A REMAKE of the Scottish classic, Whisky Galore! has been panned by critics following its screening at the opening of the Edinburgh festival.

Directed by Gillies MacKinnon, the film is set on the fictional Hebridean Isle of Todday in 1943.

The islanders, who have a thirst for whisky in a time of rationing, are presented with an opportunity too good to refuse as a ship carrying large quantities of whisky runs aground nearby.

As the tale unfolds, the cunning islanders become increasingly desperate in their attempts to liberate the precious cargo, despite the best efforts of the home guard commander, played by Eddie Izzard.

The production, filmed on location in Scotland, features a whole host of Scottish actors. Gregor Fisher, Sean Biggerstaff, Kevin Guthrie and James Cosmo are among those to be involved.

Familiar faces from Scottish television also appear, including Still Game’s Matt Costello, Bob Servant’s Anthony Strachan and Rab C Nesbitt’s Sean Scanlan and Brian Pettifer.

However, despite the intriguing premise and promising cast, reviewers are not convinced that the remake lives up to the original.

Andrew Pulver, of The Guardian, who awarded the film a meagre two stars, wrote: “It comes across as twee, comfy-cardigan film-making. And Eddie Izzard’s best efforts notwithstanding, it simply isn’t very funny.”

The Scotsman was no more forgiving. Alistair Harkness described the film as “a long-gestating remake of Alexander Mackendrick’s 1949 classic, it’s a flat and rather pointless retread, gentle to the point of being soporific and a waste of a wonderful cast.

“Director Gillies Mackinnon (Small Faces) may have resisted the urge to turn this into a straight-up caper film, but in doing so the whimsy has become wearisome, dulled by characters grappling with low-stakes personal dilemmas that seem old-fashioned viewed from a contemporary perspective.”

A Chortle review, though perhaps less scathing, believes the remake failed to produce a fresh take on the novel: “Gillies Mackinnon’s 2016 update is an amiable enough 90 minutes of whimsy that adds nothing to Alexander Mackendrick’s original.”

What Made it so Popular in the First Place?

MACKENDRICK’S 1949 original was based on the Compton Mackenzie novel, Whisky Galore (1947), inspired by the true story of a shipwreck off the coast of Eriskay during World War Two.

It was a Scottish classic. Stories of mischievous acts and defying rationing rules resonated with the post-war audience while providing the modern-day viewer with unique insight into the home front.

The film was a product of Ealing studios. Along with pictures such as Hue and Cry (1947) and Barnacle Bill (1957), it helped establish Ealing Comedies as the benchmark for comedy filmmakers.

Mackendrick himself was heavily involved in the creation of several successful Ealing Comedies. Originally employed as a scriptwriter and production designer, he had directed five films by the end of his nine years there.

The Ladykillers (1955) is perhaps the best known of his films from that period, described as “a near flawless black comedy” by The Guardian.

Why Recreate the Classics?

EVEN some of the best directors Hollywood has to offer have struggled to give a new lease of life to the classics.

The Coen Brothers learned that when remaking an Ealing production, you are unlikely to better the original.

Their version of Mackendrick’s The Ladykillers in 2004 proved to be among their worst-received films. One BBC review said “it is neither terrible nor terrific, just ... unnecessary”. The Guardian described it as “weirdly pointless”.

However, disappointing remakes are in no way exclusive to Ealing classics.

Alfred Hitchcock’s great works have also experienced difficult transitions into modern cinema. Perhaps the most pronounced example being that of Psycho (1960).

Psycho, starring Anthony Perkins, Vera Miles John Gavin and Janet Leigh, represented the gold standard for horror productions. It racked up the tension like no film had done previously, before exploding into life. Defying convention with the nature and timing of the protagonist’s murder, Psycho was a truly unique cinematic creation.

That, however, has not deterred modern filmmakers from trying, and failing, to recreate its success. Gus Van Sant’s 1998 shot-for-shot remake failed to capture the imagination of cinemagoers or critics, earning the film two Golden Raspberry Awards for worst director and worst remake or sequel.

It seems few classics of the 20th century are exempt. The 2000 reboot of Mike Hodge’s Get Carter (1971) saw Michael Caine’s original part go to Sylvester Stallone, with predictably unsatisfying results.

The Poseidon Adventure (1972) and Planet of the Apes (1968), among dozens of others, were also subject to remakes. According to most critics, neither managed to improve upon the original.

Despite the now familiar disapproving reviews, it appears filmmakers are more determined than ever to recreate the classics.

And with a seemingly endless number of remakes and reboots upcoming, it appears there is no end in sight. Hitchcock’s The Birds, war drama All Quiet on the Western Front and western The Wild Bunch are just some of the pictures mooted to have reproductions in the pipeline.