We hear it all the time when a literary classic is put to film: “I enjoyed it, but the movie was so much better.” Even the biggest exemplars of cinematic excellence fail to capture the scope, depth, and beauty of their literary counterparts. Films such as “Gone with the Wind,” “To Kill a Mockingbird,” and “The Grapes of Wrath” are all brilliant works of art that sadly fit into this category. While my lack of desire to add to this list leaves me loath to write this, I simply must express my belief that, having revisited the music video for Sisqó’s “The Thong Song” after 24 years, it simply does not do the novel justice.
Back in 2000, when Sisqó announced the upcoming music video based on his 1999 novel “The Thong Song,” I was eager to see the brilliance of that homage to 19th Century Romanticism put to film, but was largely disappointed in the result. Where were the sprawling Nottinghamshire moors detailed so exquisitely in the book? The shocking juxtaposition in moral orders between the Corning and Henshaw estates?
This isn’t to say the adaptation was a complete loss. I was blown away by the scene portraying scantily-clad women playing beach volleyball, which I understood as a subtle nod to the back-and-forth letters penned by Wilkie and the widow Henshaw at the onset of their tragically doomed love affair in Act 1, and Sisqó’s dyed-white hair adeptly points to the snow adorning the hillside as Adelia rushes to halt their union. I simply feel the direction of the video ultimately went off course a little too hastily for my tastes.
Throughout the video, there’s little mention of the titular “thong song” sung by the forlorn Perry Corning after breaking the fastening on his favorite horsewhip, seen by the reader as an allegory for the ruined ties between the two houses. The “dun-nuh, dun-nuh” portion of Sisqó’s chorus references the sound of Corning’s approaching horse which so excited Catherine up until she tragically succumbed to scarlet fever, but the similarities seem to end there.
With all that being said, please do not let me stop you from rewatching the music video. It acts as a perfectly serviceable representation of the superb tale on which it is based. Its greatest sin is simply that, if you’ll forgive the hackneyed phrasing, it stands on the shoulders of a giant. Just know that you will surely be better off opening the printed work and losing yourself in Sisqó’s astonishingly immersive world of passion and intrigue all over again.