23 March 2012
My latest column for Killings, where I look at film adaptations of novels, was published a couple of days ago:
The value of a novel adaptation is primarily how well it works as a film, and to a lesser extent, how well it expresses the essence of the source material rather than how well it mimics it. The book is never better than the film; the two are incomparable. It’s not reasonable to critique a film for not functioning in the same way that a novel does. A film may fail on cinematic grounds, but it should not be accused of failing on literary grounds.
Head over to Killings to read the full article and leave a comment.
27 January 2010
The Man (Viggo Mortensen) and The Boy (Kodi Smit-McPhee)
After the success of Joel and Ethan Coen’s adaptation of Cormac McCarthy’s No Country For Old Men, the next novel by McCarthy that was the obvious one to adapt for the screen was his Pulitzer Price-winning novel The Road. When it was announced that Australian director John Hillcoat was going to direct there was a sense of relief. Hillcoat’s previous film, his 2005 Australian Western masterpiece The Proposition, articulated the sort of violent existentialism and bleak landscapes that are to be found in McCarthy’s story about an unnamed man and his son trying to survive in a post-apocalyptic world. Also, Hillcoat’s début feature film, the 1988 futuristic prison drama Ghosts… of the Civil Dead, contains a similar fragmented narrative to The Road where a sense of relentless monotony is punctuated with extreme, but fleeting, incidents.
The trust placed in Hillcoat to adapt The Road has paid off and the result is one of cinema’s most faithful adaptations. Hillcoat has embellished some aspects of the novel and condensed others for the purpose of making the text more cinematic but it would be very difficult to question any of his decisions as by doing so he has successfully ensured that The Road functions as a film in its own right.
As the unnamed father in the film, Viggo Mortensen delivers an astonishing performance as a man who is essentially trying to survive while still doing the right thing. The parental bond that Mortensen establishes on screen with the 13-year-old actor Kodi Smit-McPhee playing his son is extremely powerful and this bond gives the film the small bursts of humanity that radiate out through the bleakness. Smit-McPhee is astonishing and demonstrates a disciplined approach to portraying complex emotions on-screen that is far beyond his years. Together the pair ‘carry the fire’ through a wilderness populated by murderers, rapists and cannibals.
Visually The Road is a relentless palate of greys and browns making the eye initially struggle to adjust to its lack of colour and light. This of course is part of what makes the film such a beautiful expression of McCarthy’s prose and Hillcoat wisely uses a low-key combination of location footage and CGIs to create a sad industrial wasteland that is more reminiscent of Tarkovsky’s Stalker than Mad Max.
The one main sticking point many may have with Hillcoat’s The Road is the ending, which, although it stays faithful to the novel, on the surface may appear compromised. It is nevertheless a fitting conclusion that actually remains completely true to the core ideas expressed throughout the rest of the film and upon extended reflection it becomes clear that it is the only ending that is possible. Anything else would have upset the delicate balance of ideas and meaning that make The Road resonate so profoundly.
© Thomas Caldwell, 2010
Read more reviews at MRQE
9 January 2010
While January is always a slow month for film releases I’ve decided it is time to crank Cinema Autopsy up again for another year. In 2010 I’ll be aiming to post two film reviews a week; one on the weekend and one mid-week.
Facebook and Twitter
I do see more films than I write full reviews about so I often post micro reviews and updates on both Cinema Autopsy‘s Facebook page and Twitter account. Both Facebook and Twitter are also great ways to get in touch with me.
I’ll be back on Triple R (3RRR 102.7) next Wednesday 13 January 2010 at 8:15am to chat to the Summer Breakfasters about It’s Complicated. I’m also hoping to get some more Graveyard Shifts on Triple R this year to play my collection of film music throughout the dead of the night!
I resume co-hosting The Casting Couch on JOY 94.9 next Saturday 16 January 2010 at 5:00pm for a new season of weekly film reviews, interviews and conversation. The Casting Couch also has its own Facebook page.
The On Air page is regularly updated with details about what is coming up on The Casting Couch plus you can find links to the playlists from when I’ve selected the music and our podcasts.
Both Triple R and JOY can be streamed live via their respective websites but please note that all times are Melbourne, Australia daylight savings time (UTC/GMT +11).
Page to Picture: The Road
On Tuesday January 26 2010 at 3.30pm (public holiday) I will be moderating a panel discussion about John Hillcoat’s film adaptation of Cormac McCarthy’s The Road. A pre-release screening of The Road will precede the discussion. The panel are a diverse and impressive bunch (see the Cinema Nova website for more details) so hopefully I’ll be able to hold my own!
Top Films of the 2000s
I am planning to do a list of my favourite films of the decade that has just passed but am holding off until I see a few specific 2009 films that are yet to be released in Australia. Hopefully that list will be posted by late February but in the meantime have a look at my Top Ten films from 2009 (released in Melbourne, Australia) if you haven’t done so already.
Here’s to 2010 being a great year in the cinema!
16 December 2009
I’m taking a break until mid January 2010 so that’s all from me for 2009. My review of Bright Star from the Australian edition of The Big Issue is set to be automatically uploaded on Boxing Day but otherwise this will be my last post for 2009. While I am away all comments will be held for moderation before appearing and it may take several days for me to check in and approve comments so please be patient.
Next month is already shaping up to be a busy month for me as I’ll be talking about Fantastic Mr. Fox as the guest film reviewer on the Summer Breakfasters on Triple R (102.7) on Wednesday 6 January 2010 plus I resume co-hosting the The Casting Couch on JOY 94.9 on Saturday 16 January 2010. More details on the On Air and Podcast page.
Also, those of you who live in Melbourne can see me moderating the Page to Picture event on The Road on Tuesday 26 January 2010.
The January 2010 edition of Senses of Cinema will contain a list of my best films of 2009 for their annual World Poll supplement plus I’ll start posting regular film reviews again in mid January. I’ll get around to doing a best of the decade list a little later in the year once I’ve caught up with all the films that are possible contenders.
Have a great festive season!
27 February 2009
Analysing Space and Place: ACMI’s Setting the Scene: Film Design from Metropolis to Australia
Metropolis (Fritz Lang, 1927)
Setting the Scene: Film Design from Metropolis to Australia is an exhibition by the Australian Centre for the Moving Image, running until 19 April 2009 in ACMI’s underground screen gallery at Federation Square, Melbourne. Setting the Scene is about the work of the production design teams who create the worlds that films occupy. This exhibition is a useful way to consolidate the students’ awareness that everything they see in a film (the mise-en-scene) has been carefully planned and put there for a specific reason. Setting is a key element of film mise-en-scene and identifying the ways in which setting reflects the themes and drama of a film is instrumental in film analysis.
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