More book to screen adaptations 2020 – 2021

Vikram Seth’s epic novel (1993) of over 1,300 pages is turned into a 6-episode TV mini-series. The setting is India during the 1950’s. The story is the all-consuming duty of a mother finding a suitable boy for her daughter. The story might be culturally specific, but the mission definitely surpasses ethnic boundaries. The BBC production is helmed by the acclaimed Indian director Mira Nair (Queen of Katwe, 2016; The Namesake, 2006). Screenplay by Andrew Davies, who scripted Pride and Prejudice (1995). He’s done plenty since, more Austen, Dickens, Tolstoy, Hugo… now Seth. This did stir up some dissatisfied ripples questioning whether he’s a suitable scribe for this series.

Frank Herbert’s 1965 acclaimed sci-fi series is one of the highly anticipated movies to come out in 2020. Helmed by Canadian director Denis Villeneuve, a notable name with works such as Blade Runner 2049 (2017) and Arrival (2016). Screenplay by Villeneuve and Eric Roth (Forrest Gump, 1994, The Curious Case of Benjamin Button, 2008). Appealing cast with Oscar Isaac (Ex Machina, 2014, Inside Llewyn Davis, 2013) and Timothée Chalamet (Little Women, 2019) as father and son travelling to the planet Arrakis. Top supporting cast with Josh Brolin, Javier Bardem (Skyfall, 2012), Stellan Skarsgård (Mamma Mia! 2008), Rebecca Ferguson, Charlotte Rampling (Never Let Me Go, 2010).

Another book by Canadian author Patrick DeWitt after his Sisters Brothers was adapted for the big screen in 2018. French Exit is a good one for those looking for short and quirky reads. A New York socialite, using up most of her fortunes and years is moving to Paris with her adult son and their cat to escape financial woes. The book isn’t much of a story I feel, so hopefully the movie will work better. Considering the cast, I remain hopeful: Michelle Pfeiffer, Lucas Hedges, Imogen Poots, and Tracy Letts (the cat).

Paulette Jiles’s National Book Award nominated novel is a Civil War era story about an aging itinerant news reader who agrees to transport a young captive of the Kiowa back to her people. Goodreads says: “exquisitely rendered, morally complex, multilayered novel … that explores the boundaries of family, responsibility, honor, and trust.” Tom Hanks is tasked to portray this character, reuniting with his Captain Philips (2013) director Paul Greengrass. Adapted screenplay by Luke Davies (Lion, 2016).


Directed and screenplay written by Joel Coen, I’m curious to see if this is a deadpan version of the Bard’s play. But then again, when I think of No Country for Old Men (2007), the Coens or just Joel here, could make it double toil and trouble, plain bloody too. Denzel Washington is Lord Macbeth, Frances McDormand is his Lady. Think Three Billboards Outside Ebbing, Missouri (2017), this lady can wreak some havoc.

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And then there are the remakes. West Side Story and Rebecca are two of the more anticipated ones.

West Side Story (2020)

A cast of 130+ will join the Spielberg team with screenwriter Tony Kushner (Lincoln, 2012) and cinematographer, two-time Oscar winner Janusz Kaminski (Saving Private Ryan, 1998, and Schindler’s List, 1993). Additional new music by David Newman. Ansel Elgort plays Tony, and Maria is Rachel Zegler, chosen from 30,000 auditioned. Rita Moreno, who played Anita in the 1961 movie, also stars in this remake.

Richard Beymer & Natalie Wood, 1961
Ansel Elgort & Rachel Zegler, 2020

Rebecca (2020)

Directed by Ben Wheatley, Armie Hammer is Maxim de Winter, Lily James, Mrs. de Winter, and Kristin Scott Thomas is Mrs. Danvers. What I’m most interested in, however, is the production design, which will be all burned down or undergo some tricky CGI effects is to be seen. Six-time Oscar nominee Sarah Greenwood heads up that department. Her works include Darkest Hour (2017), Anna Karenina (2012), and Atonement (2007) among many other titles. So, I think Manderley the set is in good hands. But will the whole production beat the classic 1940 Alfred Hitchcock noir with Laurence Olivier and Joan Fontaine?

Joan Fontaine, Laurence Olivier, Judith Anderson, 1940
Why do I think of A Streetcar Named Desire here?
Is Kristin Scott Thomas scary enough as Mrs. Danvers?

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Release Info. (as of today) of the adaptations are listed in the following. As this has been a strange year with lots of uncertainties, the dates and where to see them could change in the coming days or months:

A Suitable Boy – on BBC One TV now. E1 started on Sunday July 26 at 9 pm, and the rest on five consecutive Sundays after that. It’s not available in North America yet. It’s a selection at TIFF2020 in Sept. Hopefully I can bring you all a first-hand review.

Dune – in theatres December, 2020

French Exit – Premiere at New York Film Festival, October, 2020. After that not sure about distribution.

News of the World – in theatres December, 2020

Macbeth – to be released in USA 2021, details unknown.

West Side Story – in theatres December, 2020

Rebecca – Online in October

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Related Posts:

Click on the links embedded in this post to read my Ripple reviews.

More Book to Movie Lists: Here, Here, and Here.

Rewatching Little Women


Greta Gerwig’s Little Women (2019) is on Amazon Prime Video now. I watched it twice in the theatre last year, now rewatching it at home gives me another kind of pleasure: more intimate, easier to observe nuances, and replay memorable lines on demand. It remains one of the best films I’ve watched in recent years.

Reposting here my review. Hope you have a chance to watch it.

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Little Women is not just about heart, but mind, aesthetics, and other enjoyment

Greta Gerwig’s adaptation of Little Women is a joyous celebration of family and life. It’s an innovative feature, and a worthy rendition keeping Louisa May Alcott’s story intact and her spirit alive. The storytelling is shifted from linear to juxtaposing the timelines of seven years apart, from the March sisters’ teenage years to adulthood. A break from traditional adaptations of the novel, and a structure modern movie goers are familiar with.

So, instead of waiting for two hours to see what have become of the girls, viewers get to see how they’ve turned out from the start and throughout the film as the timelines switches back and forth. One effect is the intermingling of memory and present reality, adding texture to just linear storytelling. The editing is smooth as music and sound often overlap the changes of scenes like a visual dissolve.

The Oscar nominated director (Lady Bird, 2017) has surpassed herself in crafting an exquisite piece of artful creation. Unlike most other movies nowadays, Little Women is shot using 35mm film rather than digital technology. Cinematographer Yorick Le Saux offers viewers the inherent aesthetics of the medium, a grainy, more subtle visuals that augment picturesque New England in the exterior shots, and the depth and mood in the low-light interior. The picnic scene at the beach is pure delight. Mixed with Alexandre Desplat’s original music, the film is a beauty to behold.

Alcott’s 19th century American classic (1868-9) has been transposed to the big and small screen many times. No matter what your previously held memory is, Katherine Hepburn as Jo back in the 1933 first adaptation, or Elizabeth Taylor as Amy in 1949, or the 1994 adaptation with Susan Sarandon as Mrs. March and Wynona Ryder as Jo and a few up-and-coming youngsters such as Kristen Dunst, Claire Danes, and Christian Bale (as Laurie), Gerwig’s 2019 rendition is worthy to be the definitive version from now on as we head into the third decade of the 21st century.


The story is told from the point of view of Jo (Saoirse Ronan), an aspiring writer in New York at present. She reflects upon her path so far and reminisces on her family life, the cacophony of sisterhood in a busy household in Concord, MA, during the Civil War.

A single woman author pitching to publishers, Jo’s struggles parallel Alcott’s, a woman writer in a man’s world. As well, it would be apt to refer to Gerwig’s own challenges as a female writer/director in the present day movie industry.

The film is an alchemy of authentic, period backdrop and set design, stylish yet down-to-earth costumes, fused with a fresh and contemporary synergy. Credits go to the four young actors bringing to life the March sisters Meg (Emma Watson), Jo (Saoirse Ronan), Beth (Eliza Scanlen) and Amy (Florence Pugh) as they live through hard times while their father has gone with the Union Army as a volunteer chaplain. Their neighbour and friend Laurie (Timothée Chalamet) remains a perpetual presence in their lives. Their altruistic mother, Marmee (Laura Dern), holds the family together and extends her care to those in need outside their home. She is the example of love and heart for her daughters to emulate. Her screen presence is comparatively small though as Gerwig lets her girls shine, especially Jo and Amy.

A touch of surprise for me is that Gerwig has kept the historic period and setting authentic without adding any postmodern quirks to shock or provoke. Her script allows Alcott’s points to flow out through the dialogues and characters within context. This is not fiery feminism, but an intelligent depiction of the status of women in the historic period. It’s an updated version doing justice to Alcott’s astuteness in her social critique which is, alas, still relevant today.

Kudos to Gerwig in bringing out the youngest sister Amy, not so much as a foil to Jo, but a worthy rival. Amy proves that even though bratty and capricious as a child, she has grown up to grasp a clarity in seeing the worth of a woman in her society, which is, not much. The realistic and rich Aunt March (Meryl Streep) has a firm view of this: it’s a lost cause with Jo who says she will not marry, or Meg who falls for a poor teacher and has to curb her material desires, and Beth’s ill health, she has put her hope on Amy to marry rich to dig the family out of poverty. Amy who has lived with her Aunt for a while when Beth is sick with scarlet fever understands her own situation with a cool head as she articulates it to Laurie. Knowing that she doesn’t have what it takes to be a truly great artist––she whose stance is to be great or nothing––Amy sees her predicament clearly. It all comes down to economics:

And as a woman, there’s no way for me to make my own money. Not enough to earn a living or to support my family, and if I had my own money, which I don’t, that money would belong to my husband the moment we got married. And if we had children, they would be his, not mine. They would be his property, so don’t sit there and tell me that marriage isn’t an economic proposition, because it is. It may not be for you, but it most certainly is for me.

Virginia Woolf’s A Room of One’s Own comes to mind as she argues that economic disparity between men and women systemically disadvantages talented women to become successful.

In her research, Gerwig delves into Alcott’s other books as well as letters, thereby knowing her from a deeper perspective and not just from the novel Little Women. This understanding and appreciation is translated into the screenplay, capturing Alcott’s sharpness of mind and the sensitivity of her soul. Here’s a poignant scene as Jo pours out her heart to Marmee after rejecting Laurie’s marriage proposal. Has she made the right decision? In an interview, Gerwig says the words are all Alcott’s, from her book Rose in Bloom, except the last sentence added by Gerwig herself, equally brilliant, piercingly clear, and very Dickinson:

Women have minds, as well as just heart; ambition and talent, as well as just beauty. And I’m so sick of people saying love is all a woman is fit for. But I’m so lonely.

The March family has had their share of misfortune. But life can be beautiful for those who behold it as such and deem it meaningful to pursue one’s own dream or simply to enjoy one’s passion, no matter how short the allotment of time. Despite challenging personal and social reality, it’s a bliss to be alive, and yes, even better when one succeeds. Gerwig has effectively brought out this theme with both sensitivity and heart. The ending scene speaks to this truth. 

~ ~ ~ ~ Ripples

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Related Posts:

Top Ripples of 2019 and the Decade

Women Directors of my Favourite Films

Certain Women: To Connect on a Vast Landscape

Books to Screen 2020 and Beyond

As things go these days, uncertainties abound as to when movies will come out and in what way, big or small screen. So, for those who like to read before you leap, summer’s the best time to catch up with some of these books before their adaptations are released.


Hillbilly ElegyHillbilly Elegy by J. D. Vance

The runaway bestseller of 2016 is now an upcoming movie on Netflix, directed by Ron Howard. Born and raised a ‘hillbilly’ in Ohio, Vance’s memoir narrates his struggles to arrive at Yale Law School, a personal victory over poverty and a dysfunctional family and culture. He shares insights as an insider of an impoverished social sector. Screenplay by Oscar-nominated Vanessa Taylor (The Shape of Water, 2017). Early Oscar buzz for next year’s Academy Awards and Amy Adams a possible nom.

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Deep WaterDeep Water by Patricia Highsmith

Highsmith is no stranger to fans of suspense and psychological thrillers with Carol (2015), The Talented Mr. Ripley (1999), and the Hitchcock classic Strangers on a Train (1951). Deep Water (first pub. 1957) is another marital suspense thriller, directed by Adrian Lyne, who’d given us Fatal Attraction (1987), Unfaithful (2002) and the like. So, we know it’s in good hands. Gone Girl‘s Ben Affleck should be quite familiar with playing such genre, add in Ana de Armas, who’s superb in Knives Out, this one should be a thrilling escape.

The Last DuelThe Last Duel by Eric Jager

The historical novel is The Last Duel: A True Story of Crime, Scandal, and Trial by Combat in Medieval France, sounds like a sensational movie subject. Author is Eric Jager, medieval literature prof at UCLA. Director is the iconic Ridley Scott, who has brought us numerous big screen epics, Blade Runner (1982), Gladiator (2000), Alien (1979, 2017), just to name a few. Ben Affleck and Matt Damon co-write and co-star, with Jodie Comer of Killing Eve fame also in.


9 Perfect StrangersNine Perfect Strangers by Liane Moriarty

Another TV series (Hulu) from popular Australian author Liane Moriarty whose Big Little Lies has been turned into two successful, star-studded Seasons on HBO. Nine strangers meet at a wellness resort dealing with their own issues and discovering secrets behind the place. Nicole Kidman and Melissa McCarthy co-star. Moriarty has written 8 novels, so far, 5 of which are in various stages of development for the screen.


NomadlandNomadland: Surviving America in the Twenty-First Century by Jessica Bruder

Nowadays you hear a lot about migrant workers. Back in the time after the Great Recession, there were workers living like nomads in their trailers and vans, travelling across the western states to look for work. Bruder’s book is about one such ‘workampers’, a woman in her sixties who becomes a nomad worker after losing her home. Frances McDormand stars. Written for the screen and directed by Chloé Zhao, who gave us the soulful The Rider (2017).


ShirleyShirley by Susan Scarf Merrell

Based on the second novel by Merrell published in 2014. Shirley here refers to the American horror/suspense writer Shirley Jackson, played by Elisabeth Moss. The story’s about a graduate student Fred and his wife Rose (Odessa Young) move in to live with professor Stanley Edgar Hyman, a literary critic teaching at Bennington College and his wife Shirley Jackson. Drama ensues when the characters interplay in their peculiar relational dynamics. Directed by Josephine Decker.

Normal PeopleNormal People by Sally Rooney

Irish millennial lit turned TV. And you thought the upstairs-downstairs kind of stories happen only in Downton Abbey. Rooney’s acclaimed book is about the clandestine romance between rich gal Marianne and Connell whose mother cleans Marianne’s house. The 12 episode TV series adaptation is affective and well performed by Daisy Edgar-Jones and Paul Mescal under the helms of Lenny Abrahamson (Room, 2015) and Hetti Macdonald (Howards End, 2017) On Hulu, BBC3, and CBC Gem now.

Mothering SundayMothering Sunday by Graham Swift

Just announced. Booker Prize winning author Graham Swift’s novel will be adapted into film with a stellar British cast. Mothering Sunday was a day given to domestic servants time off so they could go back home to visit their mother and family. Again, a clandestine romance between two young people of different classes. Eva Husson (Hanna, 2020) directs onscreen royalty Olivia Coleman (QEII in The Crown), Colin Firth (KGVI in The King’s Speech), Josh O’Connor (Prince Charles in The Crown), and Odessa Young. 

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Recent Movies and Series Directed by Women

Yesterday while driving I heard the stirring theme music of the movie The Piano (1993) played on CBC Radio 2. Memories flooded my mind. I recalled watching it in the movie theatre way back then. A deaf-mute unable to speak but can overwhelm others as she plays the piano to express herself.

I thought of Jane Campion, writer/director of the film, marvelled at her skills in conveying thoughts and emotions via the visual medium, and thought of other women directors who’d helmed many of my favourite films. I’ve had two previous posts on Women Directors here and here. Now taking stock mentally of the recent movies and series I’ve watched on Netflix, Amazon Prime, and Kanopy while home-staying, I notice several of them are created and/or directed by women.

The Piano

Consider the following list with my capsule reviews an update of my previous Women Directors posts.

A Beautiful Day in the Neighborhood (Amazon Prime) – Directed by Marielle Heller 

Director Heller and the screenwriters transport Mr. Roger’s child-friendly, essential human wisdom to realistic, adult situations. The film isn’t so much about Mr. Rogers but the real-life story of journalist Tom Junod’s life-changing encounters with Fred Rogers for a magazine assignment. Tom Hanks is ideal as Mr. Rogers, and Matthew Rhys is effective in playing journalist Lloyd Vogel.

Who’s Matthew Rhys, you might ask? I highly recommend you watch “The Americans” series. Or, if you’re an Austen spinoffs fan, he’s Mr. Darcy in the mini-series “Death Comes to Pemberley”, adaptation of the novel by P. D. James. And, if you were around to watch the original Raymond Burr detective series on TV, the Wales-born actor is the new Perry Mason in our time.

Little Fires Everywhere (Amazon Prime) – Created and screenplay by Liz Tigelaar, Directors Lynn Shelton and Nzingha Stewart. 

The 8-Episode mini-series is the screen adaptation of Asian American novelist Celeste Ng’s second novel. My full book review can be found here. The thematic elements of race, motherhood, family secrets, clashes of generations and values are visualized and made more acute as Kerry Washington is cast as an African-American artist playing against Reese Witherspoon as Mrs. Richardson, the gatekeeper of the white upper-middle-class community of Shaker Heights, OH. The artist Mia Warren in Ng’s novel isn’t black, but turning her into one makes the conflict of the story more timely and pressing.

Four episodes are directed by Lynn Shelton who sadly died in May, 2020. Another female director Nzingha Stewart helmed two.

Never have I Ever (Netflix) – Created by Lang Fisher and Mindy Kaling. Directors Linda Mendoza and Anu Valia 

Here’s a recent trend that’s encouraging. Movies and series are created to feature minority cultures in America. The talented Mindy Kaling, who wrote the screenplay and co-starred with Emma Thompson in Late Night (2019) plus many other credits, created this comedy series about high school girl Devi’s experience growing up Indian-American, something Kaling knows full well. Many LOL situations and dialogues throughout the ten episodes. Kaling scouted Maitreyi Ramakrishnan in Mississauga, ON, Canada, to play Devi. A fresh look into the multi-cultural humanity that our North American population comprises. In recent years we talk a lot about representation. This is a humorous and realistic look into a vibrant sector.

The Half of It (Netflix) – Directed by Alice Wu

Here’s another lens to look into our younger generation growing up bi-cultural. The full length feature directed by Chinese-American Alice Wu is this year’s Tribeca Film Festival’s Best Narrative Feature winner. A shy academic ace, Ellie Chu, earns her pocket money from writing essays for her fellow classmates. When one day, she’s recruited by the school jock Paul Munsky to be a ghost writer of poetic love letters to a girl he tries to date, Ellie begins to feel a moral dilemma. The characterization and storyline make this feature a contemporary twist on Shakespeare’s Twelfth Night. Humor is situational with some poignant scenes, making the film all the more enjoyable.

Unorthodox (Netflix) – Created by Anna Winger, Directed by Maria Schrader

Inspired by the memoir of Deborah Feldman, who broke away from her strict Hasidic Jewish community in Brooklyn, NY, and escaped to Berlin where she changed into a new persona and started a different life. I haven’t read the memoir but I know the four-part mini-series take the liberty to re-imagine how she goes about changing her life while in Berlin. The series is captivating as viewers are introduced to the Hasidic, male-dominated and authoritarian community. Again, there are many cultural sectors in our society and through films we get to know a little bit more of how others live and the struggles they go through.

Ophelia (Netflix) – Directed by Claire McCarthy

Adaptation of the book by Lisa Klein, screenplay by Semi Chellas, Ophelia is a re-imagined story of what happened in the royal castle of Elsinore and in particular, Hamlet’s sweetheart. Lots of liberty in tweaking and twisting but still interesting to watch, albeit a lightweight Hamlet compared to the original. Notable cast includes Naomi Watts as Gertrude, Clive Owen as Claudius. Hamlet is played by George MacKay before his titular role in the WWII movie 1917, and Ophelia is Star War‘s Rey Daisy Ridley.

Hamlet (Kanopy) – Film Direction by Margaret Williams, London Stage Direction by Sarah Frankcom

A filmed recording of the play performed in Royal Exchange, Manchester. This Hamlet is a fresh take with Maxine Peake as the emotionally devastated and revengeful Prince of Denmark. Only after watching that I Google search to find the first female to play Hamlet dates back to 1796 in London Drury Lane, then 1820 in New York. Several others had followed since. But this is my first time watching. Maxine Peake’s performance almost instantly cast away all my preset feelings. She’s high-octane energy; her voice, physical stage presence totally captivate, convincing yet delicate. She’s herself and not an impersonator. Modern costume makes it more natural and, love her haircut. Peake makes me look at her not as a female taking up a male role, but a superb actor playing the ‘Everest of roles’.

‘Benjamin Button’: A Curious Look at the Movie Adaptation

The idea of a baby born as an old man and then grows younger––a reverse trajectory of the human experience––is the premise in F. Scott Fitzgerald’s short story published in 1922, reviewed in my previous post. Prompted by a remark made by Mark Twain, Fitzgerald unleashed his imagination and wrote the story.

The tale was adapted into a 2008 movie directed by David Fincher who brought it all the way to the Oscars with 13 nominations the next year. I watch it for the first time in 2020 and am surprised to find its relevance: the fear of strangeness in our age of xenophobia.

As for the 13 Oscar nominations, the movie won only three: Art Direction, Makeup, and Visual Effects. These are difficult feats and deserving wins. Unlike the Academy’s (and some critics’) aloofness in embracing the film’s other achievements, I much appreciate the adapted screenplay and Fincher’s 166 minute visual rendition.

Here’s an exemplar of how a film adaptation diverges from the original literary source and yet still keeps its main concept, but instead of faithfully following the thin, short story, carries it to a different direction, creating an expanded and more gratifying version.

Benjamin Button

Screenwriters for the adaptation are Eric Roth and Robin Swicord. Roth is known for his Oscar winning adapted screenplay for Forrest Gump (1994), and Robin Swicord for her 1994 version of Little Women. They had chosen to turn Fitzgerald’s farcical, acerbic fantasy into a serious film in the vein of magical realism. The magic lies in the imaginary, reverse growth trajectory; the realism is love.

This is not just about love between two star-crossed lovers, Benjamin (Brad Pitt) and Daisy (Cate Blanchett), but about a woman with a huge heart, Queenie (Taraji P. Henson), who embraces a Gollum-like baby abandoned at her doorstep. Instead of a non-mentioned mother in Fitzgerald’s story, Queenie raises Benjamin with devoted affection. There’s love and acceptance as well from those in the old folks lodging house where Queenie works. Further, the movie adds one more layer, and that’s Daisy at her deathbed, sharing the story of her lost love with her daughter Caroline (affectively played by Julia Ormond), leaving her with a legacy of love.

The film makes amends to the sardonic tone of the short story by creating a moving love story. For a short period in their lives, both Benjamin and Daisy are of approximate age, but such joy doesn’t last as one grows older and the other younger. Yet unlike the short story, their love endures, for as long as one can hold on to it despite separation. And we find out that one can, all the way to her deathbed; the other is just too young to remember. What’s left is the transience of time and inevitable fate.

The setting is early 20th century on the cusp of WWI in New Orleans where Benjamin is born, and not 1860 Baltimore. As he grows younger, Benjamin goes through WWII instead of the Spanish-American War in the short story. The movie starts off with a modern time with Daisy’s final hours revealing to her daughter who her real father is. That’s 2005 New Orleans, during a hurricane when the hospital is preparing to evacuate. A disastrous storm as a backdrop in the telling of a billowy story. A name to denote the significance: Katrina. 

The movie is a divergence for Fincher too considering he’s a master of crime thrillers –– Zodiac came out just a year before in 2007, and more recently Gone Girl in 2014, Benjamin Button is Fincher’s only ‘romantic’ drama (The Social Network, 2010, is drama but definitely not ‘romantic’). Crafted in signature Fincher styling with low-light, sepia colour to enhance the period effects, the aesthetics in set design and cinematography bring out the notion of ‘every frame a painting’. 

Brad Pitt’s understated performance characterizes Benjamin aptly. Instead of remaining ‘the other’, Benjamin strives to connect, albeit in a gentle and quiet way. His love at first sight with then 7 years-old Daisy is a poignant encounter. Elle Fanning is a perfect cast. A child who holds no prejudice, she’s fascinated by the ‘strangeness’ in Benjamin. The Heart is a Lonely Hunter comes to mind.

Other curious finds: music by Alexandre Desplat, Tilda Swinton in some memorable sequences, Queenie’s husband Tizzy played by now two-time Oscar winner Mahershala Ali (Green Book, 2018 and Moonlight, 2016).

You probably have watched it before when the film first came out. How the world has changed in just twelve years. Watching it again now would probably bring you a different feel, and more relevance.

 

~ ~ ~ Ripples

 

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Unfilmed Novels

That’s a Jeopardy! category a few days ago in the Double Jeopardy round. Here are the five questions, or answers, rather. Five novels that have not been adapted to screen. For purists, their stance would be Leave Them Unfilmed. But just for interests sake, let’s see which novels Jeopardy! has included:

Catcher in the Rye (1951) by J. D. Salinger

Rumor has it that Salinger didn’t like movies. “If there’s one thing I hate, it’s the movies.” But no, Salinger didn’t say that, it’s Holden Caulfield who said that. In a letter Salinger had written, he denied that stance.

The Amazing Adventures of Kavalier & Clay (2000) by Michael Chabon

Chabon’s novel Wonder Boys was turned into a movie, but his Pulitzer winning The Amazing Adventures has not.

Foucault’s Pendulum (1988) by Umberto Eco

It’s been reported that the Italian philosopher/writer Umberto Eco wasn’t pleased with the movie adaptation of his earlier novel The Name of the Rose, so he said no more even though Stanley Kubrick had shown interest to work on Foucault’s Pendulum.

Blood Meridian (1985) by Cormac McCarthy

Many have attempted but to no avail, including Tommy Lee Jones, James Franco, Ridley Scott, and even Michael Haneke. It’s been noted that BM is more violent than No Country for Old Men. Do we need another one now, in our state of global chaos?

A Confederacy of Dunces (1980) by John Kennedy Toole

Although Hollywood had shown interest, even actors had been attached, the Pulitzer Prize winning novel remains unfilmed. Those of you who have read it, can you suggest some reasons why this is so.

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A Note to Jeopardy Question Writers: Can’t you think of at least one novel from a woman author, just for the balance of your questions, let alone representation?

To my Ripple Readers: Can you suggest some good titles that have yet been turned into film? Old classic or current? Any books that you’d like to see transported to the big screen, in the helm of a worthy director with a talented cast and crew to bring out a deserving production?

Here are a few I can think of, some may have TV versions, but a full length, cinematic feature on the big screen is yet to be done:

Middlemarch by George Eliot (An old attempt years ago, but nothing realized. Now, let’s have Greta Gerwig write and direct. After Little Women, she just might have a fresh take on this classic.)

Beware of Pity by Stefan Zweig

The Moviegoer by Walker Percy

Lila / Gilead by Marilynne Robinson

Short stories by Jhumpa Lahiri

 

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Your two pebbles?

 

 

 

Greta Gerwig Creates A Third Way to Adaptation with ‘Little Women’

In recent decades, there seems to have emerged two paths to approach movie adaptations of literary works, especially for a classic: faithful to the source, or awash it with contemporary strokes.

Here’s the rub: total loyalty would trigger criticisms of movies being a kind of illustrated book, simply redundant. But gloss it over with postmodern touches could strip an adaptation of the meaning and authenticity of the original text. Debates arise as to which is a better path.

A few days ago, in a Writers Panel with five screenwriters at the Santa Barbara International Film Festival, Greta Gerwig presented a third way. She didn’t call it that, but that’s how I see it, a happy medium (pun intended). Her approach to Little Women is both loyal to the spirit and letter of Louisa May Alcott’s as well as creating a contemporary, artful production for modern viewers to enjoy.

 

little-women-1

 

I’ve to quote her exact words as they are inspiring. Here’s the link to the video. The following quotes can be found from 27 to 36 mins. How does Gerwig handle the loyalty aspect? The writer-director did extensive research in preparation for her screenplay:

I wanted to treat the text of Little Women as almost a sacred text, also other texts that Louisa May Alcott and her family and other contemporaries had generated between letters, and other books that she’d written. I wanted to ground as much as I could in that. I wanted everything to be footnoteable (she well had coined a new word) and I wanted every line you ask me about and I can say it’s here, that I have my references.

How does her version relate with previous adaptations?

But the fact that it’s been adapted for screen seven times, it’s been made into an opera, and made into a musical and made into two anime shows, this is a loved and interpreted work. The way that something that’s been loved and interpreted many times you get this collective memory of what it is.

There’s the text, which is the book, and then there’s urtext, which is every time it’s loved and interpreted again. Urtext does have a relationship with the text, but it’s also separate… I wanted to deliver on the pleasures of Little Women as we’ve collectively come to know them.

And how does the collective interplay with the personal?

Gerwig instilled her own style and framed it in her own light. Quite a few things I’ve observed, the most obvious difference from previous versions is the structure, her juxtaposing the past and present timelines. The story is told as Jo’s memories seamlessly woven with her present as a struggling writer alone in NYC, a fresh take that adds depth and texture.

Gerwig paints the past with a golden hue signifying the warmth of cherished family memories and the present with a cool, blueish tone sending out harsher, lonelier vibes. She has also given an elevated role for Amy to interact with Jo, two seemingly rival siblings but could well be two sides of the same coin. Amy the pragmatic realist who grows up to understand too well her lack of economic status as a woman and who is ready to take financial security over real love ultimately gets both. Jo the dreamer and idealist, who’d vowed she’d never marry, has also carved out a path of her own.

So what does the ending mean?

I don’t want to say: O here’s what the ending means… I wanted to create something that’s open to interpretation along two lines. I think the movie belongs to the audience, so it’s down to the reflection you see…

With the layered ending, Gerwig effectively depicts the struggles of not only the book character Jo as an aspiring author in Little Women, but parallels it with Louisa May Alcott the woman writer in a man’s publishing world, and extending by implication to Gerwig’s own reality as a woman writer-director striving in a male-dominated film industry. The triple-layered final act opens the door to a golden future as we see a progressive school for boys and girls, and a published author giving birth to her work and keeping her own copyright. As for that third, invisible layer, I do wish Gerwig continual success in her writing and filmmaking career despite the obstacles she faces in the real world.

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Related Posts on Ripple Effects:

Little Women Movie Review

Top Ripples of 2019 and the Decade

Can a Movie Adaptation ever be as Good as the Book?

 

 

 

 

Concord revisited with ‘Little Women’

Five years ago, I took a New England road trip with my cousin. It was a major endeavour for me coming from Western Canada, over 2,500 miles away. The photos here were taken during the road trip that fall. We began our drive across three States starting from Wayland, MA. Nearby Concord was our first point of interest. This is where Louisa May Alcott grew up and later transposed her real life family onto the page to write Little Women.

Thanks to writer/director Greta Gerwig’s adaptation, fond memories flash back as I watch the New England scenery captured so beautifully on screen. One of the memorable scenes is the panoramic autumn hillside in which Laurie made his failed attempt proposing to Jo. Another one was the Christmas morning breakfast give-away as Marmee led the girls to exercise love-in-action.

CONCORD, MA

A major attraction in Concord is Orchard House where Louisa May Alcott wrote Little Women. The Alcott family owned Orchard House from 1857 to 1884, within which period all four Alcott girls Anna, Louisa, Lizzie and May had their most influential growing up years. The house is now a museum:

Sign

The rooms and furniture, Louisa’s (Jo) writing desk, the costume and props the girls made for their plays, Anna’s (Meg) wedding gown, and all of May’s (Amy) original paintings on the walls of her room are preserved inside the Orchard House Museum:

The Orchard House Museum

Louisa transposed her family onto the page, creating parallel characters in the March household. In the Little Women Garden, the March sisters had their own flower bed, each planted their section according to their taste or maybe, character. Here’s from the quote on the sign indicating their choices:

Meg – roses and heliotrope, myrtle, and a little orange tree
Jo – never alike two seasons, for she was always trying experiments
Beth – old-fashioned fragrant flowers, sweet peas and mignonette, larkspur, pinks, pansies, southernwood, with chickweed for birds and catnip for the pussies.
Amy – honeysuckle and morning-glories hanging their colored horns and bells in graceful wreaths all over it, tall white lilies, delicate ferns, and as many brilliant, picturesque plants.

The Garden

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Here’s the issue many have questioned: Did Greta Gerwig alter the Little Women characters to appeal to modern day viewers, or, is she merely revealing Louisa May Alcott’s true image?

From Orchard House we went to visit the Concord Museum. Among plaques presenting some of Concord’s famous residents is this one of Louisa May Alcott. The quote on there comes from a letter Louisa wrote dated November 29, 1856:

I think I shall come out right, and prove that though an Alcott I can support myself. I like the independent feeling, and though not an easy life, it is a free one, and I enjoy it. I can’t do much with my hands; so I will make a battering-ram of my head and make a way through this rough-and-tumble world…

 

LMA

The Alcott parents, Bronson and Abigail were abolitionists and environmentalists. Bronson was the first teacher in Boston to admit a black student to his class despite protests from white parents who threatened either the black student go or they go. Bronson’s school was left with very few students consequently as he insisted his stance.

But his educational ideals must have been embraced by students as Bronson introduced the idea of raising their hands to speak in class, and he was the one who invented recess in school. There you go for a Jeopardy question.

Louisa’s mother Abigail was one of the first social workers in Boston, and was active in Women’s rights. She’d said, “I will go to the polls before I die if my daughters had to carry me there.”

The Alcott’s close friends and neighbours included prominent intellectuals and writers of the day: Emerson, Thoreau, Hawthorne. They made frequent, mutual visits, and had personal influence on Louisa’s formation and writing.

Down the road from the Alcott’s was Emerson’s home. Emerson had helped the financially strapped Bronson with acquiring Orchard House:

Emerson's Home

And living minimally by choice as an experiment, here’s Thoreau’s cabin (replica) at nearby Walden Pond:

thoreaus-cabin

 

Thoreau's Lake Side Cabin

Growing up under such stimulating milieu where thinkers and writers are free to explore new ideas and generate new philosophy, it was only natural that Louisa grew up grasping the values and the spirit of her parents and their friends, becoming a non-conformist herself.

Louisa had admitted she’s Jo in Little Women and added: “I didn’t make her half-bad enough.” If she’d been here today and directed the movie, I’ve a feeling she’d make Jo twice as radical and assertive. Gerwig is admirably restrained and for this, kudos to her.

 

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Related Posts on Ripple Effects:

Little Women (2019) movie review

Can a movie adaptation ever be as good as the book?

A New England Fall Foliage Road Trip

 

More Movie Adaptations 2020

Previously on Ripple, a list of movie adaptations coming out this year was posted. Here are a few more, not only from books, but Broadway musicals (not as scary as Cats, so give them a try), and a Chinese poem.
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Emma by Jane Austen

EMMA

While there have been many TV miniseries, and the modern-day spinoff, Clueless (1995), the only full-length movie adaptation of Austen’s Emma is back in 1996 with Gwyneth Paltrow as the heroine, Jeremy Northam as Mr. Knightley, and Toni Collette, Harriet Smith. The 2020 version stars Anya Taylor-Joy, born the year the last Emma adaptation came out. This 24 year-old rising star has already won acting awards in the US, UK, and at Cannes. This updated version sees Johnny Flynn as Mr. Knightley, Bill Nighy, Mr. Woodhouse, and Josh O’Connor (Prince Charles in The Crown, S3) as Mr. Elton. Do you want to see a new full-length movie adaptation of Emma? Or another Austen book?

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The Turn of the Screw by Henry James
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THE TURN OF THE SCREW
Movie title is The Turning, perhaps to take in the vibes of the horror classic The Shining. Why this genre is so popular is beyond me. Back in 1898 when Henry James published his horror novella as a serial, he couldn’t have imagined his writing would be turned into a motion picture projected on a huge screen 122 years later. Directed by Canadian photographer/filmmaker Floria Sigismondi, who’d made music videos for Marilyn Manson, David Bowie, and many others. Her disturbing style just might be what James had intended. Cast includes TV Stranger Things’ Finn Wolfhard and Brooklynn Prince (The Florida Project, 2017).


Deep Water
by Patricia Highsmith

Deep Water

Highsmith specialized in psychological thrillers. Several of her novels had been adapted into successful movies: Strangers on a Train (1951), The Talented Mr. Ripley (1999), and Carol (2015). Coming out this year is a marital thriller that Gone Girl author Gillian Flynn had identified as her favorite book and is, in her words, “a thriller about a suburban couple bent on mutual destruction.” Ben Affleck (Gone Girl, 2014) and Ana de Armas (Knives Out, 2019) star. Directed by Adrian Lyne, also a marital thriller specialist, whose works include Fatal Attraction (1987), Indecent Proposal (1993), and Unfaithful (2002), which was the last film he directed until now.
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West Side Story by Arthur Laurents, Broadway musical by Leonard Bernstein and Stephen Sondheim.

WEST SIDE STORY POSTER (1).jpegSteven Spielberg directs this remake of the Bernstein/Sondheim musical (1957) and the 1961 Jerome Robin/Robert Wise movie for our time. In Dec. 2020, we’ll witness a new version of Shakespeare’s Romeo and Juliet. A cast of 130+ will join the Spielberg team with screenwriter Tony Kushner (Lincoln, 2012) and cinematographer, 2-time Oscar winner Janusz Kaminski (Saving Private Ryan, 1998 and Schindler’s List, 1993). Additional new music by David Newman. Ansel Elgort plays Tony; Maria is Rachel Zegler, chosen from 30,000 auditioned. Rita Moreno, who played Anita in the 1961 movie, also stars in this remake.

 

 

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In the Heights
by Lin-Manuel Miranda

IN THE HEIGHTS.jpeg

Before Hamilton, there was In the Heights, Miranda’s breakout musical that won 4 Tony Awards in 2008. The musical is based on the book by Quiara Alegria Hudes, who now writes the screenplay transposing it onto the big screen. Miranda stars in this story set in the Hispanic-American neighborhood of Washington Heights in NYC. The movie is shot on location there. Directed by Jon M. Chu, whose Crazy Rich Asians became the summer sensation of 2018, showing Chu could create some spectacles. Would Miranda fans want to see a movie version of his works? In the Heights could well be a pilot project, as Hamilton the movie is currently in development.


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Mulan
, legendary heroine from “The Ballad of Mulan” (in Chinese: 木蘭辭)

Hua Mulan.jpeg

According to the legend described in the narrative poem “The Ballad of Mulan”, Hua Mulan (Chinese: 花木蘭) is a female warrior in China during the Northern Wei period (386-536). To fulfill the conscription for military service for every family and for love of her ageing father, Mulan disguised as a male to join the army in her father’s place to protect her country from their northern enemies, the Huns. The rhymed verses in “The Ballad” provide vivid descriptions of Mulan’s determination and how she goes to nearby towns to buy a horse, a saddle and a whip, equipping herself for military service. After 10 years of fighting, she comes home to her overjoyed parents a decorated military commander.

Disney had wielded its creative license to introduce imaginary characters and songs in its original 1998 animation. Now 22 years later, a live-action feature film carries the legend further, albeit with no place for an actual pet dragon, so, no Mushu. Helmed by New Zealand director Niki Caro (The Zookeeper’s Wife, 2017), it should be noted that all four screenwriters are non-Chinese. No matter, at least the heroine and her purpose is true to the source material. Top-notch Chinese stars are on board: Gong Li, Donnie Yen, Jet Li, screen veteran Cheng Pei Pei, Tzi Ma from The Farewell, and Rosalind Chao from The Joy Luck Club, to name a few. Playing Mulan is multi-talented Liu Yifei who reportedly was selected after a five-continent search and auditioning a thousand candidates. Braced for a Westernized version of the age-old Chinese legend.

 

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‘Little Women’ is not just about heart, but mind, aesthetics, and other enjoyment

Greta Gerwig’s adaptation of Little Women is a joyous celebration of family and life. It’s an innovative feature, and a worthy rendition keeping Louisa May Alcott’s story intact and her spirit alive. The storytelling is shifted from linear to juxtaposing the timelines of seven years apart, from the March sisters’ teenage years to adulthood. A break from traditional adaptations of the novel, and a structure modern movie goers are familiar with.

LITTLE WOMEN (1)

So, instead of waiting for two hours to see what have become of the girls, viewers get to see how they’ve turned out from the start and throughout the film as the timelines switches back and forth. One effect is the intermingling of memory and present reality, adding texture to just linear storytelling. The editing is smooth as music and sound often overlap the changes of scenes like a visual dissolve.

The Oscar nominated director (Lady Bird, 2017) has surpassed herself in crafting an exquisite piece of artful creation. Unlike most other movies nowadays, Little Women is shot using 35mm film rather than digital technology. Cinematographer Yorick Le Saux offers viewers the inherent aesthetics of the medium, a grainy, more subtle visuals that augment picturesque New England in the exterior shots, and the depth and mood in the low-light interior. The picnic scene at the beach is pure delight. Mixed with Alexandre Desplat’s original music, the film is a beauty to behold.

Alcott’s 19th century American classic (1868-9) has been transposed to the big and small screen many times. No matter what your previously held memory is, Katherine Hepburn as Jo back in the 1933 first adaptation, or Elizabeth Taylor as Amy in 1949, or the 1994 adaptation with Susan Sarandon as Mrs. March and Wynona Ryder as Jo and a few up-and-coming youngsters such as Kristen Dunst, Claire Danes, and Christian Bale (as Laurie), Gerwig’s 2019 rendition is worthy to be the definitive version from now on as we head into the third decade of the 21st century.

The story is told from the point of view of Jo (Saoirse Ronan), an aspiring writer in New York at present. She reflects upon her path so far and reminisces on her family life, the cacophony of sisterhood in a busy household in Concord, MA, during the Civil War. A single woman author pitching to publishers, Jo’s struggles parallel Alcott’s, a woman writer in a man’s world. As well, it would be apt to refer to Gerwig’s own challenges as a female writer/director in the present day movie industry.

The film is an alchemy of authentic, period backdrop and set design, stylish yet down-to-earth costumes, fused with a fresh and contemporary synergy. Credits go to the four young actors bringing to life the March sisters Meg (Emma Watson), Jo (Saoirse Ronan), Beth (Eliza Scanlen) and Amy (Florence Pugh) as they live through hard times while their father has gone with the Union Army as a volunteer chaplain. Their neighbour and friend Laurie (Timothée Chalamet) remains a perpetual presence in their lives. Their altruistic mother, Marmee (Laura Dern), holds the family together and extends her care to those in need outside their home. She is the example of love and heart for her daughters to emulate. Her screen presence is comparatively small though as Gerwig lets her girls shine, especially Jo and Amy.

A touch of surprise for me is that Gerwig has kept the historic period and setting authentic without adding any postmodern quirks to shock or provoke. Her script allows Alcott’s points to flow out through the dialogues and characters within context. This is not fiery feminism, but an intelligent depiction of the status of women in the historic period. It’s an updated version doing justice to Alcott’s astuteness in her social critique which is, alas, still relevant today.

Kudos to Gerwig in bringing out the youngest sister Amy, not so much as a foil to Jo, but a worthy rival. Amy proves that even though bratty and capricious as a child, she has grown up to grasp a clarity in seeing the worth of a woman in her society, which is, not much. The realistic and rich Aunt March (Meryl Streep) has a firm view of this: it’s a lost cause with Jo who says she will not marry, or Meg who falls for a poor teacher and has to curb her material desires, and Beth’s ill health, she has put her hope on Amy to marry rich to dig the family out of poverty. Amy who has lived with her Aunt for a while when Beth is sick with scarlet fever understands her own situation with a cool head as she articulates it to Laurie. Knowing that she doesn’t have what it takes to be a truly great artist––she whose stance is to be great or nothing––Amy sees her predicament clearly. It all comes down to economics:

And as a woman, there’s no way for me to make my own money. Not enough to earn a living or to support my family, and if I had my own money, which I don’t, that money would belong to my husband the moment we got married. And if we had children, they would be his, not mine. They would be his property, so don’t sit there and tell me that marriage isn’t an economic proposition, because it is. It may not be for you, but it most certainly is for me.

Virginia Woolf’s A Room of One’s Own comes to mind as she argues that economic disparity between men and women systemically disadvantages talented women to become successful.

In her research, Gerwig delves into Alcott’s other books as well as letters, thereby knowing her from a deeper perspective and not just from the novel Little Women. This understanding and appreciation is translated into the screenplay, capturing Alcott’s sharpness of mind and the sensitivity of her soul. Here’s a poignant scene as Jo pours out her heart to Marmee after rejecting Laurie’s marriage proposal. Has she made the right decision? In an interview, Gerwig says the words are all Alcott’s, from her book Rose in Bloom, except the last sentence added by Gerwig herself, equally brilliant, piercingly clear, and very Dickinson:

Women have minds, as well as just heart; ambition and talent, as well as just beauty. And I’m so sick of people saying love is all a woman is fit for. But I’m so lonely.

The March family has had their share of misfortune. But life can be beautiful for those who behold it as such and deem it meaningful to pursue one’s own dream or simply to enjoy one’s passion, no matter how short the allotment of time. Despite challenging personal and social reality, it’s a bliss to be alive, and yes, even better when one succeeds. Gerwig has effectively brought out this theme with both sensitivity and heart. The ending scene speaks to this truth. 

 

~ ~ ~ ~ Ripples

 

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Related Posts:

In Praise of Austen: Virginia Woolf’s A Room of One’s Own

Can a movie adaptation ever be as good as the book?

The Good Liar Movie Review

From an online dating site, two people meet. They are two seniors, con artist Roy (Ian McKellen) and his seemingly easy prey Betty (Helen Mirren), a wealthy widow. That’s all I knew about the movie before I went into the theatre. When I came out, I was surprised by its intensity and scope. Not something I’d expected. Definitely not a romantic dramedy but a suspense thriller that drops hints along the way and slowly peels off its layers of disguise. 

The Good Liar

That’s all I’m going to say about the plot because any more details I give out would diminish your enjoyment. However, I’m sure there are those who, like me, had never expected the personal history behind these two characters. Some might have been caught so off guard that they’d find the story preposterous. To them I say, it’s no more preposterous than Gone Girl, or The Debt, or Inglorious Basterds, which Roy and Betty watch in the movie. The interplay between Mirren and McKellen more than compensates for the lack of plausibility in the revealing of truth in the latter part. Further, it’s these elements of surprise that make the movie entertaining. Take it as pure escapism.

The Good Liar is based on the debut novel by British author Nicholas Searle, a pseudonym. The author worked as a UK intelligence officer before becoming a full-time writer. After watching the movie now I’m piqued to read the book, not to explore deep subject but just for its structure, to see how Searle tells his story interweaving the present and the past. This is one good case for not reading the book before watching the movie.

Mirren and McKellen, two British acting icons for the stage and screen, deliver a captivating performance playing off each other and enjoying themselves too, by the look. Director Bill Condon deftly leads us on to some revealing that makes one think twice about the meaning of the title. Condon directed Dreamgirls (2006) to two Oscar wins and received a Best Writing Oscar for adapting Gods and Monsters (1998) and a nom for his screenplay for Chicago (2002).

Other cast members include Jim Carter and Russell Tovey, both lending good support. I admit I have to try hard to cast away images of Mr. Carson of Downton Abbey when I watch Carter in The Good Liar, no matter how modern his hairdo.

Cinematographer Tobias A. Schliessler (A Wrinkle in Time 2018; Beauty and the Beast, 2017) offers some interesting vantage points, in particular the aerial shots in several scenes. The beginning of the movie grabs our attention right away with the credits being typed out on screen and a high angle shot of the two main characters connecting online on a dating site, then pulling in closer. The extreme close-ups of their eyes prepare us for intrigues. The story moves right in wasting no time. Overall, just watching the duo play off each other is entertaining enough.

 

~ ~ ~ Ripples

 

The Personal History of David Copperfield: From Book to Film

In a previous post I reviewed The Goldfinch, one of two literary adaptations on my list to watch while I was at the Toronto International Film Festival (TIFF) in September. The Personal History of David Copperfield is the other one, which also had its world premiere at TIFF; it represents a totally different approach to bringing a literary work to the big screen.

If The Goldfinch is an example of a traditional way of adaptation, striving at loyalty to the literary source while overlooking cinematic elements, David Copperfield is a brave venture out wielding post-modern strokes, not that it is changed into a contemporary setting, but that it is adapted with a modern-day zeitgeist. Here’s director Armando Iannucci’s rationale during a TIFF interview: Just as Dickens wrote David Copperfield reflecting life and society of his time, as a filmmaker today, he directs the adaptation through a frame of our time. 

David Copperfield
Dev Patel as David Copperfield. Image Credit: Courtesy of TIFF19

What stands out in such post-modern filmmaking is the ‘colour-blind casting’ of the production. David Copperfield is played by Dev Patel, a young British actor of Indian descent. Known for his breakout role in Slumdog Millionaire (2008), Patel has established a popular screen presence with a charisma that whisked him through many subsequent successful features such as the two Best Exotic Marigold Hotel (2011, 2015) and Lion (2016). Other non-white actors taking up main roles include Benedict Wong (Avengers: Endgame, 2019) as Mr. Wickfield, Rosalind Eleazar (Howards End, 2017) as Agnes and Nikki Amuka-Bird (The Children Act, 2017) as Mrs. Steerforth. It is a bold statement Iannucci is making: skin colour is not an issue. These talents are first and foremost, actors.

Iannucci indicated that he’d always have Patel in mind ever since he watched Lion (2016), a true story about an Indian boy separated from his older brother in a Calcutta train station and later sent away for adoption in Australia. Twenty-five years later, after a long search, he finally located and reunited with his mother in an Indian village. Watching Patel in Lion, Iannucci thought, that’s David Copperfield for him. Indeed, Dickens’s character David Copperfield could well be a metaphor for those who had suffered much in childhood and yet against all odds, have survived and grown up to be resilient and compassionate human beings.

The adaptation exudes energy and humour. Iannucci has chosen his cinematic palette with bright colours and sprinkled with comedic sparks. Surely, Dickens’s Copperfield has a sad upbringing, orphaned after his beloved mother dies young, and mistreated by his stepfather Mr. Murdstone and his sister Jane Murdstone, later having had to fend for himself as a child labourer at the ripe age of 12. Yet Dickens’s humour never fades. His light-hearted depiction of Aunt Betsey Trotwood or Mr. Micawber offer some hilarious characterization. Later, David’s brave and arduous escape to seek the shelter of Aunt Betsey turns his life around. The autobiographical fiction could well represent Dickens’s view that, in the midst of misfortunes and human pathos, there still lies a deeper essence, and that’s the joy of life. Iannucci deftly capitalizes this inherent quality in the the author’s writing and adorns his film with humour and jollity.

Here’s a note on Wikipedia on Armando Iannucci that I find interesting: “Born in Glasgow to Italian parents, Iannucci studied at the University of Glasgow followed by the University of Oxford, leaving graduate work on a D.Phil about John Milton to pursue a career in comedy.” I’m sure the story about his academic pursuit and career change entail more than just this one line can say, but that’s enough to give us the background of who’s bringing David Copperfield to the screen now. Iannucci is the creator and writer of the award-winning TV series Veep (2012-2019), the Oscar nominated political satire In the Loop (2009), and the dark comedy The Death of Stalin (2017), for which he won Best Director and Best Writer at BAFTA.

To those wary about the lack of seriousness, the superb cast is poised to deflect such criticisms. Tilda Swinton (Oscar winner Michael Clayton, 2007) as Betsey Trotwood and Hugh Laurie (Golden Globe Best Actor The Night Manager, House) as Mr. Dick are the anchors that complement Patel’s spirited performance. They are pivotal in transferring Dickens’s moral insights onto screen. Aunt Betsey’s kindness towards Mr. Dick, who in today’s term would be one stricken with mental illness, is a lesson in example, influencing David’s mutual friendship with him. The same with David’s support and acceptance of Mr. Micawber (Peter Capaldi) and his family while they are in dire financial distress. If we need a villain, Ben Whishaw’s Uriah Heep is there to show vividly the face of hypocrisy and the consequence of jealousy and deceit.

Such a light handling of the classic novel has its weakness naturally. While the moral lesson of good over evil still stands, David’s growing insights about love, life, and faith which Dickens writes about so eloquently have not been transferred onto screen as successfully. It is unfortunate that the movie does not elaborate on the effects of David’s misplaced adulations of Steerforth (Aneurin Barnard, The Goldfinch, 2019) nor does it focus on his awakening to the fervency Agnes has for him. David’s blindspot and Agnes’s hidden love for him would have made a poignant storyline. Nevertheless, the two eventually do come together, but just as a coda, with Dora (Morfydd Clark, Love & Friendship, 2016) getting the inkling of a mismatch between herself and the emerging writer to gracefully step aside, sparing David the deathbed scene from the book.

Overall, the adaptation is a joy to watch, and one of those films that I’d like to rewatch. It has just been screened at London Film Festival in early October, release dates in North America unknown. The casting might pose an issue for some, but it just may be another object lesson for today.

 

~ ~ ~ Ripples

 

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Related Reviews on Ripple Effects:

The Goldfinch

Lion

Love & Friendship