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 Information:

(Updated Oct. 10, 2020) 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 Update: Scheduled to stream on Netflix on October 23, excluding the US, Canada and China.

Dune – Release date delayed till Fall, 2021

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

News of the World – in theatres December, 2020 still, but may change.

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

West Side Story – Pushed back to December, 2021

Rebecca – Oct. 16 limited theatre release, on Netflix beginning October 21, 2020

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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.

Kevin Kwan’s New Book is Screen-ready

As an homage to E. M. Forster’s A Room with a View, as well as a nod to the Merchant Ivory movie adaptation (1985), Asian American author Kevin Kwan has crafted another satire seven years after his Crazy Rich Asians started a surprise breakout trilogy.

If Forster were to read Kwan’s latest work, the stand-alone novel Sex and Vanity, would he be baffled by 21st century opulence, or shocked to see the social issues he wrote about in A Room with a View such as class and gender inequality still exist more than a century later? Kwan also throws in racism, of which Forster was keenly critical in his writing; A Passage to India comes to mind.

While the movie adaptation of Crazy Rich Asians was met with resounding applause from the Asian community, not everyone who shared the ethnicity felt represented, for they might not have been Asian born, or have never set foot in Singapore, Hong Kong, or China. This just speaks to the fact that there’s a myriad of cultural and geographical lineages when one uses the umbrella term ‘Asian’ or, ‘Chinese’.

This time, the net is cast out to those who are American born, second and third generations of the Asian diaspora, and in particular, the hapas, Hawaiian for ‘half’, people of mixed Asian and white heritage. The net reaches to others too, in particular New Yorkers, and fans of the Big Apple. Indeed, Kwan’s book reads like a love letter to New York City, to which the author pays tribute as: “The City that took me in, nurtured me, and changed me forever.”

Sex and Vanity follows the same structure and plot development as A Room with a View, even keeping the first names of the main characters. Kwan only needs to plug in the modern-day parallels splashed with his over-the-top descriptions of opulence and extravaganzas.

For those who’re apprehensive to pick up the book because of the two words in its title, maybe this would bring some relief: the former wouldn’t even make half a page of note in Normal People (by Sally Rooney) and the latter is wrapped in mirth. The book is pure escapism for summer reading fun.  

To his credit, Kwan has a keen eye for social prestige other than materialism. When first mentioned, character names are followed by a list of schools they have attended. Surely, in America and many parts of the world, one is defined by one’s alma mater. Naming even the kindergarten is exactly the case in point. Prestige starts early.

Part One takes place in Capri. Nineteen-year-old, Upper East Side born and raised hapa Lucie Churchill (92nd Street Y Nursery School / Brearley / Brown, Class of ’16) is on the Italian island with her cousin, forty-something Charlotte (Rippowam / Miss Porter’s / Smith) as chaperone. The fun doesn’t end with these bracketed school names. For further reading pleasure, Google them if not familiar.

The cousins are there to attend the week-long celebrations of Lucie’s childhood friend, Taiwanese heiress Isabel Chiu’s marriage to the son of an Italian mogul. The Hotel Bertolucci fails to give them a room with an ocean view which Charlotte had requested.

Overhearing Charlotte’s complaint, fellow wedding guest Rosemary Zao offers to exchange with them their view rooms she and her son George occupy. Why, she’s inundated with ocean views. Her home overlooks the Hong Kong harbour and she has beach front properties in Sydney and Lanikai, Hawaii. But Charlotte doesn’t take this easily. The Churchills have their pride, and prejudice.

Unlike his mother, George (Diocesan Boys’ School / Geelong Grammar / UC Berkeley, Class of ’15) is a man of few words. Actually, he is the perfect son-in-law for any Tiger Mom: on top of his “surfer, pretty boy physique,” he’s a high achiever. He can keep his cool and administer CPR to save a stranger and play “Goldberg Variations” in spontaneity in front of an admiring crowd (not at the same time). What more, George is honest with his feelings and passion.

The Blue Grotto: An important setting in the book that is utterly cinematic. Source: Wikipedia

The week-long wedding celebration is screen-ready with Capri’s natural and architectural beauty as backdrops.

Throughout the book, Kwan has dropped a ‘Where’s Waldo’ search for famous names, real-life or fictional, like the Crawleys of Downton, Darcy of Pemberley, “The World of Suzie Wong” (The actress Nancy Kwan being the author’s distant cousin), Monsieur de Givenchy, who comes out of retirement to design the wedding dress, and sightings of one Elizabeth Merchant and Lord Ivory.

What more, the renown diva Dame Kiri Te Kanawa performs in the wedding celebration, singing several operatic numbers and culminating with “O mio babbino caro”, the aria with which she’d swept the film with such a romantic overtone. And yes, Kwan is a Downton fan, remember S4 E3? The diva is a guest at the house party.

For Lucie, however, the short yearning in her heart for George is soon suppressed as the week-long Capri escapade draws to a close.

Part Two sees Lucie in her niche, NYC, five years later. An up-and-coming art consultant, Lucie is engaged to Cecil Pike, a billennial (billionaire millennials) raised with new money from oil-rich Texas. A Venetian canal flows through his New York West Village town house with full-time gondoliers in service. His marriage proposal to Lucie outside the Metropolitan Museum of Art involves the NYC Ballet, a marching band, the Mayor’s office, and the Big Apple Circus. Exactly.

Lucie has always been torn about her bicultural heritage, especially when she and her brother Freddie were left on their own with their mother after father Reggie Churchill died of a heart attack when she was just a child. The Churchills always boast about their pedigree being Mayflower descendants, rising in financial prowess through banking and inheriting Gilded Age fortune. In the building that matriarch Granny Churchill lives, even the doormen are snobbish.

Not that Luci’s Chinese lineage has nothing to be proud of. Her mother Marian Tang (Seattle Country Day / Lakeside / Harvard / Columbia PhD) is a well-established academic endowed with skin so young to look like a twenty-something. Despite being born in America, to the Churchills, Marian is a foreigner.

Lucie sees her situation clearly: “To Granny, no matter how graciously she behaved, no matter what she accomplished, she would always only ever be the poor little china doll.” So, marrying her WASP, crazy rich fiancé Cecil Pike should end all spite. But what she lacks is the view that she’s just a thing to boost Cecil’s ego and his brand.

Then George reappears. Kwan keeps his cues interesting to lead Lucie to see a clearer view of her situation, an obvious parallel with Forster’s story. Further, Kwan pinpoints racism even within families, as Lucie notes “it’s possible to love someone without realizing you’re being racist toward them.” Without getting serious and didactic, he handles these issues with bold, comical strokes.

If by the likely chance the book is picked up for a movie adaptation, my choice for a director would be New York born and raised Whit Stillman (Collegiate School / Millbrook School / Harvard) to balance with some soul and subtlety. Indeed, Kwan and Stillman (Love & Friendship, 2016; Metropolitan, 1990) would make a fine filmmaking hapa.

~ ~ ~ Ripples

NOTE: Reading Forster’s A Room with a View and watching the Merchant Ivory movie adaptation would enhance your reading pleasure of Sex and Vanity.

UPDATE: Sony Pictures and SK Global have acquired the film rights to Sex and Vanity.

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I thank Penguin Random House Canada for my reviewer copy of Sex and Vanity by Kevin Kwan (Far Eastern Kindergarten / ACS / Clear Lake High / UHCL / Parsons School of Design), 315 pages, 2020.

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Related Posts on Ripple Effects:

Stillman’s Love & Friendship: More than Book Illustration

Metropolitan: Whit Stillman’s Homage to Jane Austen

Summer Reads before the Coming Movies

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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More Films by Female Directors

Let’s continue to celebrate women beyond just one day or a weekend.

Previously on Ripple, I posted a list of my favorite films that happened to be directed by women. Here’s another list, not a personal favourite list but one just to show the variety of movies female directors have helmed, to shatter the myth and misconception that some might hold: ‘if we leave it to them, they’ll only churn out chick flicks.’

In alphabetical order, not ranked, director and year released in brackets, a list to hopefully inform, remind, and maybe surprise. There are many more, of course, but I’ll just stop at 65. How many have you seen? Which other ones you’d like to add?

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A Beautiful Day in the Neighborhood (Marielle Heller, 2019)

A Thousand Suns (Mati Diop, 2013)

A Wrinkle in Time (Ava DuVernay, 2018)

American Psycho (Mary Harron, 2000)

The Arch (Cecile Tang Shu Shuen, 1970)

The Assistant (Kitty Green, 2020)

The Beguiled (Sofia Coppola, 2017)

Bend It Like Beckham (Gurinder Chadha, 2002)

         Big (Penny Marshall, 1988)

Birds of Prey (Cathy Yan, 2020)

Booksmart (Olivia Wilde, 2019)

Boys Don’t Cry (Kimberly Peirce, 1999)

Bridget Jones’s Diary (Sharon Maguire, 2001)

Can You Ever Forgive Me? (Marielle Heller, 2018)

Capernaum (Nadine Labaki, 2018)

Captain Marvel (Anna Boden, 2019)

Captain Marvel's Carol Danvers

Charlie’s Angels (Elizabeth Banks, 2019)

Chocolat (Claire Denis, 1988)

Cloud Atlas (The Wachowskis co-direct, 2012)

Clueless (Amy Heckerling, 1995)

Fish Tank (Andrea Arnold, 2009)

Frozen / Forzen II (Jennifer Lee co-directs, 2013 / 2019)

High Life (Claire Denis, 2018)

The Hitch-hiker (Ida Lupino, 1953)

Hustlers (Lorene Scafaria, 2019)

The Iron Lady (Phyllida Lloyd, 2011)

Kung Fu Panda 2 (Jennifer Yuh Nelson, 2011)

Late Night (Nisha Ganatra, 2019)

Leave no Trace (Debra Granik, 2018)

Lost in Translation (Sofia Coppola, 2003)

Mamma Mia! (Phyllida Lloyd, 2008)

The Matrix / Reloaded (Lana and Lilly Wachowski, 1999 / 2003)

Meek’s Cutoff (Kelly Reichardt, 2010)

Miss Julie (Liv Ullmann, 2014)

Money Monster (Jodie Foster, 2016)
..

Jodie Foster directs

 

Monster (Patty Jenkins, 2003)

Mulan (Niki Caro, 2020)

Mustang (Deniz Ganze Ergüven, 2015)

My Brilliant Career (Gillian Armstrong, 1979)

Night Moves (Kelly Reichardt, 2013)

Nowhere Boy (Sam Taylor-Johnson, 2009)

Pay It Forward (Mimi Leder, 2000)

Pitch Perfect 2 (Elizabeth Banks, 2015)

Point Break (Kathryn Bigelow, 1991)

…….The Prince of Tides (Barbra Streisand, 1991)

Queen and Slim (Melina Matsoukas, 2019)

Queen of Katwe (Mira Nair, 2016)

Seven Beauties (Lina Wertmüller, 1975)

Selma (Ava Duvernay, 2014)

selma-bridge

Shrek (Vicky Jenson co-directs, 2001)

Something’s Gotta Give (Nancy Meyers, 2003)

The Portrait of a Lady (Jane Campion, 1996)

The Secret Garden (Agnieszka Holland, 1993)

The Souvenir (Joanna Hogg, 2019)

Toni Erdmann (Maren Ade, 2016)

Twilight (Catherine Hardwicke, 2008)

Unbroken (Angelina Jolie, 2014)

Wadjda (Haifaa Al-Mansour, 2012)

Washington Square (Agnieszka Holland, 1997)

We Need to Talk About Kevin (Lynne Ramsay, 2011)

Whale Rider (Niki Caro, 2002)

What Women Want (Nancy Meyers, 2000)

Winter’s Bones (Debra Granik, 2010)

Wonder Woman (Patty Jenkins, 2017)

The Zookeeper’s Wife (Niki Caro, 2017)

 

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Women Directors of My Favorite Films

In 92 years of Oscar history, only five women have been nominated for Best Director:

Lina Wertmüller (Seven Beauties, 1976), Jane Campion (The Piano, 1993), Sofia Coppola (Lost in Translation, 2003), Kathryn Bigelow (The Hurt Locker, 2009) and Greta Gerwig (Lady Bird, 2017).

How many of them had won? One. Kathryn Bigelow in 2010.

Does that mean there aren’t many women directors around? Definitely not. It just reveals how things are for these artists striving under the glass ceiling. The USC Annenberg Inclusion Initiative research is a good frame of reference for annual facts and trend of women in the film industry. According to their newest study entitled “Inclusion in the Director’s Chair: Analysis of director Gender & Race/Ethnicity Across 1,300 Top Films from 2007 to 2019” (Jan. 2020), female directors of top-grossing films reached a 13 year high in 2019: 10.6%, breaking an average of just 4.8% throughout the past 12 years. Maybe studios have begun to see women can be trusted to make profitable movies after all.

Yet, how many women are nominated for Best Director in the 2020 Academy Awards?

None.

This is not a post of protest, nor of analysis, but of reminiscence. I’ve made a mental inventory of some of my favorite films, ones that have stirred some ripples in the Pond, and found many of them are directed by women. Their works might not have made it to the ‘top-grossing’ list… but, this just shows where my interests lie.

Varda by Agnes
Agnès Varda in the director’s chair. Photo Courtesy: TIFF19

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Here they are in alphabetical order, with my favorite films bolded. Links are to my reviews:

Kathryn BigelowThe Hurt Locker (2008, Best Picture Oscar, Best Director), Zero Dark Thirty (2012). Bigelow is the only female to have won an Oscar in Directing. She has shown that when a woman takes on a military movie, she can master the conflicts both external and within.

Jane Campion – The New Zealand director is one of the five women in Oscar history to be nominated for Directing. The Piano (1993) is visually stunning and bold in its depiction of the yearnings of the human heart. Campion is the first (and only, so far) woman to have won the prestigious Palm d’Or at Cannes with this film. Bright Star (2009) is a lyrical portrayal of English poet John Keats and his muse Fanny Brawne before his untimely death at 25. A beautiful tapestry weaving together the visual and the word.

Nora Ephron – I miss Nora Ephron. It seems with her passing in 2012, romantic comedies aren’t the same anymore. Sleepless in Seattle (1993) and You’ve Got Mail (1998) will remain iconic from a period that still valued face-to-face meeting over the telephone or emails. And for some reasons, Meg Ryan seems to have gone out of sorts too. Hopefully she’ll make a come-back like Renée Zellweger did with Judy (2019).

Sarah GavronBrick Lane (2007) prompted my interest in the British director with her focus on a Bangladeshi wife in London; Suffragette (2015) depicts women’s personal struggles against a monumental period of British social history, but Rocks (2019) is the gripping, down-to-earth drama following a black teenage girl being left alone to fend for herself and take care of her little brother when their single mom deserts them, achingly real.

Greta GerwigLittle Women (2019) is a production that I’d enjoyed far more than Lady Bird (2017) for which Gerwig got a Best Director Oscar nom in 2018. It’s plain snubbing of her achievement in this year’s Academy Awards where the slate of Directing nominees are all males. Recognized at the Oscars or not, Gerwig’s Little Women will remain a definitive and worthy contemporary adaptation of Louisa May Alcott’s classic.

Mia Hansen-Løve – In Things to Come (2016), the French actor-turned-director Hansen-Løve presents a woman at the crossroads of life. Isabelle Huppert plays a philosophy professor whose husband leaves her for a younger woman, while her elderly mother with dementia needs her constant care, her publisher finds her text book no more relevant, and her two children have grown and lead lives of their own. What are the things to come for her?

Mira NairThe Namesake (2006) is the movie adaptation of the Pulitzer-winning author Jhumpa Lahiri’s first novel. A delightful and humane look at the generation gap within an immigrant family from India, and the clash the son has to face being caught between his present American life and his cultural roots.

Sarah Polley – Polley adapts Canadian Nobel Laureate Alice Munro’s short story for the film Away from Her (2006). At age 27, the Canadian actor-turned-director wrote the screenplay of an elderly couple facing separation as the Alzheimer stricken wife has to move away to live in a care home. Polley’s directorial debut sent veteran British star Julie Christie to the Academy Awards as a Best Actress nominee, and Polley herself for Best Adapted Screenplay.

Dee ReesMudbound (2007) is the adaptation of Hillary Jordan’s novel set in the American South at the end of WWII. Two military men, one white, Jamie, and one black, Ronsel, came back from Europe’s war zone to their home in Mississippi, each faces a different predicament. And for Ronsel, a decorated soldier who had fought under General Patton, home is a totally new battlefield.

Kelly Reichardt – Reichardt’s styling is naturalistic, casual but nuanced. Certain Women (2016) is a triptych of three short stories by Maile Meloy. Against the vast landscape of Montana, lives can be very ordinary, but Reichardt shows there’s no ordinary life. Similarly, Wendy and Lucy (2008) is a simple narrative about a young woman looking for work drifting through the Pacific Northwest with her dog Lucy. Reichardt has major stars in her cast who all look very comfortable being anonymous.

Lone Scherfig ­– Scherfig’s forte is her pleasant styling even when depicting a troubling story. Their Finest (2016) is England in her darkest hour during the Blitz in WWII but with the mood of a romantic comedy. And in 2009, Scherfig tells the story of an innocent teenage girl and her parents being duped by a man in An Education (2009). Carey Mulligan in her breakout role, landing her with a BAFTA win and an Oscar nom for Best Actress.

Agnès Varda – In her last film shortly before her death in 2019, Varda by Agnès, the French New Wave icon stated three crucial concepts in her filmmaking: Inspiration (the why), Creation (the how), and Sharing. The soft-spoken but astute artist has left us with a treasure trove of works, albeit not readily accessible in N. America. I’ve been able to watch several, including my favorites Cleo from 5 to 7 (1962) and Faces Places (2017).

Lulu Wang – The premise of the Chinese American director’s real-life family experience in The Farewell (2019) could be shocking to Western viewers, but that just shows the divides separating us who are framed by different cultures: to tell or not to tell an elderly family member of her terminal illness diagnosis. What Wang has ingeniously achieved in her film is to bridge the chasm separating the two sides with a human touch that transcends borders. Amazing feat.

Chloé Zhao – I hope this is a new trend, that is, let Asian Americans, or any underrepresented Americans of various cultural roots, to have the chance to showcase deserving works. The Rider (2018) is a poetic narrative of a contemporary cowboy–a rodeo bronco rider– recovering from debilitating head injury. Chinese American director Zhao is an unlikely person to tell the story; yet this is her vision after befriending the Sioux community in a South Dakota reservation.

 

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‘Downhill’: Faux Majeure

Here’s a quote I’ll use again and again, from South-Korean director Bong Joon Ho’s acceptance speech for Parasite winning Golden Globe’s Best Foreign Language Film award in January:

“Once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.”

Downhill

Downhill is a case in point. If one is willing to overcome the one-inch tall barrier called subtitles (they are in English, mind you), one will be amazed how true and powerful and entertaining the Swedish film Force Majeure (2014) is, and that watching the Ruben Östlund directed original would likely reap the most enjoyment and provoke some deep thoughts. Maybe an American version isn’t needed to begin with.

Written and directed by Nat Faxon and Jim Rash, with the Oscar nominated Jesse Armstrong as co-writer, if they’re to make an American version, there could have been potential for a fresh take. Force Majeure‘s literal meaning is a superior force, an unavoidable, overtaking power. Here’s the premise of the movie, which in itself is an interesting case for discussion:

A well-intentioned family holiday at a ski resort for bonding is shattered as the result of an instinctive reaction on the part of the husband/father. It happens when a controlled avalanche strikes a little too close to his family sitting at an outdoor dining table, he runs for his life while his wife huddles and protects their two boys. What follows is the underlying current of discontent and anger of the wife’s surfacing like a geyser. 

The producers must have seen the potential comedy in such a scenario. One of them is Julia Louis-Dreyfus, the Emmy and Golden Globe winning comedy actor, and a fan of the original Swedish film. Playing the wife Billie, Dreyfus shows she has her heart in it. In several scenes, she’s effective in bringing out Billie’s frustration. However, the issues of the movie are beyond her control, a real case of force majeure?

First is the casting of the husband Pete with Will Ferrell. Surely, for a comedy, Ferrell would be a natural choice. Call it irony, the indifferent demeanor Ferrell gives out as an actor in this movie actually parallels the husband Pete’s attitude, as if he’s being dragged up the ski hill. Have cell, will travel. His phone is what he’s resorted to as companion on a family holiday that he’s not ready to go on.

Pete’s work friend Zach (Zach Woods) and his girl friend Rosie (Zoe Chao) happen to be near where they vacation, so Pete secretly texts them to come over to their hotel in the guise that it’s their initiative to drop in. Here’s a pair of supporting roles if given more to play can add substance and context to the thin storyline, but they don’t have the chance. In the original Force Majeure, this couple plays a crucial part, especially with Kristofer Hivju’s performance as Mats, who’s full of humor. Hivju is also in Downhill, but only with a very minor role as the ski hill manager.

Other issues pervade, the script could well be a major one. As a comedy, there’s not much for laughs. It presents a problem but doesn’t delve into it; a comedy doesn’t mean superficial treatments. As a film that’s supposed to capture a sporting vacation, it lacks energy. No wonder the kids are so bored. The title is prophetic; I’m sure that’s unintentional. 

If an American version is the intent, then make it truly American, tell an American marriage story with this scenario. With Downhill, however, the European location, the ski resort surroundings, the actual scene of the controlled avalanche mishap, the set design, even the teeth-brushing moments in the hotel bathroom look almost the same as the Swedish original, other than the fact that the actors speak English. With its loose editing and scattered thematic matters, Downhill looks more like a parody of Force Majeure than a stand-alone comedy on its own.

 

~ ~ Ripples 

 

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CLICK HERE to read my review of Force Majeure

 

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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Book to Movie Adaptations 2020

A list of upcoming book to screen titles for the new year, eclectic choices for different tastes, varied classics and contemporary notables. Looks like classic literary works of all sorts are enjoying a comeback on the big and small screens.

Classic Suspense:

Classic Mystery.jpgDeath on the Nile by Agatha Christie

Kenneth Branagh returns after his first Hercule Poirot take in Murder on the Orient Express (2017) which he directs. Once again, the prolific screenwriter/adaptor Michael Green pitches in. Interesting cast with Gal Gadot, Armie Hammer, Annette Bening.
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RebeccaRebecca by Daphne du Maurier

Lily James is ubiquitous ever since she comes out of Downton as Lady Rose. Now she’s the young and naive Mrs. De Winter in a psychological warfare with her nemesis, housekeeper Mrs. Danver played by Kristen Scott Thomas. Can the master of Manderley save her? But of course, he must save himself first. That’s Armie Hammer, equally ubiquitous.
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Classic Adventure:

The Call of the Wild.jpgThe Call of the Wild by Jack London

Harrison Ford heeds the call with action star Karen Gillan, Dan Stevens, and the Calgary-born, The Expanse star Cara Gee. Partially filmed in Yukon and some in Vancouver, B.C., Canada. Never heard of the Yukon Territories? This should be a good intro. I’m all for old classics, be they books or actors.
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DOCTOR D (1).jpegVoyages of Doctor Dolittle by Hugh Lofting

Movie title Dolittle, an adventure spectacle with Robert Downey Jr. as the eponymous Doctor. See if you can identify the voices of these animals: Rami Malek, Emma Thompson, Ralph Fiennes, Marion Cotillard, Octavia Spencer… just to name a few of the stars in this production. Coming out January 17.

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Classic Sci-Fi’s:

The Invisible ManThe Invisible Man by H. G. Wells

Classic sci-fi gets a resurrected boost. Wells’ novella and cautionary tale was first published in 1897. Now 123 years later in the 21st century, it’s adapted into a movie for the big screen. The Handmaid’s Tale Elizabeth Moss stars.
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Brave New WorldBrave New World by Aldous Huxley

Huxley’s dystopian, imagined future written in 1931 is adapted into a TV series almost 90 years later. Again, a mark of what makes a book a classic, especially a sci-fi work. Downton early-exit Lady Sybil Jessica Brown Findlay’s in.
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DuneDune by Frank Herbert

Another sci-fi classic, but closer to our time. A project by the acclaimed French Canadian director Dennis Villeneuve who has done some remarkable works like the Oscar nominated Arrival (2016), Blade Runner 2049 (2017) and Sicario (2015). Adapted into screen by Oscar winning writer Eric Roth (Forest Gump, 1994; A Star is Born, 2018). Timothée Chalamet, Rebecca Ferguson, and Oscar Isaac star.

Classic YA’s: 

Artemis_Fowl_first_edition_coverArtemis Fowl by Eoin Colfer

The first of Colfer’s popular series is a Disney production with Kenneth Branagh directing. A trending genre, the YA fantasy series has great potentials to be successful. A strong cast including Hong Chau, Judi Dench, Josh Gad.

 

The Secret Garden.jpgThe Secret Garden by Frances Hodgson Burnett

Like Little Women, this classic young reader novel has had several screen adaptations. I have no qualms about this; it only helps to spark renewed interest in the book. This new adaptation will have Colin Firth who was in the 1993 version to play Lord Archibald Craven and Julie Walters as Mrs. Medlock.
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Contemporary Notables:

I Know this much is True.jpgI Know this much is True by Wally Lamb

Lamb’s novel about a twin brother’s advocacy and care for his paranoid schizophrenic sibling is adapted into a 6 episode TV miniseries. Mark Ruffalo will play both brothers, Dominick and Thomas Birdsey. Director Derek Cianfrance has a few fine works, the Cannes nominee Blue Valentine (2010), The Place Beyond the Pines (2012), and The Light Between Oceans (2016).

Little Fires.jpgLittle Fires Everywhere by Celeste Ng

Goodreads Choice of the Year Best Fiction (2017) and Novel of the Year on other sites, Chinese American writer Celeste Ng’s novel on class/race differences and aspirational conflicts in the idyllic community of Shaker Heights, Ohio, is adapted into a TV miniseries. Reese Witherspoon and Kerry Washington star.

Nine Perfect StrangersNine Perfect Strangers by Liane Moriarty

Moriarty’s website states her books had sold over 14 million copies worldwide. On the heels of her successful Big Little Lies turned into the small screen, Nine Perfect Strangers has already secured Nicole Kidman and Melissa McCarthy on board for the miniseries on Hulu. Her other books will follow.
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the woman in the window.jpgThe Woman in the Window by A. J. Finn

A shaky narrator seeing a crime happening or being caught in one, Gone Girl was the first to kick off the trend. The Woman in the Window alludes to the Hitchcock classic Rear Window. Directed by Joe Wright (Darkest Hour, 2017; Anna Karenina, 2012), screenplay by Pulitzer winner Tracy Letts (August: Osage County, 2013), and an A-list cast with Amy Adams, Gary Oldman, Jennifer Jason Leigh, Julianne Moore.

 

 

 

 

Top Ripples of 2019 and the Decade

Best of the decade lists have been sprouting up everywhere now that we’re wrapping up  the second ten years of the 21st century. As Ripple Effects has been around for over 12 years now, I too have the privilege to post my own decade favourites, with links to my reviews. A disclaimer is, obviously, I can only rate films that I’ve seen. For 2019, I’ve yet to see 1917 and Bombshell.

But first off, before looking back to the decade, here’s the list of

Top Ripples of 2019:

  1. Little Women
  2. A Hidden Life
  3. Varda by Agnès
  4. An Elephant Sitting Still
  5. Pain and Glory
  6. The Farewell
  7. Parasite
  8. Marriage Story
  9. American Factory
  10. Rocks

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Top Ripples of the Decade:

  1.  The Tree of Life (2011) –– Director Terrence Malick’s visual treatise on life, death, and everything in between… and after.
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  2.  Roma (2018) –– Nothing’s too mundane for a filmmaker, especially with childhood memory. Mexican director Alfonso Cuarón’s autobiographical work that won him 3 Oscars, Best Directing, Cinematography, and Best Foreign Language Film.
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  3.  Ida (2013) –– Polish-born director Pawel Pawlikowski’s gripping depiction of a young woman’s choice of the sacred or the secular.
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  4.  An Elephant Sitting Still (2018) –– A last outcry of a young talent, the first and last masterpiece of Chinese writer/director Hu Bo who took his own life after making the film at age 29.
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  5. Little Women (2019) –– No matter what your previously held memory of the adaptation of Louisa May Alcott’s classic is, Greta 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. Surely lots have to be left out in a 2 hr. movie; take it as a good prod to go read the book.
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  6.  A Hidden Life (2019) –– Austrian farmer Franz Jägerstätter gave up everything to stand by his conviction, refusing to take the oath of loyalty to Hitler. Terrence Malick’s newest film is a meditation on the meaning of life, and death.
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  7.  Silence (2016) –– Martin Scorsese’s epic adaptation of Japanese author Shusaku Endo’s novel, a harsh and audacious look at the persecution of Christianity during 1600’s Japan. Similar to Malick’s A Hidden Life but depicts a totally different choice and outcome for its protagonist.
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  8.  Clouds of Sils Maria (2014) –– French director Olivier Assayas’s mesmerizing tale of being famous, ageing, becoming obsolete, and the young rising. Juliet Binoche and Kristen Stewart offer interesting interplay, but it’s Stewart who stands out.
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  9.  12 Years A Slave (2013) –– Two Brits takes over the American story: Director Steve McQueen and actor Chiwetel Ejiofor who plays Solomon Northup. I wrote this in my review: the subject matter may be ugly, but the medium depicting it can be artistically gratifying, thus, conveying the message with even greater potency and inspiration.
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  10.  Certain Women (2016) –– Director Kelly Reichardt has chosen three short stories by Maile Meloy to form a cinematic triptych. The seemingly mundaneness of life is actually the very essence of it. The women are what make this film quietly impressive: Laura Dern, Michelle Williams, Lily Gladstone, Kristin Stewart.
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  11. Pain and Glory (2019) –– “The child is father of the man”, iconic Spanish filmmaker Pedro Almodóvar’s autobiographical sketch of his childhood, later life and career up to this point. Beautifully shot, a film for artists.
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  12. The Farewell (2019) –– Chinese American director Lulu Wang has put her family story on screen and captured the hearts of many, making Awkwafina the rising star this awards season. To tell, or not to tell, that is the question… and the answer is obvious depending on where you’re from.
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  13. Faces Places (2017) –– Agnes Varda at 89 goes on a road trip with photographer/artist JR, adorning dilapidated buildings and unlikely places with human portraits larger than life.
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  14. The Rider (2017) –– Chinese-American Chloé Zhao tells the rarely told story of a modern day cowboy’s existential crisis after he suffers a debilitating head injury. How she tells it is poetry on screen.
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  15. Arrival (2016) –– Admirable collaboration: French Canadian director Denis Villeneuve’s adapts Chinese American sci-fi writer Ted Chiang’s short story “Story of Your Life”, rendered with sensitive performance by Amy Adams. A film packed full of ideas, condensed sentiments, yes, like poetry.
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  16. Frances Ha (2012) –– Noah Baumbach has created a character that’s a perfect fit for partner Greta Gerwig, an aspiring dancer trying to find her place in NYC. The scene of Frances running and dancing through the streets of NYC has become an archetype for freedom and exuberance. (Look for it at the beginning of Little Women)
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  17. Varda by Agnes (2019) – The only female director of the French New Wave, Agnes Varda had left us with an inspiring legacy. This is her summing up, her last work wherein she went through every film she’d made, commenting with valuable insights and wisdom.
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  18. Our Little Sister (2015) –– I’ve to say this could well be my favourite Hirokazu Kore-eda movie. Koreeda is a master in filming family relationships, reminiscent of Ozu but with contemporary scenarios. This is a heartwarming film for the unhurried heart to savour.
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  19. Life of Pi (2012) –– What Canadian author Yann Martel has succeeded in literary form, Ang Lee has realized in this visually stunning cinematic offering, filming what is considered the ‘unfilmable’. Aligned with its magical realism, Lee ventured into flashy 3D.
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  20. The Past (2013) –– Iranian Director Asghar Farhadi elicited some amazing
    performance with this absorbing story. The film came out two years after A Separation, his Oscar winning film. I’d enjoyed The Past more.
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Other Top Ripples not on the above lists can be found on the sidebar. Click on the image to read my review.

 

 

 

 

‘The Farewell’ transcends cultural borders to bring out the universal

When an elderly, beloved family member is diagnosed with stage four lung cancer and has only three months to live, will you let her know the prognosis or hide it and spare her of fear and burden? Chinese-American director Lulu Wang has turned her real-life family experience into first, a radio program on “This American Life” (aptly entitled ‘In Defense of Ignorance’), and subsequently adapted it into a movie, The Farewell. The Chinese title is more direct: 別告訴她, “Don’t tell her.”

The-Farewell-movie-poster

In the film, the family decides not to tell their beloved matriarch grandmother, Nai Nai, (Shuzhen Zhao), about her health status. She’s living contentedly, doing her morning exercise with gusto, relatively independent, with her younger sister Little Nai Nai (Lu Hong) keeping a watchful eye on her.

To arrange for everyone to say farewell and see Grandma Nai Nai one last time, older son Haibin (Yongbo Jiang) and his family will return from Japan, staging a hasty wedding of their son Hao Hao (Han Chen) to his Japanese girlfriend of just three months, Aiko (Aoi Mizuhara). Their plan is to have the celebration in the city where Nai Nai lives, Changchun.

Nai Nai’s younger son Haiyan (Tzi Ma) and his wife Jian (Diana Lin) will go back from New York for the wedding. Such a ruse is not received well by their daughter Billi (Awkwafina), born in China but raised in America, who upholds the values of individual rights and transparency.

Easy, her parents tell her she doesn’t need to go as they are afraid her Americanized expressiveness will give it away the moment Nai Nai sees her face. Billi won’t stand for that either, for she loves her grandma, with whom she’d had a close bond as a child until she left for the U.S. at the age of six. She still keeps in touch with Nai Nai by phone with her passable Mandarin. So Billi goes to China on her own, a surprise for the whole family––a pleasant one for Nai Nai, but a precarious risk for everyone else.

Since its debut at Sundance early this year, The Farewell has been winning audience’s hearts. Wang’s film is greeted as another strong voice in the diversity movement within the movie industry, following the flagship crowd-pleaser Crazy Rich Asians last summer. With a mostly Chinese main cast, shot in Changchun and New York City, Wang’s feature aptly depicts the cultural clashes immigrants face when leaving their home and settling in the West, or the older, first generation with their America born or raised children.

The wide reception the movie has been garnering is a reflection that this kind of dilemmas or conflicts are not limited to one cultural group. The issues families face, illness and death, parenting our own elderly parents, resolving disagreements and maintaining relationships are but some universal experiences joining us all.

The Farewell is Wang’s second directorial work after her 2014 debut feature Posthumous. In this her sophomore film, looks like she has established a personal style of her own. The slow pacing depicts effectively the internal world of the characters. While the middle section feels a little bogged down, the ensemble performance of the whole cast soon lifts us up and lands us on a higher plane.

Awkwafina’s (a.k.a. Nora Lum) performance is spot-on in depicting the conflicting emotions Billi is riding through. It’s obvious she has found her niche and developed into a full-fledged actor who can carry a story soundly on her own. She has morphed from rapper to actor, from being just a sidekick in Ocean’s Eight and Crazy Rich Asians to a dramatic lead. Thanks to Wang’s script, Awkwafina has several cathartic, moving moments showcasing her skills. For this role, she won a Golden Globe for Best Actress, Motion Picture – Musical or Comedy, and became the first actor of Asian descent to capture that top prize.

Humor is the key to the heartstrings of the audience, and Wang has splashed it throughout readily, however deadpan it may come in. While the subject matter is somber, the comedic elements are ubiquitous. Some may require discernment from the audience to laugh where it’s meant to laugh, and refrain from it when it’s meant to be serious; that’s an interesting observation I got as I sat in the theatre. Dramedy? Dark comedy? Light drama? Genre fusing no doubt.

The music of the film particularly stands out. The selections could well be influenced by Wang’s own classical music training before her filmmaking career. During the pivotal scene of the wedding banquet, the operatic aria “Caro Mio Ben” is performed (soundtrack sung by South Korean soprano Hyesang Park with piano accompaniment by Wang herself.) The longing tune alone captivates, but knowing the lyrics will add credit to the mindfulness of Wang’s selection: “Dearest, my beloved, believe me at least this much, without you, my heart languishes.”

Composer Alex Weston’s original score augments the emotional power of the story by weaving a soulful voice motif across the scenes, stirring up a reflective and poignant tone throughout. Indeed, the fusion of Western music in an Eastern culture is all realistic in our contemporary world, its purpose could well be drawing out the universal, uniting us all in our humanity.

Overall, the ingenuity of Wang’s feature has effectively bridged two seemingly dichotomized cultural views, the East and the West, regarding the serious issue of to tell, or not to tell when a beloved, elderly family member is diagnosed with terminal illness. In just 100 minutes of screen time, Wang has brought a contentious, ethical issue to a human level and wrapped it with heart. The Farewell is a worthy addition to a hopefully sustaining trend of diversity and representation in the film industry.

 

~ ~ ~ 1/2 Ripples

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