Nomadland: From Book to Screen

It first started with journalist Jessica Bruder camping in a tent then later in a van for three winters in the desert around Quartzsite, Arizona. Her plan was to get acquainted with a group of modern-day nomads living in RV’s, vans, and car campers. Bruder’s three-year research resulted in the non-fiction book Nomadland: Surviving America in the Twentieth-first Century (2017), an eye-opening account of a fringe population growing in large numbers after the 2008 financial meltdown. Many of the nomads were once middle-class Americans who had lost their jobs, homes, investments and retirement savings during the economic crisis.

Bob Wells, who started the website CheapRVLiving.com in 2005, is the guru of nomadic living. But it was after the 2008 economic catastrophe that he saw the traffic to his site ‘exploded’. Linda May and Swankie are two of these nomads in their 60’s and 70’s. To sustain their living, many become migrant workers doing seasonal work and hard labour in Amazon warehouses to earn minimal wages.

Bruder’s book is rich in data and testimonials. While offering an in-depth look at how the nomads not only survive on bare essentials but how they find community, friendship and support, at the same time, it is a scathing social commentary on the human toll of the 2008 financial meltdown, and a stark revealing of exploitive employment of a vulnerable, elderly labor force.

What follows is intriguing. One of my first questions to ask Frances McDormand if I had the chance to interview her would be why she thought Bruder’s non-fiction work, though exceptional, would make a good movie so much so that she acquired its film rights.

Cut to the Toronto International Film Festival, September, 2017, where the film Three Billboards Outside Ebbing, Missouri starring McDormand was screened. Stepping out of a press junket for her film, McDormand went to catch another TIFF selection, The Rider directed by Chloe Zhao. After watching, she knew who she’d want to direct the movie adaptation of Nomadland.

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Frances McDormand and Chloe Zhao on the set of Nomadland. Photo by Joshua James Richards

Adhering to her first two features, Songs my Brothers Taught Me and The Rider, director Chloé Zhao casts real-life, non-professionals to play a cinematic version of themselves. She shot her debut work in the Pine Ridge Reservation in South Dakota and have Lakota youth tell their story. For The Rider, about a cowboy facing the end of his career after a fall during a rodeo resulting in a traumatic head injury, Zhao casts a real life bronco who’d suffered a similar tragedy to play himself.

Zhao’s signature naturalistic rendering is how she styles the adaptation of Nomadland. Real life nomads in Bruder’s book, Linda May, Swankie, Bob Wells among others all appear as themselves, enhancing authenticity. To develop a narrative vein, Zhao creates two fictional characters, Fern (Frances McDormand) and Dave (David Strathairn), to weave among them.

In the film, an unadorned McDormand, spot-on with her weary and dishevelled looks as Fern, mingles and makes friends with the nomads, learning the ropes of self-sufficiency. With Linda May, she works as a camp host and as a warehouse worker with Amazon’s CamperForce. Through the dialogues, some of Bruder’s researched data and testimonials flow out naturally.

Born in Beijing, China, Zhao was uprooted when just a teenager to travel to the UK for school and later to the US. She graduated from college in Massachusetts, after that attended NYU Tisch School of the Arts and is now living in California. Her diasporic experience is itself a kind of a nomadic journey. It could well be that her liminal identity, an insider-outsider multiplicity, has equipped her with a unique point of view as a filmmaker.

Shot in five Western States on location where nomads frequent, the film Nomadland is essentially about one woman’s journey towards healing as she takes to the road. Fern and her husband Bo had long worked for US Gypsum and built their home and community in the company town Empire, Nevada. When Bo died of cancer, and later the whole town disappeared from the map as US Gypsum shut down its plant in 2011 after 88 years, Fern stayed in her company house till the very end. There’s this poignant dialogue when she talks to Bob Wells:

“Bo never knew his parents and we never had kids. If I didn’t stay, if I left, it would be like he never existed… It’s like my dad used to say: ‘What’s remembered lives.’ ”

From a non-fiction book on nomads surviving America, Zhao has turned it into a humanistic, personal narrative of loss and healing. While the book is more explicit in its critique and social commentary, Zhao’s film exudes a tone of acceptance, as her focus is not so much on societal ills or corporate greed but the humanity of the characters.

The camera follows Fern in her attempts to connect her past with her present, as she travels down the road to an unknown future. Shot in the magic hour of dawn and dusk and accompanied by the pensive score by Ludovico Einaudi (The Father, 2020), cinematographer Joshua James Richards (The Rider, 2017) knows when to capture Nature’s golden light to elicit depth and allow time for thoughts. While nature is a healer––and we see many soul-stirring scenes reminiscent of Terrence Malick––Fern’s journey to recovery rests in the memories of the ones she still loves even though they have all departed.

And with that, Zhao invokes The Bard. In the latter part of the film, Fern meets a young drifter Derek again and they chat. Derek is lost for words when writing letters to his girlfriend. Fern suggests he uses a poem, and upon his prompting, she shares the one she used as her wedding vow, Sonnet 18. When two characters sitting on gravel ground beside a makeshift fire for warmth adjacent a highway and one recites a Shakespearean love sonnet, it seems incompatible with the setting. But then, why would it be?

What follows is probably the most beautiful sequence in the film. From memory, Fern starts: “Shall I compare thee to a summer’s day?/Thou art more lovely and more temperate…” As she goes on, the camera shifts to the evening sky and finally rests on Fern in the van looking at slides of her dad, mom, sister, and herself as a young child as we hear her voice-over continuing with the sonnet towards the last lines: “So long as men can breathe, or eyes can see/So long lives this, and this gives life to thee.” Thereafter, the camera follows Fern to the redwood forest, where her outstretched arms can only span a tiny portion of a tree trunk, herself minuscule in comparison.

Thus she drives on to a destination unknown. And ‘this’ that gives life could be two-fold. Nature and her memories of loved ones, not a sonnet written with words but one etched deep in her heart.

~ ~ ~ ~ Ripples

***

Nomadland won Best Picture, Best Director, and Best Actress at the 2021 Academy Awards, among 230 other wins internationally.

Jessica Bruder, Nomadland: Surviving America in the Twenty-First Century (W. W. Norton & Company, 2017) 273 pp., hardcover. The book won Barnes & Noble Discover Great New Writers Award. Jessica Bruder is an adjunct professor at the Columbia University Graduate School of Journalism.

This article also posted on Shiny New Books. Do check them out.

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Other Related Ripple Reviews:

Nomadland: A Book Review

The Rider is Poetry on Screen

Three Billboards outside Ebbing, Missouri

‘The Father’ depicts dementia in suspenseful realism

Dementia is a land where its inhabitants can never come out, and visitors can only look in from the outside. To add to the isolation, they speak a different language outsiders don’t understand.

In his role as an 80-year-old man afflicted with dementia in The Father, Anthony Hopkins has shown he’s an apt interpreter of that language. With his astute performance, the iconic British actor becomes the oldest person to win an acting Oscar this April, his second after The Silence of the Lamb in 1992.

The Father is based on the 2012 play Le Père by French playwright director Florian Zeller. It received the Molière Award for Best Play in 2014. The English version was translated by Christopher Hampton in 2016 and performed on Broadway. Hampton and Zeller co-wrote the adaptation to film. At this year’s Academy Awards, they won Best Adapted Screenplay. This is Hampton’s second Oscar win for writing; his first was for Dangerous Liaison in 1988. And for Zeller, his debut feature garnered six Oscar nominations including Best Picture.

Zeller’s intriguing way of storytelling lets viewers experience vicariously what a dementia sufferer goes through. First off, it is uncanny that Hopkins’s character is named Anthony. The film is shot from his point-of-view.

The editing by Yorgos Lamprinos strings together seamlessly the conflicting perspectives of Anthony’s: the mingling of memories, the confusion of happenings and imagination, the loss of a timeframe for past events, the distortion of present realities, and perhaps most disturbing for those close to him: unrecognizable faces. Describing how Zeller achieve these effects will be like giving out spoilers. I’ll just say this, The Father is like the Rashomon of dementia.

Zeller’s film is cinematic realism depicting the condition of dementia. The confused, bewildered look of Hopkins in close ups is accompanied by repetitive, eerie music, rendering the scenes suspenseful, not far from a Hitchcockian thriller. When one has lost the capacity of one’s brain, it is a scary experience. Anthony knows his way down the hallway to his room, but is this his flat? Where’s his watch, again? And, what happened to that painting that used to be hanging on the wall? The cast of seven brings out a powerful narrative in just 97 minutes.

Another realistic portrayal is Olivia Colman as the daughter Anne, who has to convince her father that he needs help. She struggles with the conflict between filial love and personal freedom, her husband (Rufus Sewell) does not make things easier for her either. And to complicate matter further, Anne is not her father’s favourite but her younger sister Lucy…

We’ve had a couple of excellent films on the subject of aging and dementia in the past. Away from Her (2006) directed by Sarah Polley who adapted Alice Munro’s short story is about a wife stricken by Alzheimer’s, and Michael Heneke’s Amour (2012) narrates an aging husband caring for his debilitated wife after her stroke, both received Oscar nods. Zeller has contributed to this repertoire of films with a perspective from the point-of view of the patient, adding to it a daughter’s internal conflicts.

No matter how much Anne tries to keep her father living with her, his condition needs professional care and monitoring, something she finds hard to get through to a dementia patient who is determined to be self-reliant. Colman’s performance is sensitive and moving.   

A very clever man, this father hasn’t totally lost it. The scene where he meets his new caregiver Laura (Imogen Poots) in Anne’s home shows how sharp he can still be, and not just Anthony the character, but Hopkins the actor, who is in his top form.

Original music is by Ludovico Einaudi (Nomadland, 2020) whose score reflects the mental state of Anthony’s, enhancing the cinematic effects. The opera music at the beginning of the film which Anthony is listening to, and later reprises is from Bizet’s Les pêcheurs de perles. The poignant piece is his link to the person he once was, the song entitled Je crois entendre encore: ‘I believe I still hear.’

Eventually, the inevitable question has to be asked by Anthony, an antithesis to a cathartic ending: ‘Who exactly am I?’

~ ~ ~ 1/2 Ripples

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Related Reviews on Ripple Effects:

Away From Her

Rashomon and other Stories by Ryunosuke Akutagawa

And When Did You Last See Your Father

‘Minari’: The Little Seed that Could

Minari is a semi-autobiographical narrative based on director Lee Isaac Chung’s childhood experience. It tells the story of a Korean immigrant father striving to succeed in America while his wife strains to keep their family together. In the midst of the struggle for a better life, two children watch and learn and grow. 

Chung’s counterpart in the movie, seven-year-old David (Alan Kim), follows his parents Jacob Yi (Steven Yeun) and Monica (Yeri Han), together with his older sister Anne (Noel Kate Cho), to relocate from California to rural Arkansas in the 1980’s. Driven by the ambition to be successful, especially in the eyes of his children, Jacob has purchased 50 acres of land to start a farm growing Korean produce. With the influx of Korean immigrants coming into the country during that time, Jacob sees a wealth of opportunity.

MINARI_00195_R Alan S. Kim, Steven Yeun Director Lee Isaac Chung Credit: Melissa Lukenbaugh/A24

Jacob and Monica still hold a day job at a hatchery doing chicken sexing, separating the male chicks from the female, but Jacob sees no future in the routine work. The farm is his dream. In the sexing process, the male chicks are discarded, for they don’t taste as good and can’t lay eggs. A ready object lesson for him to teach his young son: be useful. And when he digs a well, he dismisses the dowsing method offered to him. “Koreans use their heads,” he tells David.

Monica, however, sees a very different picture. The dream home in the country for Jacob is for her, realistically, a trailer on wheels held up by cinder blocks. Water is from a well which later is drained dry to the crops. There’s no community nearby. Her main concern is living far from a hospital as David has a life-threatening heart murmur. “Don’t forget to keep praying,” she tells David. The couple’s opposing views lead to frequent conflicts in front of the children.

The tipping point comes when Monica’s mother is recruited to help with the kids. Arriving from Korea, Grandma Soonja (Youn Yuh-jung) brings with her Korean spices and rarity not found in America, as well as Korean songs, memory of courtship that has long been buried by her daughter and son-in-law.

For David, Grandma is far from what he has expected. She is a raucous card player, swears, doesn’t cook or bake, uses half his room and, aggravating his annoyance, snores. The interplay between grandma and grandson make up some light-hearted scenes which elicit from Kim performance in his natural poise alongside the veteran, seasoned Youn. The key element in their eventual bonding is love. Kudos to Chung for his screenplay and directing.

MINARI_02405_R Alan S. Kim Director Lee Isaac Chung Credit: Josh Ethan Johnson

Another supporting role that has added spice to the film is Paul (Will Patton), a practical farm help to Jacob. A devout Pentecostal, Paul’s eccentricity is a laughing stock even with church kids. Jacob does not subscribe to his beliefs. Admirably, the two can still work in harmony.

Premiered at the 2020 Sundance Film Festival and winning both its Audience Award and the Grand Jury Prize, Minari has come a long way this past year garnering accolades. The film is now an Oscar nominee in six categories including Best Picture, Best Director and Original Screenplay for Chung. Yeun becomes the first actor of Asian descent to be nominated for Best Actor. Youn gets a nod for Best Supporting Actress and composer Emile Mosseri for Best Original Score.

Compared to his acclaimed debut feature Munyurangabo (2007), an arthouse, experimental film about two youths in post-genocide Rwanda, Minari is a conventional take on a personal, family story. The storytelling is linear and captured in realism, as we follow the Yi family’s first arrival to rural Arkansas and the daily struggles as an immigrant, farm family. The film’s subject matter and Chung’s handling is deceivingly simple.

Thanks to the eponymous vegetable, the minari, Lee transfers the specific to a wider scope in different layers. Minari is a Korean watercress that grows hardily in wet soil. Grandma has brought some minari seeds with her from Korea and sows them beside the creek near their home. As days go by, the plants thrive on their own, an apt metaphor for the resilience and adaptability of immigrants taking roots in a new soil. 

In contrast to a grim lesson of discarding the male chicks at the hatchery David learns from his father, the minari along the creek is a visual reminder of being alive and useful. Grandma sings its praises, for the versatile vegetable can be put in kimchi, stew, and soup, and used as medicine when sick. “Minari, Wonderful.” Grandma and David burst out in an impromptu song. A delightful scene is captured by the camera. As the wind blows, the plants bow as if acknowledging their praises. A moment of magical realism.

As time goes by, the minari plants thrive, and David’s heart condition has improved on its own such that surgery is no longer needed. In the climactic scene and its fallout, a contrast is particularly notable. Jacob sweats and labors on his crops which can be gone in an instant, but the minari grows naturally in the wild and David’s illness healed, pointing to a harvest of transcending grace that is beyond human efforts. The denouement is a gratifying close to a chapter of childhood memory.

~ ~ ~ 1/2 Ripples

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I thank Asian American Press for allowing me to post my review here in full.

‘The Dig’ is a Visual Meditation on Time and Life

Don’t judge a movie by its title. The seemingly uninspiring title packs a lot of story and ideas. Based on a true event and the novel of the same name by John Preston, the dig refers to the historic excavation of an Anglo-Saxon ship and the treasures inside its burial chamber, the medieval grave of possibly a warrior king dating back to 600’s AD. The archaeological event took place at the start of WWII in 1939 on Edith Pretty’s Sutton Hoo property in Suffolk, England. For a historical reference point, just seventeen years earlier, English archaeologist Howard Carter discovered the tomb of Tutankhamun.

Director Simon Stone has chosen to turn a spectacular archeological find into a lyrical, visual narrative that is elegiac and ponderous in tone. His focus isn’t so much on the unearthed treasures but the process of the dig, and the human stories adhere to it. A valuable asset Stone holds in his helm is an excellent cast.

Carey Mulligan plays Edith Pretty, the widow of a Colonel whom she still mourns at his grave while raising their young son Robert (Archie Barnes). As an amateur archeology enthusiast, she has a feeling the mounds on her grounds have something significant buried. Hiring a local excavator, Basil Brown (Ralph Fiennes), she watches her hunch realized.

However, Edith’s deteriorating heart condition is a constant reminder of her own mortality, a tug at her soul, brewing a deep concern for her son Robert after she’s gone. Mulligan acts not just with her facial expressions; her whole body speaks to the fragility of life. While treasures are unearthed, her fears and sentiments are buried deep within.

To interplay with Mulligan’s delicate demeanor, Fiennes delivers an understated performance with the unglamorous character Basil Brown. A country excavator, stooped in posture, quiet yet determined, apparently knowing much more than he shows. It is gratifying to see the two of them interact in a naturalistic way, their expressions equally sensitive and nuanced.

Reading about Carter’s discovery of the tomb of Tuktankamun, Edith is apprehensive about finding human remains in the dig, as that’s like disinterring the dead. Brown answers with his view of the philosophy of the discipline: “… that’s life what’s revealed. And that’s why we dig.” And, as his wife May (Monica Dolan) points out, it’s about continuity for the next generations, so they know where they come from.

The ‘untrained’ Brown––with no academic credentials but learned the skill from his father passed down from his grandfather––has to yield to the authority of the famous archaeologist from the British Museum, Charles Phillips (Ken Stott). Phillips takes over the dig as soon as he arrives on the site with his team of specialists.

Among them are the archaeologist couple Stuart Piggott (Ben Chaplin) and his young wife Peggy (Lily James). Their incompatibility is obvious; Stuart is happier with fellow team member John Brailsford (Eamon Farren) than with his wife. Later, the arrival of Edith’s cousin Rory Lomax (Johnny Flynn, Mr. Knightley of Emma, 2020) further alters the relational dynamics. While at the dig, Rory is called up by the RAF, a worrisome commission as war with Germany breaks out.

There’s interesting play with sound, or the lack of. For some short moments in certain scenes, there’s just silence. All sound and music halt. Most other times, the score is meditative, quiet piano playing. There are often juxtapositions of scenes linked by voice-overs, offering a fresh way of storytelling. This is effective not just to show what’s happening at different places or time, but that the dialogues can be relevant for different people in other situations as well.

Cinematographer Mike Eley captures on screen some exquisite sights of the English open country, wide shots shrouded with a hazy light, sometimes teal, sometimes golden. Terence Davies’s Sunset Song comes to mind, albeit The Dig is a much quieter film.

Young Robert’s fantasy with the cosmos and his imaginary tales cannot be brushed away as just spice to animate the mood. Kudos to Moira Buffini’s screenplay, the film wraps up with mother and son laying close together in the dug-up ship under a starry sky at night, as Robert tells his mother and Brown observing nearby, his woven tale of the ship taking the queen home to the stars to meet the king, leaving everyone behind, a poignant metaphor and a fable-like send off. Mulligan and Barnes are treasures here. That aerial shot is magical.

The Dig begins streaming January 29, 2021 on Netflix. I’ve watched it twice so far, once isn’t enough to capture all that need to be noted to appreciate.

~ ~ ~ ½ Ripples

Top Ripples 2020

This is the most unusual year… I’ve read and listened to more books than I’ve watched feature films. Actually, this is probably the year that I’ve watched the least number of movies. I haven’t gone to the theatre since March nor attended any film festivals in person, but am most gratified by the few titles I watched online. Two particularly stand out, the first two spots of my very short Top Ripple list for 2020.

Movies

1. First Cow, directed by Kelly Reichardt

A fresh take on the subject of friendship, set in 1820’s Oregon among fur trappers and opportunists, with the arrival of a dairy cow as the inciting incident. Monetary gain is no match for selfless loyalty in human relations. A moving tale of an unlikely friendship, the cinematography augmenting the enjoyment. It has also prompted me to look up the recipe for Fruit Clafoutis. Adapted from the book Half-Life by Jonathan Raymond, who had inspired Kelly Reichardt’s previous films. I won’t miss any of her works, poignant richness belying the minimal, naturalistic renderings. Full review to come.

2. Nomadland, directed by Chloé Zhao

Adapted from the non-fiction book by Jessica Bruder, Nomadland features Frances McDormand as a widow who chooses to live in the community of modern nomads, van and RV dwellers in the Western States of America. Zhao is a master of realistic filmmaking. Nomadland is shot in situ among these older itinerant workers called ‘Camperforce’. A revealing docudrama with stunning cinematography and thought-provoking perspective on the essence of living. My review on Ripple Effects and Vague Visages.

3. Driveways, directed by Andrew Ahn

One of Brian Dennehy’s last films before his passing in April this year at 81. A Korean War veteran strikes up friendship with a lonely eight-year-old boy. Here’s an excerpt from my review on AAPress: Driveways shows us the power of caring human relationships and the change love can bring, yet painfully unfurls the precariousness of life. On a large existential canvas, it paints with personal, relatable strokes.

4. House of Hummingbird, directed by Bora Kim

Based on Kim’s encounters growing up in South Korea, the drama is a coming-of-age story of a teenage school girl in a male-dominated family. Young Eun-hee has to live with parental discords, deal with sibling bullying, and face a health issue and a precarious future all alone, but is fortunate to find a mentor in a teacher. Sensitive directing and nuanced performance. My review on AAPress.

Books

For the ones published in the year 2020, here are my Top Ripples. Links to my reviews:

Two Trees Make a Forest by Jessica J. Lee

Jack by Marilynne Robinson

The Splendid and the Vile by Erik Larson

How to Pronounce Knife by Souvankham Thammavongsa

Ex Libris: 100 Books to Read and Reread by Michiko Kakutani

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The following are some Worthy Mentions, not all 2020 books or TV, but all have made an impression in my isolated mind this year as I binged on them without needing to snack on chips and sodas. That says a lot.

Normal People (TV Mini-Series, 2020) – Based on the 2018 book by Sally Rooney. A taste of ‘millennial literature’ and adaptation. I first listened to the audiobook, found it absorbing. Then watched the series and then read the book again, this time, word by word. Available to stream on CBC GEM and Hulu.

The Morning Show (2019) – Didn’t realize Jennifer Aniston and Reese Witherspoon can be so intense. Streamed on Apple TV+

The Crown (2020) – Season 4. Wonder how the Royal Family reacted to this scandalous take on the Charles, Camilla, & Diana affairs. Or, maybe just me… no surprise to them. On Netflix.

The Queen’s Gambit (2020) – The chess moves might be intriguing, but the overall pace can be more riveting if the TV Mini-Series is cut short by two or three episodes. On Netflix.

Defending Jacob (2020) – When parental love and truth collide. After watching the series on Apple TV+, I went directly to the source material, the 2012 novel by William Landay, a fascinating psychological suspense-thriller. After that went on to read Lionel Shriver’s We Need to Talk About Kevin. Oh… the hazard of parenting.

Nomadland: Surviving America in the Twenty-First Century (2017) by Jessica Bruder – the non-fiction book that inspired Chloé Zhao and Frances McDormand to make the movie, one of the front runners for next year’s Oscars. McDormand will likely get a Best Actress nom and hopefully, Zhao and the film will also be honored.

Turning: A Swimming Memoir (2017) by Jessica J. Lee – Lee is a newly emerged voice of nature writing à la memoirist. Coming from a fusion of cultural and geographical background: Canada, Taiwan, Britain, Germany, the environmental historian offers personal and fresh takes relevant in our contemporary society of multiplicity.

****

‘Defending Jacob’: When Love and Truth Collide

Michelle Dockery, Jaeden Martell, Chris Evans in ‘Defending Jacob’

I usually read the book before watching its adaptation. When the reverse occurs, it’s because the movie or TV series is so absorbing that it leads me to explore how the original story is written and more importantly, how it ends.

Defending Jacob is a 2012 crime novel written by award-winning author William Landay. The story is character-driven and deals with issues such as the essence of parental love, nature vs. nurture, certainty and doubts. Without giving out any spoilers, I can say that the ending of the book is a darker reality while the TV adaptation offers a glimmer of light.

One morning in the quiet town of Newton, MA, a 14 year-old boy, Ben Rifkin, is found stabbed to death in a park on his way to school. Another 14 year-old schoolmate Jacob Barber (Jaeden Martell) is later charged with first degree murder and tried as an adult according to the law of the State.

What turns this from just another murder mystery into a captivating 8-episode TV mini-series is the character depiction and the intriguing perspectives it presents. Parents Andy (Chris Evans) and Laurie Barber (Michelle Dockery) are totally loving and devoted to their only child Jacob, but their inner voices differ.

Andy, an assistant DA who is involved in the investigation initially, is convinced of his son’s innocence. While equally fervent in her love, as the trial reveals some incriminating evidence against Jacob, Laurie (Michelle Dockery) begins to doubt and is willing to seek the truth, even if it’s devastating.

Does love for your child mean unequivocal loyalty and trust? Is doubt a form of betrayal? Do genes determine actions? What about family background and upbringing, nature or nurture? And above all, can you know a person fully? Your spouse? Your child?

The eight episodes are not too long to explore these issues. I finished them in two days. Then right away to the book. After that, rewatched again. What first drew me to the series was Michelle Dockery. Yes, I’m always curious to see the post-Downton transfiguration of the cast… Lily James, Dan Matthews, and others. Dockery’s performance is effective and convincing here. Playing opposite the highly popular Chris Evans, they make an admirable couple, albeit maybe ten years younger than the book’s characters.

Jaeden Martell as Jacob is mystifying, not giving viewers any clues to his inner self, which is effective in a way so we can sense his parents’ frustration. Unlike Kevin (Ezra Miller) who instigates a school shooting in We Need to Talk About Kevin (2011), Jacob doesn’t appear to be a monster or the devil incarnate. His innocent look elevates the suspense. How much do we actually know our children? How much can we know?

Supporting cast is equally judicious. Cherry Jones as Jacob’s lawyer Joanna Klein is an apt choice and portrayal, as well as Detective Duffy (Betty Gabriel), instead of the male characters in the book. J. K. Simmons is eerily convincing as the grandfather, a figure Andy tries to bury in his memory. Jacob’s classmate Sarah (Jordan Alexa Davis) deserves a mention for her natural poise, an altered and a more fully developed character from the book.

This I disagree with some prominent critics: it is not too long. The 421 page book works well as a novel. The 8 episodes work well as an elaboration and interpretative performance of the novel. Those too impatient to go through them might have missed some fine details. The side stories are necessary to bring out the characters and give actors their chances of more fleshed-out, nuanced performance. Every episode moves the story forward with its smooth editing.

The ending of the mini-series offers a different scenario in contrast to the book. It’s a softer landing, which is acceptable but not as powerful and intense as the book’s harsher reality. The creator/screenwriter could have been tough enough to follow the book, as Landay’s plotting is remarkable. Nevertheless, the twists and turns of the story development remain intact overall. Defending Jacob is a highly watchable and riveting adaptation.

~ ~ ~ Ripples

Defending Jacob is created by Mark Bomback and directed by Morten Tyldum, now playing on Apple TV+

New ‘Rebecca’: First Impressions

Lily James as Mrs. de Winter, Kristin Scott Thomas as Mrs. Danvers. Cr. Kerry Brown/Netflix

‘First Impressions’ sounds like a disclaimer, implying that I could change my mind upon second or further viewing. However, first impressions last; hence, I just might not watch the Netflix movie again. If I do, it would be just the first part, which is the more enticing.

Nobody likes to be compared to, especially to something more definitive, but Hitchcock’s 1940 adaptation of Daphne du Maurier’s gothic novel inevitably creeps into my mind. It’s all subliminal. Ben Wheatley, the versatile English director of some quirky, arthouse works like the surreal adaptation of J. G. Ballard’s novel High Rise (2015), could transpose a book onto the screen in whatever way he chooses. But I’m just baffled by his taking up this traditional du Maurier classic.

First off, the colour palette in the first act is aesthetically pleasing. The pacing moves along well and camera agile and inviting. The Gatsby-esque setting and set design give it a free-wheeling, romantic mood, the golden overtone exuding a reminiscing perspective which is apt as the novel is a remembrance of things past.

Our protagonist, a naive, young assistant (Lily James) to rich and snobbish Mrs. Van Hopper (Ann Dowd) in a Monte Carlo hotel, meets the aristocratic, widowed master of Manderley, Maxim de Winter (Armie Hammer) who falls for her in no time. An instant marriage and our protagonist is zoomed back to the iconic estate as its new mistress, an irreplaceable position owned by her predecessor Rebecca, who drowned in a boating accident a year ago.

This is where things begin to unravel, for both the new Mrs. de Winter and the storytelling. Lily James is ubiquitous ever since her breakout role as Lady Rose in Downton Abbey. Her performance is effective in Cinderella, Mamma Mia!, Darkest Hour, just to name a few. For some uncanny reasons, she doesn’t fit in that well as the new Mrs. de Winter. Her performance lacks the power to elicit empathy or to engage. I doubt this is a matter of capability. A shortfall in directing, or maybe not? She’s unsure of her role––a parallel with the new Mrs. de Winter––is this some kind of intended effect in method acting?

Another thing I noticed. Here’s a real disclaimer. I’m definitely not into fashion. But a look at Mrs. de Winter’s costume, I find it odd that she wears pants all the time, except in the very short-lived scene at the ball when she is ordered back up to her room to change by an infuriated Maxim after appearing in Rebecca’s dress. Anyway, her attire looks like the casual wear of the 1960’s or even 70’s, a bit incompatible with a character in this movie setting. I remember how avant garde it was to wear pants in that era as Lady Sybil and Lady Mary demonstrated the new, stylish fashion. Yes, a Downton revelation.

Hammer as Maxim seldom appears in Manderley and doesn’t leave much of an impression, maybe except for his mustard-colour suit. But it is Kristin Scott Thomas that rescues the acting front as the eerily stern and mysterious Mrs. Danvers. Why, of course, with her calibre, she can deliver even without any strong directing. She articulates superbly, her stage presence poised, her expressions nuanced. In this new adaptation that borders on an identity disorder, Scott Thomas’ performance is the one good thing that offers clarity.

The Manderley mystique relies on sound and special effects to elicit outcomes akin to the horror genre. I miss Hitchcock’s subtlety and suspense, and his calmly drawing out the essence of his characters. Without further comparing, judging on its own, this new Rebecca is choppy in its editing, neurotic in mood, and its altered ending leaves viewers with an unresolved moral issue.

[Hereafter Spoiler Warning] While du Maurier did not spell out that the new Mr. and Mrs. de Winter live happily ever after, Wheatley’s Rebecca declares such a happy ending explicitly. Even Woody Allen’s Crimes and Misdemeanors (1989) poses the ethical problem at the end of the movie, but here there’s no dilemma. This new Rebecca wraps up like a version of “How to Get Away with Murder,” and offers a dubious way to finding love.

~ ~ 1/2 Ripples

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Rebecca is now streaming on Netflix

‘My Grandparents’ War’ is a poignant WWII series

Released in 2019 to commemorate the 80th year of the beginning of WWII, the documentary series is presented by four acclaimed British actors sharing their own search for a piece of family history.

Each of the four one-hour episode is a moving, personal discovery as the acclaimed actors retrace their grandparents’ wartime footsteps. All of them appear in natural situ, devoid of showy costume or make-up but instead, wrapped in authenticity. A remarkable documentary series.

What’s in common is the intriguing fact that these grandchildren had known little about the wartime happening or even heroics of their grandparents until now, and the main reason is due to the older generation’s own reticence about their experience in a traumatic chapter of their life. This in itself is poignant and revealing.

Episode 1 – Mark Rylance

From Shakespearean drama to Spielberg’s Bridge of Spies to Christopher Nolan’s Dunkirk, stage and film actor Mark Rylance discovers a real-life horror story as he ponders the facts and conditions of his grandfather Osmond Skinner as a Prisoner of War in Hong Kong. He travels to the former British colony and walks the path and talks to those who show him records, and meeting the daughter of his grandfather’s fellow prisoner. Views from both sides of the war are presented.

Episode 2 – Kristin Scott Thomas

Kristin Scott Thomas’s grandfather was Royal Navy Captain William Scott Thomas whose heroics include a crucial role in the Dunkirk evacuation and D-Day, as well as the arduous and deadly missions of the Arctic Convoy to transport supplies to Russia. A moving personal journey as she learns the facts and visits Dunkirk to meet a descendant of an evacuee. The tragic death of Kristin’s pilot father in a plane crash when she was young could have severed a link between grandfather and grandchildren in terms of war stories.

Episode 3 – Carey Mulligan

Carey Mulligan’s grandfather Denzil Booth was just a teenager from Wales when he was fast-tracked to join the Navy. He was A radar operator on a war ship when it was hit by a Kamikaze plane. Touching moments when she goes searching for the details of her grandfather’s ship and conflicting emotions when she finds out the truths about the pilots of these Kamikaze missions when she sets foot in Japan.

Episode 4 – Helena Bonham Carter

While they did not actively fight in the battlefield, both sides of Helena Bonham Carter’s grandparents had performed remarkable heroics during the War. Her maternal grandparents were Jews living in Paris. During the Holocaust, Helena’s grandfather used his Spanish diplomatic influence to save thousands of Jews. While in England, her paternal grandmother was an activist denouncing anti-semitism and was marked by the Nazi’s to be eliminated once they took over. An uplifting episode.

~ ~ ~ ~ Ripples


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My Grandparents’ War is now on CBC Gem. If you’re in Canada, it’s free download. Here’s the link to the trailer. If you’re not in Canada, try to find this documentary series. A must-see.

Related Posts on the Pacific Front in WWII:

WWII Comfort Women Speak Out in The Apology

The Railway Man: Movie Review

The Railway Man by Eric Lomax: Book Review

Canada Reads 2018: Forgiveness by Mark Sakamoto

‘The Booksellers’ is a Film for Book Lovers

Before Kindle and Kobo, or even paperbacks, books were meticulously crafted, sewn, bound, and cared for. The Booksellers is a documentary that pays tribute to New York City’s book dealers, and sadly, laments a trade in decline.

Refresh your memory of this scene at the end of Little Women (2019): Jo looks keenly through the window into the printer’s room, her book being crafted, type set, pages pressed and sewn, a gold leaf embossed on the title, finished and handed to her. After she receives it from the pressman, she hugs it close to her heart.

As one bookseller notes, the relationship of the individual to the book is very much like a love affair. This 99-minute documentary directed by D. W. Young is for book lovers, letting them be privy to a trade that’s driven by passion.

The film is like a scrapbook in motion, opening page after page filled with fascinating history and photos of the bookselling trade in NYC and informative interviews with the City’s book dealers. They lead us into their lairs––their collection mounting high in their stores and in storage, often in their own apartment––open their treasure troves and share their personal journey. Marie Kondo won’t work here, for every book brings joy.

Independent booksellers set up shops in New York City back in the 1920’s, Strand, Argosy, and many others. At one time in the 1950’s there were 368 but when the film was made last year, one bookseller had counted there were 79.


At first it was an old boys club. Impressions we have of booksellers are probably older white men in tweed jackets with elbow patches. Not that book women did not exist back in the day, but that for a long time, they had not been recognized.

Rebecca Romney, rare book specialist in History Channel’s series Pawn Stars, points to two women of note. Leona Rostenberg and Madeleine Stern were dealers who began right after the war around 1944-45, their business lasting for over 60 years. It’s never easy for women striving in a man’s world, but they were able to establish their reputation and gain respect in the trade.  

Rostenberg and Stern had made a significant find too. They discovered Louisa May Alcott had “a secret life as a pulp writer… often a very sexy, very violent pulp writer.”

Kudos to Greta Gerwig, again. Remember the scene in Little Women when the serious German professor Friedrich Bhaer is disappointed when he reads some of Jo’s published writing, thinking her talents are misplaced. “With plots like this, duels and killing?” He must be reading her pulpy work. Gerwig sure did her research well.

Sisters Judith, Naomi & Adina run Argosy Book Store on 59th street, continuing with the legacy started by their father Louis Cohen in 1925. Their father had bought the whole building of several floors, that’s why they can stay open now as they own the building. Many bookstores have to close due to high rents. Argosy is NYC’s oldest independent bookstore that’s still in business.  

Booksellers are hunter-gatherers. It’s the hunt, the constant seeking that gratifies. Some rare books could take them a few decades to pursue. But with the Internet, “in 45 minutes, you can locate all the first edition of Edith Wharton’s books.” The mystery is gone.

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A tidbit: Dust jackets are important. Don’t throw them away, especially if you have a first edition. And, if you have this book in first edition with a dust jacket in good shape, it could fetch you $150,000.

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An interesting antiquity is a photo album from 1907 titled “Search for Mammoth”. From an expedition in Alaska the explorers found a frozen mammoth and they actual mounted examples of real mammoth hair from 15,000 years ago into the back of the album.

Bookseller Justin Schiller started young in collecting, in particular, the Oz books by L. Frank Baum. While still a child, he bought the first edition of Wizard of Oz for $5. The person who sold it to him apparently didn’t know it was a first edition. At 12, Justin became the youngest person to loan to Columbia University in its 200-year history when the University was looking for certain items for a Baum centenary presentation. Passion for books and ephemera starts early.

Diversity is the key for the book trade to remain relevant today. Interview with Kevin Young, director and curator of the Schomburg Center for Research in Black Culture, points to the significance of the Center in keeping important collections such as Malcom X’s papers to Lorraine Hansberry, or James Baldwin’s notes and papers revealing his writing process. Some say Baldwin, who was born and raised in Harlem, learned to read at the Schomburg Center.

A quietly riveting documentary of a collective history and a beloved artifact, and a prompt to keep it alive for all our sakes.

~ ~ ~ ½ Ripples

I watched this on CBC Gem. If you’re outside Canada, here’s a link to where you can watch it at home.

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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

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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