(5) In the pretty good novel "The Wife," the narrator has a notable ending. She has just disclosed to us that her husband's life has been a lie, and that she is filled with rage (husband-directed rage). Then, paradoxically, she turns to her husband's awful biographer and says: "My husband earned all the greatness that came toward him. If you suggest otherwise, I'll sue." Or something like that. It's a strong ending, because the statement is ambiguous and tortured and ironic: The husband really earned little or nothing, and the wife knows this. But she can't vindicate herself, because too much is at stake. She was complicit in her husband's farce. She has to continue to save face, as much as it pains her. This is a very fine "button"; it makes us think of HRC and Bill Clinton, which is surely intentional. It also nicely encapsulates the anguish, the inner war, that *is* this character. Well done.
In the movie, though, a scriptwriter apparently had an idea. "I will end on a moment of triumph! I will have Glenn Close turn to her son and say, THE TRUTH WILL BE REVEALED SOON!"
Scriptwriters should have humility. They should ask: "Am I on par with Meg Wolitzer?" The answer will be--inevitably--no. Scriptwriters should then opt *not* to dilute Wolitzer's painful ending with some awkward Hollywood sunshine. Just a thought.
(4) In the immortal novel, "The Bookshop," the protagonist has a great tragedy. No one grows or learns much of anything. The quiet, spellbinding book is about the strong and vicious triumphing over the gentle and weak. It's like an allegory of fascism. The Nazis move in, and they do their business, and you won't spot a silver lining.
In the genuinely wretched new movie "The Bookshop," there's a bizarre hot-off-the-presses ending where a little girl, moved by the protagonist's courage, burns down a building and opens a business of her own. This is meant to "uplift" us. It's as if the scriptwriter were spitting in Penelope Fitzgerald's face. The gall. At least no one is choosing to see this movie. Someone deserves never to work in arts and letters, ever again--after this Emily Mortimer fiasco.
(3) I will see "First Man," to support my hero, Claire Foy, but I'm already tired of Damien Chazelle's movies. Even "Whiplash," which people generally liked, was actually not that good. And let's not get started on "La La Land." When this guy invents a character who seems recognizably human, who seems to live and breathe, I will do a dance of joy.
(2) The Ann Patchett novels I have read have all been over-rated--even "Commonwealth." The one consistently good book of hers that I have encountered is her memoir, "Truth and Beauty." The new trailer for the adaptation of the (yep, overrated) novel "Bel Canto" is actually risible. It seems to suggest that the power of Renee Fleming's voice might end wars.
There was a time when Julianne Moore made "Safe" and "Vanya on 42nd Street." What has happened to Julianne Moore?
(1) Vulture has created a "canon" of twenty-first-century literature, and has omitted both Peter Cameron and Alice McDermott. But the panelists did find room for Harry Potter and "Gone Girl." Thanks, Sloane Crosley! But: Back to the drawing board!
In the movie, though, a scriptwriter apparently had an idea. "I will end on a moment of triumph! I will have Glenn Close turn to her son and say, THE TRUTH WILL BE REVEALED SOON!"
Scriptwriters should have humility. They should ask: "Am I on par with Meg Wolitzer?" The answer will be--inevitably--no. Scriptwriters should then opt *not* to dilute Wolitzer's painful ending with some awkward Hollywood sunshine. Just a thought.
(4) In the immortal novel, "The Bookshop," the protagonist has a great tragedy. No one grows or learns much of anything. The quiet, spellbinding book is about the strong and vicious triumphing over the gentle and weak. It's like an allegory of fascism. The Nazis move in, and they do their business, and you won't spot a silver lining.
In the genuinely wretched new movie "The Bookshop," there's a bizarre hot-off-the-presses ending where a little girl, moved by the protagonist's courage, burns down a building and opens a business of her own. This is meant to "uplift" us. It's as if the scriptwriter were spitting in Penelope Fitzgerald's face. The gall. At least no one is choosing to see this movie. Someone deserves never to work in arts and letters, ever again--after this Emily Mortimer fiasco.
(3) I will see "First Man," to support my hero, Claire Foy, but I'm already tired of Damien Chazelle's movies. Even "Whiplash," which people generally liked, was actually not that good. And let's not get started on "La La Land." When this guy invents a character who seems recognizably human, who seems to live and breathe, I will do a dance of joy.
(2) The Ann Patchett novels I have read have all been over-rated--even "Commonwealth." The one consistently good book of hers that I have encountered is her memoir, "Truth and Beauty." The new trailer for the adaptation of the (yep, overrated) novel "Bel Canto" is actually risible. It seems to suggest that the power of Renee Fleming's voice might end wars.
There was a time when Julianne Moore made "Safe" and "Vanya on 42nd Street." What has happened to Julianne Moore?
(1) Vulture has created a "canon" of twenty-first-century literature, and has omitted both Peter Cameron and Alice McDermott. But the panelists did find room for Harry Potter and "Gone Girl." Thanks, Sloane Crosley! But: Back to the drawing board!
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