movie, Gump is a completely decent character, always true to his word. He has no agenda and no opinion about anything except Jenny, his mother, and God."  

Groom believed that the movie "took some of the rough edges off" his beloved character. In fact, he was so unhappy with the film that he started the book's sequel, Gump and Co., with Forrest telling readers, "Don't never let nobody make a movie of your life's story."

12. Who Censored Roger Rabbit?

Who Censored Roger Rabbit?, the inspiration for Who Framed Roger Rabbit?, is a surprisingly dark murder mystery. In the novel, Roger hires Detective Eddie Valiant to figure out why Rocco DeGreasy, the man who has the cartoon rabbit under contract, hasn't given him his own comic strip. During Valiant's investigation, Roger Rabbit is murdered and his wife Jessica is framed. Valiant spends the rest of the story trying to figure out who killed Roger. (The book ends with the revelation that a mysterious genie is the culprit.)

Although there's still a murder at the center of the 1988 movie version—this time, Toontown owner Marvin Acme is the victim—Disney and Touchstone Pictures gave the entire story an overhaul when the company acquired the film rights from author Gary K. Wolf. The studios hoped to make a family-friendly blockbuster in order to rejuvenate their flagging animation department, and saw Who Censored Roger Rabbit? as a means to that end.

13. I Am Legend

In 2007, Will Smith starred in author Richard Matheson's I Am Legend as Dr. Robert Neville, the sole survivor of a worldwide plague that turns humans into infected, vampire-like creatures. 

The book ends with Dr. Neville, who spends his days slaying the infected to protect himself, learning that he's considered a monster to the creatures who are now the dominant race on the planet. He's imprisoned and later executed for his crimes. In the movie, however, Neville solidifies his hero status by handing off a cure for the virus ravaging the planet to a healthy woman and boy. An alternate ending that showed more interaction between Neville and the creatures was shot, but the filmmakers opted to go with an ending in which Will Smith sacrifices himself for the sake of the human race.

14. First Blood

The first Rambo movie is based on the novel First Blood by author David Morrell. The book and the movie both tell the story of a troubled Vietnam War vet, but the book ends with his death after a violent showdown with Chief Teasle. In the movie, Rambo and Teasle survive, and Rambo turns himself into the authorities.

The reason for the change: Once again, early test audiences didn't approve of the original ending, and wanted to see Rambo live to fight another day. 

15. The Body Snatchers

The 1956 black-and-white classic, based on Jack Finney's The Body Snatchers, ends with protagonist Miles ranting and raving ("You're next!") along a busy highway of pod people and non-believers. But in the book, the titular body snatchers flee Earth after Miles discovers where their pods are grown and begins to set them on fire.

Though director Don Siegel and screenwriter Daniel Mainwaring were happy with their unsettling ending, the movie studio demanded a more hopeful outcome. To keep the bosses happy, the filmmakers added in a brief epilogue, during which the audience learns that local police had alerted national authorities to the presence of the space invaders. Sniffed Siegel, "The film was nearly ruined by those in charge at Allied Artists, who added a preface and an ending that I don't like." 

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15 Powerful Quotes From Margaret Atwood
MICHAL CIZEK/AFP/Getty Images
MICHAL CIZEK/AFP/Getty Images

It turns out the woman behind such eerily prescient novels as The Handmaid’s Tale and Oryx and Crake is just as wise as her tales are haunting. Here are 15 of the most profound quips from author, activist, and Twitter enthusiast Margaret Atwood, who was born on this day in 1939.

1. On her personal philosophy

 “Optimism means better than reality; pessimism means worse than reality. I’m a realist.”

— From a 2004 interview with The Guardian

2. On the reality of being female

“Men often ask me, Why are your female characters so paranoid? It’s not paranoia. It’s recognition of their situation.”

— From a 1990 interview with The Paris Review

3. On limiting how her politics influence her characters

“You know the myth: Everybody had to fit into Procrustes’ bed and if they didn’t, he either stretched them or cut off their feet. I’m not interested in cutting the feet off my characters or stretching them to make them fit my certain point of view.”

— From a 1997 interview with Mother Jones

4. On so-called “pretty” works of literature

“I don’t know whether there are any really pretty novels … All of the motives a human being may have, which are mixed, that’s the novelists’ material. … We like to think of ourselves as really, really good people. But look in the mirror. Really look. Look at your own mixed motives. And then multiply that.”

— From a 2010 interview with The Progressive

5. On the artist’s relationship with her fans

“The artist doesn’t necessarily communicate. The artist evokes … [It] actually doesn’t matter what I feel. What matters is how the art makes you feel.”

— From a 2004 interview with The Guardian

6. On the challenges of writing non-fiction

“When I was young I believed that ‘nonfiction’ meant ‘true.’ But you read a history written in, say, 1920 and a history of the same events written in 1995 and they’re very different. There may not be one Truth—there may be several truths—but saying that is not to say that reality doesn’t exist.”

— From a 1997 interview with Mother Jones

7. On poetry

“The genesis of a poem for me is usually a cluster of words. The only good metaphor I can think of is a scientific one: dipping a thread into a supersaturated solution to induce crystal formation.”

— From a 1990 interview with The Paris Review

8. On being labeled an icon

“All these things set a standard of behavior that you don’t necessarily wish to live up to. If you’re put on a pedestal you’re supposed to behave like a pedestal type of person. Pedestals actually have a limited circumference. Not much room to move around.”

— From a 2013 interview with The Telegraph

9. On how we’re all born writers

“[Everyone] ‘writes’ in a way; that is, each person has a ‘story’—a personal narrative—which is constantly being replayed, revised, taken apart and put together again. The significant points in this narrative change as a person ages—what may have been tragedy at 20 is seen as comedy or nostalgia at 40.”

— From a 1990 interview with The Paris Review

10. On the oppression at the center of The Handmaid's Tale

“Nothing makes me more nervous than people who say, ‘It can’t happen here. Anything can happen anywhere, given the right circumstances.” 

— From a 2015 lecture to West Point cadets

11. On the discord between men and women

“‘Why do men feel threatened by women?’ I asked a male friend of mine. … ‘They’re afraid women will laugh at them,’ he said. ‘Undercut their world view.’ … Then I asked some women students in a poetry seminar I was giving, ‘Why do women feel threatened by men?’ ‘They’re afraid of being killed,’ they said.”

— From Atwood’s Second Words: Selected Critical Prose, 1960-1982

12. On the challenges of expressing oneself

“All writers feel struck by the limitations of language. All serious writers.”

— From a 1990 interview with The Paris Review

13. On selfies

“I say they should enjoy it while they can. You’ll be happy later to have taken pictures of yourself when you looked good. It’s human nature. And it does no good to puritanically say, ‘Oh, you shouldn’t be doing that,’ because people do.”

— From a 2013 interview with The Telegraph

14. On the value of popular kids' series (à la Harry Potter and Percy Jackson)

"It put a lot of kids onto reading; it made reading cool. I’m sure a lot of later adult book clubs came out of that experience. Let people begin where they are rather than pretending that they’re something else, or feeling that they should be something else."

— From a 2014 interview with The Huffington Post

15. On why even the bleakest post-apocalyptic novels are, deep down, full of hope

“Any novel is hopeful in that it presupposes a reader. It is, actually, a hopeful act just to write anything, really, because you’re assuming that someone will be around to [read] it.”

— From a 2011 interview with The Atlantic 

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China's New Tianjin Binhai Library is Breathtaking—and Full of Fake Books
FRED DUFOUR/AFP/Getty Images
FRED DUFOUR/AFP/Getty Images

A massive new library in Tianjin, China, is gaining international fame among bibliophiles and design buffs alike. As Arch Daily reports, the five-story Tianjin Binhai Library has capacity for more than 1 million books, which visitors can read in a spiraling, modernist auditorium with floor-to-ceiling bookshelves.

Several years ago, municipal officials in Tianjin commissioned a team of Dutch and Japanese architects to design five new buildings, including the library, for a cultural center in the city’s Binhai district. A glass-covered public corridor connects these structures, but the Tianjin Binhai Library is still striking enough to stand out on its own.

The library’s main atrium could be compared to that of the Frank Lloyd Wright-designed Guggenheim Museum in New York City. But there's a catch: Its swirling bookshelves don’t actually hold thousands of books. Look closer, and you’ll notice that the shelves are printed with digital book images. About 200,000 real books are available in other rooms of the library, but the jaw-dropping main room is primarily intended for socialization and reading, according to Mashable.

The “shelves”—some of which can also serve as steps or seating—ascend upward, curving around a giant mirrored sphere. Together, these elements resemble a giant eye, prompting visitors to nickname the attraction “The Eye of Binhai,” reports Newsweek. In addition to its dramatic main auditorium, the 36,000-square-foot library also contains reading rooms, lounge areas, offices, and meeting spaces, and has two rooftop patios.

Following a three-year construction period, the Tianjin Binhai Library opened on October 1, 2017. Want to visit, but can’t afford a trip to China? Take a virtual tour by checking out the photos below.

A general view of the Tianjin Binhai Library
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People visiting China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

A general view of China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

A woman taking pictures at China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

A man visiting China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

A woman looking at books at China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

A general view of China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

People visiting China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

[h/t Newsweek]

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