“100 Nights of Hero Film Softens the Bold Twist of the Original Comic”

Isabel Greenberg’s 2016 graphic novel, *The One Hundred Nights of Hero*, embodies everything a queer, feminist fairy tale should be: sharp, insightful, and unapologetically focused on the stories of women facing prejudice and oppression. While Greenberg serves as an executive producer for the film adaptation directed by Julia Jackman, featuring Maika Monroe as Cherry and Emma Corrin as Hero, the movie struggles to capture the same spirit. Although it retains some of the whimsical charm from the graphic novel, it feels overly polished and less impactful.

Set in a loosely defined medieval fantasy world, the story introduces us to Birdman (Richard E. Grant), a tyrannical god who demands worship from the humans created by his daughter, Kiddo (Safia Oakley-Green). He establishes the Beaked Brothers, a powerful, all-male religious order that enforces heteronormative and patriarchal values while controlling women.

Fast forward centuries, and we meet Cherry, a young bride, and her husband Jerome (Amir El-Masry). The Beaked Brothers give them a dire ultimatum: Jerome has 100 nights to make Cherry pregnant, or she will be executed. Jerome’s attractive friend Manfred (Nicholas Galitzine) offers to help, leading to a twisted wager: if Manfred can seduce Cherry in that time, he wins Jerome’s castle; if he fails, he must find another woman to bear Jerome’s heir, sealing Cherry’s fate.

Fortunately, Cherry has her maid and best friend, Hero, by her side. Hero is a master storyteller, a vital skill in a world where women are forbidden from reading or writing. Together, they devise a plan to thwart Manfred’s advances and protect Cherry from the men plotting against her.

Jackman effectively portrays storytelling as a form of resistance, showcasing women—especially those beyond just heterosexual white women—sharing their narratives in defiance of a society that seeks to silence them. This theme resonates strongly in a world increasingly reliant on AI, which often spreads misinformation instead of encouraging genuine creativity. For the women in *100 Nights of Hero*, preserving oral traditions is not just about knowledge; it’s about reclaiming their stories from a misogynistic culture that distorts them into tales of shame. This feminist narrative is why Jackman’s softening of the graphic novel’s more explicit themes is particularly disappointing.

Adaptations often come with changes, some of which are handled with a degree of finesse. For instance, Cherry and Hero are not initially lovers, allowing for a slow-burn romance that highlights their chemistry. However, in a tight 90-minute runtime, this setup feels like a diversion that could have been better spent addressing the homophobia and sexual violence threats faced by the established queer couple in the graphic novel. In a time when LGBTQ+ rights are under threat, it’s understandable that Jackman might prioritize the joy of queer love.

However, some alterations to Greenberg’s narrative feel disingenuous. One notable change is Manfred’s character. In the comic, he is an older predator who threatens Cherry with violence if she doesn’t comply with his desires, showcasing the irrationality and self-serving nature of bigotry and sexism. The film, however, softens him, portraying him as someone who genuinely cares for Cherry. While adding depth to characters can be beneficial, transforming the graphic novel’s antagonist into a sympathetic figure seems like a move to avoid alienating mainstream audiences.

Cherry’s character also undergoes a significant shift. In the comic, her naïveté is a strategic façade that she and Hero use to manipulate Manfred. They engage in a playful game of deception, enjoying the power it gives them. In Jackman’s version, Cherry is portrayed as genuinely innocent, with Hero needing to educate her through storytelling. While this change isn’t inherently negative, it risks oversimplifying Cherry’s character, especially in a world where women are often underestimated.

In the graphic novel, Cherry finds empowerment in her public persona, using it to navigate a harsh reality. Jackman’s adaptation, by softening Cherry’s intelligence, seems to suggest that making her less savvy would make her more relatable, which ultimately undermines her character.

With a story as pro-queer and pro-woman as *The One Hundred Nights of Hero*, the transition to a more mainstream film was bound to face challenges. The impressive cast, including Felicity Jones and Varada Sethu, adds star power, but it doesn’t fully compensate for the ways Jackman’s adaptation dilutes the original’s impact. Where Greenberg boldly depicts women in a patriarchal society, Jackman’s film often feels apologetic, toning down the darker elements of the source material at a time when women’s voices should be louder than ever.

*100 Nights of Hero* is currently in theaters.