What Happened To Famous Movie Characters After The Movie Ended - According To The Books

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Vote up the most surprising futures for famous movie characters.

Major studios love adapting books that have franchise potential or ready-made sequels. It all but guarantees financial returns over multiple movies if the first installment is successful. There are some rare cases, however, where you have to turn to the original source material to find out what happens to famous movie characters after the credits roll. 

Sometimes there is no movie sequel because the first film was financially unsuccessful. In other instances, the movie was a success but a sequel never managed to get off the ground for other reasons. The director or lead actor might not want to retrace their steps, or maybe the movie gets stuck in development hell and never manage to got off the ground. 

Whatever the reason, there are many characters whose stories continue in their book versions but not on screen. Their outcomes are sometimes shocking, sometimes redundant, and sometimes just plain weird. Vote up the most surprising futures for famous movie characters.


  • In some cases, it’s a mystery why a certain movie does not get a sequel when its source material did. When it comes to Willy Wonka and the Chocolate Factory, however, there is no mystery about it. Charlie and the Great Glass Elevator, Roald Dahl’s sequel, would be extremely difficult to adapt into a script, let alone a film. It picks up right after the events in Willy Wonka and the Chocolate Factory when Wonka tells Charlie that he is appointing him as his successor. They fly to Charlie’s house in Wonka’s glass elevator to pick up the rest of the Bucket family and pile his parents and grandparents in with them for the journey back to the factory. 

    Wonka claims that they have to “go up before [they] can come down,” and the elevator climbs higher and higher until everyone inside it starts floating and Wonka announces that they're in orbit. They start an international incident when the United States spots them veering unacceptably close to its cruise-ship-style spacecraft called Space Hotel ‘USA,’ and speak gibberish to the president to prevent him from turning them to ice. After an attack from slug-like aliens, they gather enough momentum to plummet back to the factory. When Wonka suggests that Charlie’s grandparents try his latest creation, a vitamin that turns back the clock, they accidentally revert into infants. All in all, Dahl’s sequel is as eccentric as any of his other novels, with plenty of political satire, space catastrophes, and revisionist history thrown in.

  • Suffice it to say that Robert Zemeckis’s 1994 hit adaptation of Forrest Gump is very different from the source material. Apart from the obvious plot variations, Winston Groom’s 1986 novel is darker, more bigoted, and nowhere near as sappy. When it came time to write a sequel, however, Groom had no choice but to reconcile the book and its Oscar-winning adaptation because the movie far outstripped the success of the book Gump & Co. addresses the movie from the outset:

    “Let me say this: Everybody makes mistakes, which is why they put a rubber mat around spitoons. But take my word for it - don’t never let nobody make a movie of your life story.” 

    At the end of the film, Forrest (Tom Hanks) marries and cares for the love of his life, Jenny (Robin Wright) as she dies of an unnamed disease, and takes on the responsibilities of single parenthood for their young son. After quickly killing off the book version of Jenny (she was alive and well at the end of Groom's first novel), the narrative in Gump & Co. is as erratic as the plot of the first book. Forrest plays in the NFL for the struggling New Orleans Saints, loses his shrimp business, spends some time on a pig farm, and winds up homeless in Washington with his old pal, Lieutenant Dan. He’s blamed for both the Iran-Contra affair and a Wall Street insider trading scandal, but balances out his scorecard by inciting the mob that tears down the Berlin Wall and capturing Saddam Hussein during the Gulf War. He chats to Jenny’s ghost, meets a new romantic interest, and starts an oyster business that goes gangbusters. The book ends with Forrest meeting Tom Hanks and going to the Academy Awards. After being called onstage to receive the Oscar for “Most Lovable Certified Idiot in America,” he declares, “I got to pee.”

  • The ending of Mike Nichols’s film The Graduate is one of the most haunting and hotly debated sequences in movie history. Benjamin (Dustin Hoffman) and Elaine (Katharine Ross) have defied the suffocating expectations of their parents and 1960s conventions by leaving Elaine’s husband at the altar and running off together. Pumped up with adrenaline and gleeful rebelliousness, they tumble into a bus to start a liberated life together. As the bus pulls away from the church, however, the expressions on their faces start to shift as the reality of their situation and the prospect of their future slowly settle over them. 

    The ending of Charles Webb’s 1963 novel is just as ambiguous. As the bus pulls away, Elaine takes Benjamin’s hand. The book concludes with this exchange:



    The bus began to move.

    Given this cliffhanger and the success of Nichols’s film, you’d expect Webb’s sequel to have arrived on bookstore shelves within a few years at most. Instead, it took more than four decades. Finished in 2005 and published two years later, Home School takes place in the 1970s, 10 years after Benjamin and Elaine hopped on the bus. They now live on the East Coast with their two sons, a continent’s width away from Elaine’s mother, Mrs. Robinson. When they decide to withdraw their kids from the local school and homeschool them instead, they are faced with backlash and threats, most notably from the school’s principal. Their saving grace is Mrs. Robinson, whose seductive charms have not diminished in the decade since her affair with Benjamin.

    Despite the return of The Graduate’s three central characters, Home School is as much a product of ‘70s culture as the first book was of ’60s culture. While Benjamin and Elaine are still struggling against the expectation of creating a suburban nuclear family, they are also unsettled by its opposite. During Mrs. Robinson’s visit, a hippie couple and their two children come to stay. They are equally opposed to conventional schooling, but also allow their children to continue breastfeeding into adolescence and eschew every other parental norm. For fans who spent decades speculating about what happened after Elaine and Benjamin got on the bus, Home School probably isn’t what they expected.

  • At the end of Roman Polanski’s 1968 movie adaptation of Ira Levin’s smash-hit horror novelRosemary’s Baby, Rosemary has unwittingly given birth to the son of Satan and decides to care for him rather than let the cult who impregnated her usurp her parental responsibilities. Levin’s 1997 sequel, Son of Rosemarypicks up in 1999 just before the turn of the millennium. Rosemary has been in a coma since 1972 when the satanic coven discovered she was planning to run away with her son, Andy, and put her under a spell. The death of the final member of the coven has lifted the spell, and Rosemary is now alive and well enough to continue her life. She quickly discovers via an “I [heart] Andy” pin on her nurse’s uniform that her son is now a famous charismatic Christian leader of a global organization called “God’s Children.” He is blond, blue-eyed, and apparently liberated from any genetic or spiritual associations with his Lord-of-All-Evil father. When they reunite, Rosemary becomes a face of the organization, and the mother/son duo exemplifies the best of international philanthropy. But Rosemary soon grows suspicious that there may be something dark at the heart of Andy’s exploits.

    In the end, it turns out that the candles the organization is inspiring everyone to light at the turn of the millennium are meant to exterminate humanity, and Rosemary must avert or aid a doomsday scenario. She is taken on an elevator to hell, and there is a disturbing undercurrent of lust between mother and son which is more horrifying than anything she finds in the underworld. There are plenty of call-backs to the first novel (Scrabble anagrams, anyone?), but a final Wizard of Oz-style plot twist that throws the events of both novels into question before calling itself into question feels like a confounding copout. Not surprisingly, critics almost universally panned Son of Rosemary. One even suggested that the creation of the novel was Levin’s own version of birthing Satan.