Posts Tagged ‘adaptations’
October 26, 2015 | by Sadie Stein
I watched the 1972 film adaptation of Play It As It Lays the other day; the whole movie is streaming on YouTube for free now. I wanted to reject it outright because its mood was not exactly the same as the novel’s—the quality of the bleakness was different. But, I mean, when you think about it, what would you want a movie of Play It As It Lays to look like? Read More »
March 27, 2015 | by Sadie Stein
It made headlines last year when word got out that Terry Gilliam would finally resume work on his windmill-tilting Don Quixote—and cineastes speak with awe of Orson Welles’s unfinished 1955 Quixote. But there’s one Quixote adaptation that no one talks about much, that few people seem even to know about: the Spanish pornographic cartoon from the seventies.
I’m not going to link to it. If you want to track it down, you can. The caption on one Web site reads, “Just too cool … Must see … ” I’m not a professional film critic, but I respectfully disagree—the erotic Don Quijote cartoon is tedious in the extreme. Read More »
March 25, 2015 | by Ted Trautman
Can Nintendo tell a proper story?
Nintendo and Netflix may be developing a Legend of Zelda TV series, the Wall Street Journal recently reported; or, as Time reported even more recently, they may not. Behind the will-they-or-won’t-they speculation lies a more complicated question: Can they? Do games like these bear expansion into full-fledged stories?
At first glance, a Zelda series seems like a savvy move: HBO’s Game of Thrones has proven that there’s high demand for vaguely medieval fantasies, of which Zelda—a franchise that made its debut in 1986, and that’s grown to include roughly seventeen games—is a prime specimen. And since Nintendo has gradually been losing its share of the video-game market for the past fifteen years, it has every reason to find other ways to wring more value from its globally recognizable intellectual property.
But games don’t translate as easily to TV or film as you might think. In his 2010 apologia Extra Lives: Why Video Games Matter, perhaps the most thorough defense to date of video games as art, the journalist and essayist Tom Bissell explains why: “The video-game form,” he writes, “is incompatible with traditional concepts of narrative progression.” Unlike books and films, games require challenge, “which frustrates the passing of time and impedes narrative progression.” Read More »
January 20, 2015 | by Sadie Stein
Lately, posters for the film Mortdecai have been popping up everywhere. They feature Johnny Depp and a battalion of costars extravagantly mustachioed and looking wacky. Oh, great, I thought. More of Johnny Depp pretending to be a character actor. That’s what the world needed. Maybe in six months if I’ve seen everything else on a plane and the movies are free.
The posters were designed to intrigue, but I can’t imagine they piqued much curiosity. But of course someone, eventually, had to ask, What the Hell Is Mortdecai?, and in a weak moment, I clicked on the link. And of course, then it all made sense—kind of. The new movie is an adaptation of the Mortdecai series by Kyril Bonfiglioli. The spelling is the same, of course, but it was still hard to believe—these lighthearted posters just bear so little resemblance to the tone of the books, and the preview roams even further.
December 30, 2014 | by Caleb Crain
We’re out until January 5, but we’re re-posting some of our favorite pieces from 2014 while we’re away. We hope you enjoy—and have a happy New Year!
Early in Darren Aronofsky’s new movie, Noah, the title character, played by Russell Crowe, comes across an antediluvian beastie, a cross between a dog and an armadillo. The beastie snarls because there’s a broken-off assegai tip in its flank, but Noah wins its trust and soothes it before it expires. Since Noah is famous as the Biblical patriarch who saved animals, a moviegoer might be forgiven for looking forward to more such scenes of human-animal interaction. Will there be an explanation about why the dogadillo didn’t make it on to the ark? Will Noah have to talk a lioness out of disemboweling an okapi on board? Will there be trilobites?
Uh, no, it turns out. Pairs of animals do stream onto Aronofsky’s ark under divine instruction, as calmly and trustingly as if Temple Grandin had designed their on-ramp, but once the creatures are in their berths, the Noah family wafts a censer of magical burning herbs, and presto, change-o—all the animals fall asleep. One of the most charismatic elements of the Noah story—in the opinion of most people under the age of six, the most charismatic element—is quietly euthanized. A stowaway descendant of Cain, looking very much like an escapee from Pirates of the Caribbean, does bite the head off of a dormant rodent and gnaw upon it with much sententious commentary, and a few implausible-looking CGI birds are deputized to scout for land, but apart from these brief episodes, the ark might as well be empty. Read More >>
May 27, 2014 | by Dan Piepenbring
It’s John Cheever’s birthday, and courtesy of 92Y, you can listen to a recording of the author reading his most famous story, “The Swimmer,” in December 1977. It’s easy to shrug off such a canonical piece of fiction, especially when its hero is named Neddy. But if you, like me, haven’t glanced at it since it appeared on one syllabus or another, “The Swimmer” is worth rereading; though its more surreal elements feel contrived to me, the prose still glitters and the dark humor survives:
It would storm. The stand of cumulus cloud—that city—had risen and darkened, and while he sat there he heard the percussiveness of thunder again. The de Haviland trainer was still circling overhead and it seemed to Ned that he could almost hear the pilot laugh with pleasure in the afternoon; but when there was another peal of thunder he took off for home. A train whistle blew and he wondered what time it had gotten to be. Four? Five? He thought of the provincial station at that hour, where a waiter, his tuxedo concealed by a raincoat, a dwarf with some ﬂowers wrapped in newspaper, and a woman who had been crying would be waiting for the local.
I hadn’t known, though Google suggests it’s common knowledge, that “The Swimmer” was adapted into a feature-length film, released in 1968, starring Burt Lancaster as Neddy. According to a thorough assessment at Turner Classic Movies, The Swimmer succeeds in adapting the unadaptable:
It succeeds brilliantly as a fascinating, enigmatic drama that ponders middle-age disillusionment and failure. It’s one of those lucky accidents that occurred in the sixties when Hollywood was still open to experimentation because most studio executives were completely insecure in predicting commercial hits. After all, Bonnie and Clyde and The Graduate (both 1967) had blindsided the industry with their unexpected box-office grosses. So maybe audiences were ready for more challenging films like The Swimmer? Unfortunately, the film was a box-office flop, but part of its commercial failure was due to poor marketing by Columbia.