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Pandora

Uncle Orson Reviews Everything


Sayings, Film Adaptations, CO2 Science


Pages 1 2 3
December 27, 2012
Several high school students my wife and I know had the same assignment from a high school teacher: Get one saying each from people they knew. All three decided to ask my wife and me.

Since they all had the same teacher, they couldn't very well show up with the same sayings from us. Yet we couldn't play favorites among the three.

No doubt about it. My wife and I would have to come up with three separate sayings each.

The trouble with sayings is that even if you're a witty person, as my wife is, and even if you write for a living, as I do, creating characters who sometimes say clever things, it's very hard to come up with something pithy and quotable on demand.

I remember my friend Robert Stoddard's all-purpose quotation from college days: "He who shall, so shall he who." Yet even though this epigram is equally applicable to all situations, we didn't feel we should rely on his creativity.

Then it dawned on me. Practically everything that people say is quotable, if you say it portentously enough. In fact, the very next thing my wife said seemed to me a perfect demonstration of that fact:

"I'm going to make some oatmeal. Oatmeal makes the world a better place."

Engrave that in stone. Or at least stick it to the fridge.

Then I remembered her oft-repeated maxim: "Avocado makes any food better." (She stands by this even when I offer counter-suggestions. "Ice cream?" "Yummm." "Mustard?" "Not a food.")

My own ideas sound contrived by comparison with her epigrams. "Since you're not listening, does it matter whether I tell the truth?" (I like that one, but since it's a question I'm not sure it qualifies as a maxim.)

"Subscribing to a magazine you don't read doesn't make you smarter."

"I've been young and I've been old. Young is better, but only old people know how much."

"If you sing loud enough, the melody is whatever note you're singing." (This is the guiding maxim of extremists everywhere.)

And here's the maxim that I'd love to say to President Obama: "If you don't know what to do, don't insist on getting your way."

But it really all comes down to: "I'm going to make some oatmeal. Oatmeal makes the world a better place."

....

Watching Peter Jackson make a joke out of Tolkien's magnificent Lord of the Rings and of Tolkien's amusing but much slighter The Hobbit may lead some people to think that great works of literature are inevitably trashed when converted to film form.

But that is not true. Peter Jackson's mistakes all came from a combination of hubris, reliance on false formulas from screenwriting classes, and, with The Hobbit, the greed of financiers who wanted to stretch a one-movie story into three films.

Jane Austen was every bit the genius that Tolkien was. Like Tolkien, she took the existing literary conventions of her time and reinvented them into something new and transformative. Like Tolkien, she changed everything that came after.

And, like Tolkien, her individual works remain masterworks that can be read and understood without professorial intervention.

Translating a story from fiction to the screen is hard, and it has taken several tries with many of Austen's novels to get them right. Fortunately, the BBC recognizes the necessity of making more than one attempt, and the results have been quite stunning.

One thing is obvious: It is very hard to make a Jane Austen story work well within the two hours of a feature film. It takes time to develop relationships and societies, and you can't tell a Jane Austen story without doing that.

In my opinion, the only perfect feature-film adaptation of a Jane Austen novel has been Emma Thompson's script of Sense and Sensibility.

Others have been good – there's a decent feature-length Pride and Prejudice (the one starring Keira Knightley) and a very credible Persuasion (starring Amanda Root).

Otherwise, however, the successful screen adaptations have been at miniseries length.

Everybody knows that the best Pride and Prejudice is the Colin Firth miniseries. But it isn't the only one, and isn't even the best Jane Austen miniseries.

On Dec. 16, Jane Austen's birthday, some Austen-loving friends joined us to celebrate the day by rewatching the BBC miniseries of Emma, written by Sandy Welch and directed by Jim O'Hanlon.

I can only marvel at the way this writer and director, joined by an astonishingly good cast, understood Austen's brilliant material and brought it to life with a depth and completeness that, if anything, improved on the original.

Now that we've seen more of Jonny Lee Miller in the series Elementary, it makes his achievement as Mr. Knightley in Emma all the more wonderful – because both performances are so brilliant and so different from each other.

Romola Garai, perfect in the title role, makes Gwyneth Paltrow's pathetic misunderstanding of the character all the more reprehensible – because Paltrow's mistakes were entirely her own, and not caused by the script or the underlying material.

Most important, however, is the way that Sandy Welch filled in elements that were implied but not fully developed in Austen's novel. The father, instead of merely being annoying, is treated with love and compassion; we agree that Emma cannot leave him.

We also see the tragic dilemma underlying Emma's life; that she does not belong to herself. Yet she manages to find joy and cheerfulness in her dilemma. She is young and imperfect and sometimes causes harm. But she maintains a close friendship with the one person who speaks truth to her. And, together, they find a road out of the lonely life that fate had designed for her.

Every step of the way, we are shown that lonely life by the apposite character, Miss Bates (Tamsin Greig), also trapped in a life devoted to the care of an aging parent. Like Emma, Miss Bates retains a commitment to uncomplaining good cheer in the midst of her loneliness and sacrifice; the fact that Emma never understands her similarity to Miss Bates does not prevent the filmmakers – and us – from experiencing it.

The BBC Emma is a gorgeous example of using one medium to shine a bright light of understanding on a story first told in a different one. It can be done; it has been done; and each work, the book and the film, is elevated by having experienced the other.

Peter Jackson, in adapting Tolkien, treated story elements he did not understand with such contempt that future generations will watch his story changes with stunned outrage (as some of us do now). And the self-indulgent three-feature version of The Hobbit will be regarded as a sad joke.

As the cost of computer effects drops and the quality improves, it will not be such a massive undertaking to reenvision and remake Lord of the Rings in the future.

Just as the miserable Gwyneth Paltrow Emma was later put to shame by the brilliant BBC Emma of 2009, so also there will someday be films of Lord of the Rings and The Hobbit in which scriptwriters who actually understand the story they're working with bring Tolkien's story to fruition on the screen.

...continued on page 2
Pages 1 2 3

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  1. print email
    December 27, 2012 | 11:07 AM

    Ha ha ha. This science FICTION writer complains about a society who is desensitized to the depletion of our natural resources because of the "wolf-crying" scientific community. But fails to mention the unbridled greed by his buddies on the right. Grow up.

  2. print email
    Changing energy sources
    December 27, 2012 | 01:28 PM

    Only by having a change benefit the individual who's making the change will replacement sources of energy be adopted -- unless the government mandates it. But even then, people will change the gov't. if they don't like the energy source change. Saving the world is not something people get excited about until it's obvious to the individual that something must be done.

    Mudd
  3. print email
    December 27, 2012 | 11:22 PM

    "Through all of this, they have insisted that human-caused global warming is a fact, and that anyone who resists it is in the same category as creationists and Holocaust-deniers.

    This namecalling is another confession that they haven't got the data to make their case. If you have the data, you don't have to call names. The science speaks for itself."

    Didn't realize this was satire until you started calling those who disagree with you clowns and liars.

  4. print email
    LOTR reviews
    December 28, 2012 | 12:49 PM

    OSC, what happened between the time the LOTR movies came out and now? You loved them then. Youo had a few quibbles (which I didn't include, but here are paragraphs from your previous reviews:
    One quick review. "Fellowship of the Ring" isn't just a good adaptation of the first volume of Tolkien's "Lord of the Rings." It's an excellent film, moving and thrilling, scary and magical and full of nobility and comedy and tragedy and brilliant acting and gorgeous settings. The trickery that gives us half-size hobbits is so effective you have to force yourself to remember that Elijah Wood and Sean Astin are actually full-size adults. But you won't be thinking about that, because the filmmakers concentrated on what really matters: They put storytelling first.

    The Two Towers isn't in serious contention for awards -- and shouldn't be. It's a very good film, but as the middle of a trilogy, it neither begins nor ends. I loved it, though, and appreciated most of the changes.

    But all of this is moot. This is the last chance for Lord of the Rings to receive an Oscar, and if it doesn't, that will be a worse stain on the Academy's history than the Best Picture award forThe English Patient.

    Karla
  5. print email
    What made you change your mind?
    December 28, 2012 | 06:58 PM

    "I guess the Academy decided that this was the last chance to get on record as having noticed one of the great achievements in film history -- the excellent adaptation of the greatest work of fiction of the 20th century, J.R.R. Tolkien's Lord of the Rings."

    This quote is from Uncle Orson Reviews everything in 2005.

    I understand opinions change over time, but how did we go from that to:

    "Watching Peter Jackson make a joke out of Tolkien's magnificent Lord of the Rings and of Tolkien's amusing but much slighter The Hobbit may lead some people to think that great works of literature are inevitably trashed when converted to film form."

    Seems like a pretty drastic shift, I am curious as to what caused this change in perspective.

    Let me be clear, I'm not trying to be clever or snide here, I really would just like to know why you once thought so highly of the trilogy but no longer do anymore.


    Samuel Ascher-Weiss
  6. print email
    Vintage freaking Card
    December 28, 2012 | 09:54 PM

    I love it. I've never seen (except on accident when my wife made me watch Clueless) any Austen movies, but I feel like I have an opinion on them.

    The best part is the global warming rant. I can't wait to see who he upsets with that one.

    Jacob Smith
  7. print email
    From my blog
    January 02, 2013 | 11:17 PM

    We get it, Mr. Card. You like to attribute movies you don’t appreciate to dumb Hollywood executives and incompetent directors, following the wrong formulas taught in screenwriting classes. I have heard this complaint over and over and over again. But does it really apply to Jackson’s accomplishment?

    I remember from one of the DVD featurettes a teary-eyed John Rhys-Davies â€" who played Gimli, and was therefore heavily involved in the trilogy’s production â€" giving his thanks to the whole crew and cast, saying of their love and dedication to bringing Tolkien’s work to the screen, “You won’t find that in LA.” If there is any big-budget movie series that wasn’t subjected to the all-too-common incompetence and cynicism of Hollywood, it was the Lord of the Rings trilogy. Everything from the dialogue to the props was crafted with the care of a historical epic and the passion of people who had been in love with Middle Earth all their lives. And now The Hobbit: An Unexpected Journey brings us another movie that is a similarly excellent labor of love from the same people. Even that doesn’t stop you from parroting the myth that The Hobbit was padded out into a trilogy purely for financial reasons. And doesn’t the accusation of padding fly in the face with the complaint that so many “vital” parts of the trilogy were cut out from Lord of the Rings? Too short, then too long. Are you going to have your cake or eat it?

    I understand that you appreciate Tolkien in a very particular way, and have spent decades enjoying the story as only you could enjoy it. And maybe the differences between the original books and Jackson’s interpretation felt like a betrayal to the vision you had cultivated and examined and appreciated for so many years. But that should be a matter that is stated once or twice, and then left alone for the opinion and private reaction that it is. It gets under people’s skin when you go back to the same complaint time and time again.

    Take as an example the Scouring of the Shire. How Peter Jackson changed the ending made it work better as a movie, even if the book’s ending worked perfectly as a novel. If he’d kept the Scouring of the Shire at the end of Return of the King, it would have dragged out the story past the central conflict: the danger and destruction of the Ring. Which, again, works fine in the story’s original form, but drags a movie out even more than the myriad endings we already got. I would have left the theater disappointed and more than a little upset.

    Granted, I have learned much about storytelling since then, and am in more of a position to appreciate the Scouring of the Shire and what Tolkien was accomplishing with it, but even now that is all I can do: appreciate it. Not love it. Not find it quickening my imagination. And it undeniably would be a frustrating, dour note to conclude a movie on. But because Jackson left the Shire blessedly intact, I walked out of that theater elated, thinking “This is what I want to do with my life. I want to be a fantasy writer.”

    Some of us were inspired toward fantasy, toward becoming writers, toward the wonders and treasures of Tolkien’s world, because of Jackson and company’s tireless efforts. I should know; I’m one of them. And in honesty, ever since I read the trilogy and The Hobbit, and then saw the movies, I admit to liking Jackson’s Middle Earth even more than Tolkien’s. That’s partly because of personal taste, and partly because of the necessary differences between novels and movies. I’m beginning to think that it isn’t Hollywood’s fault, but yours that it has taken so long for an Ender’s Game movie to finally get made. Clearly you don’t get along well with the movie business and have been far too lacking in cooperation or trust with people who care about storytelling just as much as you do, only in a different medium.

    A writer of your talent and sophistication dragging out the same misguided complaints amounts to little more than eloquent trolling. I will still be reading your work, but will stay firmly within your fiction, where I don’t have to hear this bellyaching anymore. And I do look forward to seeing Ender’s Game in theaters, hoping I don’t find myself saying it was a violent betrayal of your own novel. Because I’ve had my fill of writers saying movies ruin the books they’re based on, and don’t want to fall into the same trap.

    With sincerest regards,

    John K. Patterson

    John K. Patterson
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