I need to write a proper riff on William Friedkin’s astounding 1977 film Sorcerer—I’m pretty sure I didn’t see a better film this summer—nor have I seen anything that zapped me with that How the hell haven’t I seen this yet? feeling since Michael Mann’s Thief. But as the summer ebbs and a new year of a full teaching load approaches, I’m not sure if I’ve got a spare three hours to watch Sorcerer a third time any time soon (the third viewing was perfect, by the bye). It’s great though. It’s about four dudes, exiles, trying to move nitroglycerin in two old trucks across a mountain in an unnamed South American country.
I had scratched out some notes on the first viewing though, which I won’t bother to cobble together here in anything other than a silly list, which I hope to mine later in Something Bigger on Sorcerer:
Metaphors of postglobal cooperation in the cause of self-interest.
Multilingual, but postlingual: Film as language. Sorcerer as its own language.
Post-WWII; somehow hasn’t absorbed the Vietnam War.
Like Herzog, here is a depiction of nature that conveys the sublime while stripping from it the romance, leaving only the horror and awe.
Comments on its own engineering, its own technological processes (like Herzog’s Fitzcarraldo).
But also, its focus on engineering points backwards (The Bridge on the River Kwai) and forwards (uh, the Fast/Furious franchise? —but not fast here; no: slow).
(Clearly the double feature of Fitzcarraldo).
Postglobalism — terror, crime, religion, economics, class, “high” art, — all the shit that’s dealt with in the first 30 min — is subsumed into nature vs techne — a kind of nihilsm against nature pointing at the current century.
IT’S ALL ABOUT ENGINEERING!
Unself-concious postmodernism, before postmodernism is properly “postmodernism”: That Friedkin is perhaps working in Modernist idioms (all the noir touches, the irony, the hallucinations, the cuts, etc.), but produces something we might describe as “postmodern.”
That end — tragic, ironic, pathetic, bathetic—and a loop! (sort of)—Friedkin’s film ironizes the Romantic touches, the Bogart shadows.
I don’t know how I missed this—the teaser came out a few weeks ago—but a new Miyazaki is always promising. The Wind Rises is out in Japan in two weeks, out in the rest of the world, who knows when…but I’ve never minded watching his films sans subtitles or dubbing. Read more about The Wind Rises here; read my review of Ponyo, the last Studio Ghibli film that Miyazaki directed.
As studios increasingly rely on franchises—and rebooting those franchises every decade—it makes sense that franchise titles will continue to evolve like comic books have, with new artists (directors, producers, writers, etc.) doing their “take” on the property.
A few of Hartter’s images, but I suggest getting lost in his site:
“Having your book turned into a movie is like seeing your oxen turned into bouillon cubes” — John LeCarre
Movies rarely compare favorably to the books from which they are adapted and almost never surpass them. Still, film adaptations of books can be fantastic if handled by the right director–take Mexican director Alfonso Cuarón for example, whose brilliant films Children of Men and Harry Potter and the Prisoner of Azkaban (adaptations of books by P.D James and J.K. Rowling, respectively) convey richly imagined, engrossing worlds. Cuarón’s films join a small stable of adaptations that live up to–if not surpass–the books on which they are based. Most great film adaptations turn good genre fiction into great art. However, great literature doesn’t usually fare so well. Geniuses like Kubrick and Coppola have reconfigured airport reading like Stephen King’s The Shining and Mario Puzo’s The Godfather into cinematic masterpieces, but has anyone ever done justice to Melville or Hemingway or Hawthorne or Fitzgerald (of the four attempts at translating Gatsby to the screen, the 1974 Coppola-produced effort is arguably the best, but consider how short it falls of capturing Fitzgerald’s vision)? Which brings up the question: just how good, bad, or indifferent will the upcoming movie adaptation of Cormac McCarhy’s Pulitzer Prize winnerThe Roadbe? We thought we’d navigate the pros and cons here.
What The Road film adaptation has going for it:
The director: Australian director John Hillcoat’s 2005 feature film debut The Proposition captured the bloody violence and moral ambiguity of a world alienated from civilization. We loved the movie, and not enough people have seen it. The tone Hillcoat achieved in The Proposition seems well matched to McCarthy’s grim vision.
The producer: Nick Wechsler’s list of films includes Sex, Lies, and Videotape, The Player, Requiem for a Dream, 25th Hour, and Drugstore Cowboy–so it seems like he knows how to sit back and let a filmmaker create art without trying to, you know, have a massive Hollywood hit.
The leading man: Viggo Mortensen as the father seems like a great choice. Mortensen brought depth to the role he’s most famous for–Aragorn in The Lord of the Rings trilogy–something of a feat when you consider most of his screen time was devoted to scowling, brooding, or chopping up orcs. He was fantastic in the films he did with David Cronenberg, A History of Violenceand Eastern Promises (his bathhouse fight scene is unbelievable). Mortensen’s a published author who started his own publishing house, Perceval Press, so he probably understands the literary gravity of The Road.
The story: Anyone who’s read The Road knows that it’s a sad and moving and strangely beautiful take on one of the most hackneyed devices of science fiction: the post-apocalyptic wasteland.
Potential problem spots for The Road film adaptation:
The cast: We don’t know much about twelve year old Kodi Smit-McPhee who plays the son, but we do know that that is a major role. Let’s hope Kodi is more Jodie, less Jake Lloyd or (shiver) Dakota Fanning. However, Viggo’s had pretty positive things to say about him. Ringers Robert Duvall and Guy Pearce are also in there, but there aren’t too many other speaking parts in the book besides the father and the son, so it’s hard to predict what they’ll be doing–hopefully Hillcoat hasn’t fiddled with the story too much. Charlize Theron is also in the movie. The wife character showed up in a few dreamy flashbacks, but was more of a shadow than a fleshed out character; again, hopefully Hillcoat hasn’t chosen to expand the role to appease a wider demographic.
The story: Some of the best moments of The Road consist of the father’s inner monologues on memory and loss and very few directors can pull off a voice-over successfully (Terrence Malick is the only one who comes to mind right now). Of course, this problem of language is always the problem of movie adaptation.
All the Pretty Horses: Billy Bob Thornton’s leaden 2000 adaptation of the first of McCarthy’s “border trilogy” is pretty boring. I’ll admit that I’ve never finished the book, despite three attempts [ed. note: I finished the “border trilogy” in spring of ’09. Books are far, far, far superior to the film].
No Country for Old Men: Even though the Coens did a great job with No Country for Old Men, the book was still better than the movie–and No Country is, in some ways, McCarthy’s take on a genre novel, the crime procedural. In this sense, the Coens made a smart move, but they still couldn’t convey the depth and meaning of the book–again, much of it delivered via Sheriff Ed Tom Bell’s inner monologues. Although The Road may appear to have genre fiction elements–namely, the tropes of post-apocalyptic sci-fi–to describe it as such would be a severe limitation, as would be to film it in such a manner.
The advance stills: Sure, they’re grim and bleak, but are they grim and bleak enough?
Also, why the stylized cart? If you’ve read the novel, you know what I mean–the cart needs to be a grocery store cart, homeless style! Hang on–
–that’s better! (NB: images link to a gallery of advance images)
Does it seem worth seeing in the theater?
Yes. We’ll be carrying the fire on or around November 26th (and just in time for Thanksgiving!)