Niccolò Ammaniti’s third title, I’m Not Scared, is one of my favourite books by any author. I knew there was a film, because on the cover it said “Now a major motion picture” (a big giveaway). I read the book in February 2004, and have only just got around to seeing the film adaptation of the same name.

I had fears about the film. Every book I’ve read that’s been adapted into a film has only disappointed. I don’t mean in the sense that it doesn’t live up to the book, but it just doesn’t even match the quality or atmosphere that the written word provides. It’s a shame Gilliam’s adaptation of Pratchett’s genius title Good Omens is on hold yet again. I was looking forward to it. But I digress as usual.

Perhaps I’m slightly nervous of what I will say about I’m Not Scared. I often change my mind as the review progresses, oddly enough, and as I mull over the facts and realities of what I have seen, it grows ever more critical the more I type. On first impressions, I’m Not Scared is a solid film charting a tale of innocence, corrupted and contaminated by the poison of the adult world. There are some things children should not be exposed to; this includes death, abuse and torture amongst others.

I’m Not Scared is about a boy named Michele, and about a secret he discovers one day while out playing with his friends in the Italian countryside. Michele isn’t a bad child, he just happens to let curiosity get the better of him, and often this leads him into trouble. On one particular day, Michele discovers a secret so dark that the very thought of it frightens him. It’s a secret he wants to share, but as the days go by, he realises that he cannot, because even those he once trusted can no longer be trusted.

The film is beautiful from beginning to end. I mean beautiful in terms of cinematography, in direction and in capturing the natural beauty of nature that surrounds Michele’s home. It’s the sort of dream world those living in the city crave for: the peace and quiet; the warm weather; the idyllic view. Harbouring this beauty is the contrast of the dark secret that Michele discovers. It’s unfortunate then, that it’s managed with such haphazard care that much of the tension and build up is lost.

I understand that screenplay’s often sacrifice things in order to adapt best for film. In the book, we see the world through Michele’s eyes; his thoughts; his fears and interpretations as a young child. All of this is lost in the film. Instead what you get are nice shots of barley and wheat, some deliciously beautiful music and stylish camera shots. Much of the story is lost.

The basics, the skeleton, of the story still remain. However, there seemed a serious lack of tension, or even character depth in anyone. It is an Italian interpretation of a Hollywood film. It’s just far, far too glossy for it’s own good, and far too clever with direction rather than the script. Much of the bond, the relationships that develop are lost. There was really no need to sacrifice such important nuances; such as Michele and Salvatore’s close, brotherly bond and the heart wrenching betrayal that Michele feels when Salvatore betrays him. There’s no brotherly bond, it’s just a friendship of around five minutes with no depth.

Acting leaves a lot to be desired. I was hardly convinced by anyone, though I was entranced by Aitana Sánchez-Gijón who plays Michele’s mother, Anna. She looks incredible for her age, and is perhaps on of the few that comes across as acceptable.

Guiseppe Cristiano does a fair enough job of playing Michele, but I expected him to be a lot more convincing. Even the character of Felice (Giorgio Careccia) comes across as a pansy. The earlier interaction between him and Michele is never shown, so much of the hatred that has already developed between the two is all but gone.

I have no idea what Ammaniti was thinking by rejigging his novel for the screenplay, but he doesn’t seem to be a very good screenwriter; rather ironic considering his book is such an engrossing, wonderful, masterpiece. Yes, it’s based on real events that happened, but it’s so deftly put together that you can’t help but be amazed by it. How he managed to turn such brilliant writing into a half-baked screenplay is really beyond me.

The film isn’t all bad, it’s enjoyable for quite a lot of it. The opening beauty is simply magnificent, coupled with the tremendous soundtrack playing, it’s one of the most picturesque scenes I’ve seen in a film for a long time. Almost all, bar a few important moments of interaction, are kept in the film, so to that extent it keeps the essence or at least the structure of the book.

One of the biggest let down, I suppose is the acting. The confrontation of Michele and the secret he discovers is terrible. The other kids also play their parts with a certain “School of Wooden Acting” formula. The only exception in the entire film is Giulia Matturo who plays Maria, Michele’s little sister, who is just adorable and plays the spoiled (yet loving) child perfectly. By comparison, everyone else, is simply terrible. Perhaps they should have renamed the film I’m Not Acting.

It’s quite obvious this film has been made for mass audiences, and so the focus is on style, not content. Because of this, there are serious issues, including the horrendously cheap and crappy ending of the film. The book is far, far more subtle, and you have to decide what has actually happened, or what will be the end result. With the film, they tie up all the loose ends for you practically. It’s simply terrible.

You can argue that reading the book prepared me for everything, and therefore the shock was no longer there. But you can’t be shocked or surprised by bad acting; if it’s bad, it’s in front of you. The kids were all in all terrible, the adults don’t really get much say except for Michele and Maria’s parents, and even they don’t have much to say. Everything in this film, happens far, far too quickly ruining any sense of realism.

Almost everyone who hasn’t read the book (and for goodness sake, why not? Why settle for second rate when you can have the best?) considers this to be an incredible film, masterful and shocking. It was none of these things for me. Rob Reiner’s superb adaptation of Stephen King’s The Body (from Different Seasons) is a perfect example of how tension, friendship and fear can be created with the need for excessive gloss. It’s also around 20 minutes shorter than I’m Not Scared, and every minute is as entertaining as the last.

This is an American funded film, intended for International distribution, and so the plot is made simple, the characters one dimensional, but it is beautifully packaged. It’s unfortunate that so few people can read, because what you see on screen is far from the full picture, and if you enjoyed this, then I can only say that you’ve missed out on a much better story in the book. If you haven’t seen this, I urge you, with a big shiny stick to read it now before you watch this, and if you can avoid watching this, then do so; you will only be disappointed.

Verdict: Disappointing half-hearted mass market adaptation of an incredibly touching, thoughtful and beautiful tale