Scott Rudin the Hollywood producer known for bringing adaptations of contemporary literature to the silver screen – he was responsible for Wonder Boys and The Hours, for example – may be on his way out at Paramount. This means that several forthcoming literary adaptations could be in jeopardy, including big screen versions of three new books: Ian McEwan’s Saturday, Jonathan Safran Foer’s Extremely Loud and Incredibly Close and Cormac McCarthy’s No Country for Old Men. Farther along in their development are The Amazing Adventures of Kavalier & Clay by Michael Chabon and, of course, Jonathan Franzen’s The Corrections. Though adaptations can be a risky proposition, I do hope that some of these end up getting made if only to satisfy my curiosity. Here’s the story from the Hollywood Reporter.
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What is it about the English that draws them again and again to cross-dressing as a cornerstone of comedy? You'd think that three-hundred and some years on from Charles II's allowing women on the stage - thereby making pre-pubescent male Juliets a thing of the past - we'd have long ago seen the last of stubbly-faced ladies. Oh, but we have not, and it's a good thing too.The most popular recent incarnation of this phenomenon is Matt Lucas and David Walliams' two-man sketch comedy extravaganza Little Britain. If you've somehow managed to miss this, it is well worth a search on YouTube (at least). The cross dressing skits are hilarious (Emily Howard, Vicki Pollard, and Anne are fine examples), though my favorite pair is Andy and Lou, an indecisive faux cripple and his benevolently idiotic friend and minder.For those of a more venturesome disposition, I recommend the League of Gentlemen. The title refers to the four actors who play virtually all of the inhabitants of the eerie fictional town of Royston Vasey - Jeremy Dyson, Mark Gatiss, Steve Pemberton and Reece Shearsmith. While Little Britain occasionally verges into the scatological (a woman who vomits profusely whenever she encounters a racial or ethnic minority, for example), The League of Gentlemen can be utterly baffling and disturbing. There's a short, impenetrable skit with two minstrels - men in blackface - eating cereal and listening to a broadcast on the radio about the recent mass influx of minstrels. Explain that one if you will. I have suspicions that the writing of certain skits may have involved psychotropic substances. Nonetheless, for Tubbs and Edward, a husband and wife team who keep the "Local Shop," the show is worth a watch. (I wish I could find the one where Tubbs nurses a piglet - you are intrigued now, I know! - but, alas, I could only find this.)Stephen Fry and Hugh Laurie are also exceptional in drag and if you've watched House, M.D. and don't know where it all began, A Bit of Fry and Laurie is a must. Hugh Laurie in a head kerchief and over-applied rouge, speaking not a word, is a side-splitting, pants-wetting thing to beholdBut the inspiration for this post was my most recent encounter with this genre, a clip from a show called The Might Boosh. I warn the faint of heart against Old Greg, but for those fuzzy little man-peaches out there who dare to drink Bailey's from a shoe, chin chin!
During college, two of my English-majoring friends had a running argument, years long, about whether "Pale Fire,” the 999-line poem that begins Vladimir Nabokov’s novel of the same name, is good or not. The poem is attributed to the fictional writer John Shade, and the rest of the novel takes the form of an unhinged and digressive commentary on it by Shade’s neighbor. There’s no doubt about the quality of the commentary (as commentary, as opposed to a satire of one), nor about the quality of novel, but what of the poem? Usually, fictional works of art are framed as clearly good or bad by the larger works they are within, but occasionally their status is more interestingly ambiguous. Jim Jarmusch’s new film Paterson follows a week in the life of Paterson, a Paterson, N.J., bus driver played by Adam Driver. (Many of its jokes are of this sort.) It is admirably quiet and prosaic, refreshingly so in a time when it can feel like 50 percent of films include the computer generated destruction of a metropolis. It is also remarkably thought provoking, raising questions about why people write poetry, whether they need readers, and who merits the label “poet.” More than any other, however, the film left me with the question of whether it -- and Jarmusch -- thinks Paterson’s poetry is any good. Paterson writes, if the week we see is typical, about a poem a day. We witness him thinking through the first lines over breakfast and his walk to work, then writing in his “secret notebook” (as his wife calls it) as he waits to set out on his first route of the day, on his lunch break, and at his basement desk at home. Certainly the film seems to celebrate his words: paired with Driver’s voiceover, they are inscribed on the screen, both as they are being drafted and in apparently finished form. Yet Paterson is uninterested in showing his poetry to anyone. His wife seems to have read, or heard, a few of them, and constantly hectors him to make copies and share them with the world, but he is clearly reluctant to do so. The counterpoint of Paterson’s wife, Laura (played by Golshifteh Farahani), suggests all the more that the film thinks Paterson’s poetry is good. She flits from daydream to daydream about how she will become famous -- for her cupcakes, or as a Nashville singer with her newly bought guitar -- and the film gently mocks these dreams, as well as her many design projects around the house. Yet no such mockery is pointed toward Paterson’s work. Films can make any poem seem greater than it is, and of much deeper significance -- or go too far in such a direction, turning it into overwrought bombast, as Dead Poet’s Society did for Walt Whitman and, more recently, Interstellar for Dylan Thomas. Despite this, Paterson’s poetry still seems, at best, merely mediocre. It is styled after that of William Carlos Williams, son of Paterson, N.J., and hero of both Driver’s character and the film. Williams is repeatedly discussed, Paterson recites “This Is Just to Say” at his wife’s request, and his book Paterson is obviously visible on the main character’s shelf (along with other collections of poetry and Infinite Jest, a book I cannot imagine Driver’s character reading, which Jarmusch also visually fetishized, more convincingly, in Only Lovers Left Alive). Unlike Williams’s poetry, however, Paterson’s seemed to me unnecessarily baggy, occasionally finding a good line or two, but only after far too much preamble, not just conversational, but plain in its diction and rhythm to the point of banality. I was surprised to learn, then, that Paterson’s lines were in fact written, some especially for the film (others have appeared elsewhere), by the poet Ron Padgett, an award-winning member of the New York School (itself name-checked, via Frank O’Hara, in the film). Unless Jarmusch means to insult his friend, this makes me think he means to present the poems as good. Otherwise, why not write them himself? Poetry of Williams’s sort is not hard to write, only hard to write well. Did Padgett, in the poems written for the film, take on the persona of a lesser talent? The film features one other poem, written by a 10-year-old girl with whom Paterson falls into conversation. This one was actually written by Jarmusch, and the film presents it as no worse than Paterson’s (that is Padgett’s) work: Driver’s character seems genuinely moved by it, and he recites its opening lines to his wife later that night. Does Jarmusch intend to lower Paterson’s status, or to elevate the young girl? Paterson exists thought-provokingly, though I am not sure fully purposefully, in the space created by the ambiguity of whether Paterson’s poetry is any good. If it were clearly bad, then the film would become cruel. If it were clearly good, then the film would become something else, a hackneyed gem-in-the-rough story. Twice in the film, Paterson is presented with the opportunity to call himself a poet. Neither time does he. He is interested in poetry, likes poetry, but he doesn’t even admit he writes it, neither to the young girl, nor to a Japanese poet on pilgrimage to the hometown of William Carlos Williams. Where Williams was a doctor, Paterson is a bus driver and thinks of himself merely as that. Unlike Williams, he writes only for himself. Near the end of the film, Paterson’s notebook is destroyed (a move so heavily telegraphed that this really isn’t a spoiler). His wife is devastated by the loss -- clearly she daydreams about his future fame as well -- but Paterson’s own reaction is opaque. He says almost nothing: is he in shock or remarkably stoic? Does he not especially care, or perhaps even feel a little relieved? We briefly wonder if he will stop writing or, alternatively, now write to publish, his juvenilia swept away. Instead, he simply returns to his routine, it seems: his poems, it is suggested, are for him, and him alone. They help him find meaning in his otherwise routine life, and that’s enough -- anything else would be too much, too grandiose, too, well, poetic, for his merely prosaic existence.
Mad Men is about to disappear from our lives once again, leaving us to grapple alone with our complicated nostalgia for an era when men were men, women were secretaries, and alcoholism was glamorous. These books give a closer look at the era.
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I remember when I first started watching The Sopranos: early winter in the small town in Oklahoma where my then-girlfriend (now wife) had gone to work among the Cherokees. I was on a break from college, but my girlfriend got a grand total of something like four days off around Christmas (this notwithstanding the prominence of Christianity in the culture of Tahlequah). And so, from 7:30 in the morning until 6:00 at night, I was on my own. Believe me when I say: there is no winter like an Oklahoma winter. I'd write in the morning and then, in the afternoon, distract myself from the endless flat grayness of the country outside the living room window by reading books and watching movies.This was back in the days of VHS, and one day at the Blockbuster I picked up a tape with the first three episodes of this premium-cable-channel show I'd been hearing so much about: The Sopranos. It was love at first sight. Aside from the searing performances of the leads and a memorable character turn from a minor hero of mine, "Miami" Steve Van Zandt of the E Street Band, the show offered all of the addictive pleasures of serial storytelling. This, I think, was what made The Sopranos feel so much like a novel. It was Dickens with gabbagul in place of figgy pudding. (And mightn't Copperfield's Barkis have recognized a kindred soul in Silvio Dante? Or Mr. Micawber tendered to Paulie Walnuts some prolix offer of friendship?)Seven and a half years later, the titular Sopranos have reached the end of their long and erratic arc, and heat and humidity are on the rise in Brooklyn. (Believe me when I say: there is no summer like a New York summer.) And the question arises: how to fill the empty place Tony & Co. have left behind? How to pass the long summer afternoons?The obvious quick fix for those suffering from Sopranos withdrawal is The Godfather, but Puzo's dialogue might feel a bit flat after David Chase's. So here's a suggestion: Robert Graves' I, Claudius and Claudius the God bear more than a passing resemblance to The Sopranos, and are similarly well-written and densely plotted. Given that the murderous matriarchs of these narratives are both named Livia, I wonder if Chase wasn't inspired by Graves. Beneath the disparate Italian settings - Rome at the time of Christ and Jersey in the time of American Idol (how far we've come) - The Sopranos and I, Claudius are both sagas of intrigue and betrayal, of men whose ability to trust their friends and loved ones wanes as their proximity to power increases.If it's the psychodrama of The Sopranos that appeals to you, however, I can recommend an even less likely analogue: Joseph Heller's Something Happened. Here, trust is also at a premium. The setting is not a mob war-zone, however, but ranges from the WASPy corridors of a Fortune 500 company to the bucolic suburbs of Connecticut. Like Tony Soprano, Heller's Bob Slocum is an upwardly mobile executive suffering from moral rot. He is as unpleasant to spend time with as Tony has been this season, and yet his intertwined rage and loneliness seem to shed some kind of bleak light on the human condition.Heller is, I think, a vastly underrated prose writer. His prefers a limited diction to the omnivorous vocabulary of fellow-travelers like John Barth and Thomas Pynchon, but his syntactic subtlety yields sentences of arresting power. Check out this outburst from Slocum, worthy of Dr. Melfi's office: "Even fancy bakeries now use a substitute for whipped cream that looks more like whipped cream than whipped cream does, keeps its color and texture longer, doesn't spoil, and costs much less, yielding larger profits. [...] It tastes like s--t. Nobody cares but me. From sea to shining sea the country is filling with slag, shale, and used-up automobile tires. The fruited plain is coated with insecticide and chemical fertilizers. Even pure horses--t is hard to come by these days. They add preservatives. You don't find fish in lakes and rivers anymore. You have to catch them in cans. Towns die. Oil spills. Money talks. God listens. God is good, a real team player. 'America the Beautiful' isn't: it was all over the day the first white man set foot on the continent to live."It's all here, in embryonic form: the rage, the narcissism, the depression, the nostalgia, the soured aspirations. (Not to mention the serial infidelity and a climax suspiciously reminiscent of the death of Christopher Moltisanti this season on The Sopranos.) I don't know whether David Chase has read Something Happened, but the section headings Heller uses to structure Slocum's 550-page monologue could just as easily describe the trajectory of seven seasons of The Sopranos: "I get the willies"; "My daughter's unhappy"; "My little boy is having difficulties"; "There's no getting around it"...Perhaps most significantly, Chase and Heller are both willing to take literally the Freudian constructs that postmodern discourse has reduced to the level of metaphor, or bumper sticker. Slocum and Soprano are men haunted by a small handful of dreams and traumas (e.g., by their love for and resentment of their mothers). And every interaction out in the great world is in some way a Freudian replaying of a domestic trauma. As psychology, this might not be as nuanced as what you'd get in your local therapists' office, but it comes cheaper, and in deft hands attains the mythic resonance of art. In Something Happened, especially, we see the way that every conflict comes back to the primal fourfold of Slocum's household: man, woman, girl, boy. Every man is father, son, and brother, and every woman is mother, wife, and sister. And, returning to The Sopranos, we find that, however baroque the FBI's organizational charts get, it really is all about family, this thing of ours.In the thirty years since its publication,Something Happened has been obscured by the long shadow cast by Heller's first novel, Catch-22. But I have no doubt that, on the bookshelves of the future, nestled between the DVD boxed sets, there will be a place for it... as there will be for The Sopranos. This summer, before you move on to Deadwood, or to the BBC's miniseries version of I, Claudius, you might pick up Something Happened for your maintenance dose of literary misanthropy.
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