How does ‘Vladimir’ on Netflix differ from Julia May Jonas’ book?
The problem with on-screen adaptations is that they tend to get lost in translation, walking a tightrope between faithfulness and individuality. But Vladimir, the Netflix adaptation of Julia May Jonas’s debut novel, somehow excelled the changes required to complement the shift in storytelling medium.
The primary factor influencing this achievement is that Jonas adapted her own material for the screen herself, and her past experience running her own theatre company, Nellie Tinder, surely helps. “I have a background of working in theatre, not only as a playwright, but also as a director,” she told ELLE in one of her recent interviews. “I had my own theatre company for a long time, and I produced. So [adapting Vladimir] felt very much like I was at home…”
It’s honestly a rare feat for an adaptation to stay faithful, yet reserve the perfect amount of surprise for viewers who have read the novel. “I was writing a novel, and that’s what I wanted it to be [at the time], and then the adaptation was its own new project, in a way,” she explained.
While Vladimir on Netflix retains the main players from the book, Jonas acknowledged, “I think there are about 10,000 different versions of what an adaptation could look like.” So, for those curious about the changes made for the screen, here are the four most important shifts in the Netflix version.
Vladimir book vs series discrepancies
The introduction of Lila
One of the most on-the-face changes between Julia May Jonas’s novel and Vladimir on Netflix is the introduction of Lila, played by Kayli Carter. She is the last student in the lineup of several to have had an affair with John. Although the last segment of the novel refers to this young woman, she’s not completely fleshed out in the book like she is in the series.
Speaking of her decision to make Lila a prominent character in the show, Jonas explained, “We needed to have someone who we can take in and understand that she’s gone through this experience. [The need for Lila] was very present from the beginning.”
Sidney’s character and relationships
Sidney’s importance is retained as it is from the novel in the series, but the show highlights her professional profile as a lawyer more than her personal life. While the main storyline surrounding her is borrowed from the book – she returns home after a fight with her partner Alexis; she also ends up having drunken sex at a train station – the reason behind the argument is changed in the show.
In Vladimir on Netflix, the tension is rooted in Sidney’s feelings around family planning rather than her affair with a law intern at her non-profit. Additionally, she doesn’t end up pregnant with a stranger’s baby in the show. On the contrary, the Netflix version focuses on her family’s perspective of her.
Vladimir’s blatant flirtation
To make things work on screen, Jonas also ensured that there were more scenes between the protagonist and Vladimir. In the literary source, the incidents are purposefully framed and conveyed via the protagonist’s POV of Vladimir’s intentions. Whereas in the Netflix show, these scenes are literally acted out. Vladimir’s intrigue is steeped in his dialogue as well as his body language.
The ending
The most definite change Jonas inculcates in the Netflix adaptation of Vladimir is the ending. In the novel, the couple, brought to life on screen by John Slattery and Rachel Weisz, suffer terrifying burns and are in recovery in separate burn units and care facilities after the fire at the protagonist’s cabin. The impact of their fallout evaporates as they recoup an insurance payout, splitting their lives between a New York City apartment and the university town upstate.
They stay a couple in the end, but they approach the time they spent together way more flexibly. While in the novel, they were able to put the events behind them, it ends with a young girl’s knock on the door and the protagonist’s pearls of wisdom. However, the Netflix series addresses the ending with a touch of fantasy.
Before the fire, John and Vladimir both offer the protagonist their visions of possible futures, with the latter forgiving her for drugging and tying her to the chair. They even agree to continue the affair. But instead of making a choice, she goes to bed to think it over. When the fire breaks, the trio rush to the living room, but a spat of fire separates her from both. She takes the manuscript, makes it outside, delivers the conclusive monologue and leaves the ending open to interpretation.