Tag: films from 2002

Reel 89: Backstage Adaptations

Hey there! Long time no see!

That’s actually my (Claude) fault. I’d completed post-production on this episode of the show and somehow failed to post it to our host. Fortunately I corrected that a couple of nights ago, so it should already be in your podcast feed. But if you’re catching up here, you have my abject apologies. You’ll also get Episode 90 this weekend, dropping overnight Saturday/Sunday morning.

Today we’re looking at a couple of films that outline the trials and tribulations attached to creating a film based on source material that’s notoriously tough to adapt to film. As a result, the film becomes a story telling us how tough it is to do the adaptation, while simultaneously (sort of) telling us the story itself.

We open with ADAPTATION (2002), directed by Spike Jonze. We have here a terrific ensemble cast, including Nicolas Cage, Chris Cooper, Meryl Streep and several other familiar faces. Cage plays a screenwriter who’s struggling with writing a script based on the real-life book The Orchid Thief. His twin brother shows up and decides that scriptwriting isn’t so tough, maybe he can write one. Hijinks ensue.

ADAPTATION is about the scriptwriting process. But sometimes the script comes together but producing the actual film is…something else again. For that we have TRISTAM SHANDY: A COCK & BULL STORY, from 2005 and directed by Michael Winterbottom.

In this film, Steve Coogan plays an exaggerated version of himself in the title role of the film adaptation of The Life and Opinions of Tristam Shandy, Gentleman. He’s constantly fighting with another actor, usually about who the real star of the film is. The director doesn’t appear to have a good handle on the source material, and the two people (who coincidentally–or not–have the same first name) who do, are constantly ignored. If you’ve ever watched a film and wondered how it got made, this is the answer.

COMING ATTRACTIONS: 

In Episode 90 we go to the ballet, starting with the 1948 film THE RED SHOES, written and directed by Michael Powell and Emeric Pressburger. Sean and Claude both enjoyed this film despite having different opinions on certain aspects of it. From there we go to 2003’s THE COMPANY, directed by Robert Altman. It covers a season of rehearsal and performances at the Joffrey Ballet. As with any Altman film, you may have a little difficulty following the chaos at first, but once you relax and settle in, you’ll have a great time. Join us, won’t you?

 

Reel 60: Hail Oceania

Yes, yes, we know. We skipped #59. There’s an explanation at the beginning of this episode, and Mea Culpa. #59 will be the next one we drop. And THAT, rather than this, will finish our tour Around the World in Twenty  Films. (So, never mind what Sean says about it being the last stop.)

The thing that strikes me as interesting, retrospective to our conversation, is that in both of this episode’s films, we’re dealing with the sins of the past. And not the long past, but as part of living memory.

First up, we’re reviewing 1994’s Once Were Warriors, directed by Lee Tamahori. It’s a look at the Hekes, a lower-class New Zealand family, and how they deal with some of their personal struggles. You kind of feel for some of them, then you feel for others, then you’re not sure what to think, and if this sounds confusing, it is, but in a good way. Ultimately, you will not be dissatisfied by the ending.

From there we jump to Western Australia, to check out Rabbit-Proof Fence, directed by Philip Noyce. It’s based on a true story about three young girls and a very, very long walk they take across the continent. This one doesn’t so much confront Australia’s past as it pushes the viewer into confronting it, especially when you realize that these events – as outmoded as they sound – took place during the lifetimes of people who are still alive today.

COMING ATTRACTIONS:
As noted above, our next episode will be the one that was supposed to happen here. We’ll be reviewing Parasite and Shoplifters, though not in that order.