Proverbs 14:13

Even in laughter the heart is sorrowful; and the end of that mirth is heaviness.

I may not have been in class today, but there seems to be a lot of talk circulating around these blogs concerning film adaptations. I personally have never felt any specific affinity towards either medium when it comes to telling a good tale, although I suppose there are the exceptions (I still refuse to watch the film American Psycho, only because there’s no way it can be even half as extreme as the novel is; it isn’t a matter of preference, it’s just logic. The film would have to be Rated NC-30 or something, honestly). More often than not, I am much more curious to read a book after having watched the movie it is based on, rather than the other way around. Fight Club the movie was a Top 10 Favorite of mine for years in middle & high school, & I had to read the book three times through before I overcame the initial “It-can’t-be-better” hurdle & realized how much better it was. High Fidelity was a movie I had seen, cared nothing about until I read the book & thought it had its moments, leading me to re-watch the film & come to the conclusion that it really sucks in comparison. Let’s see, One Flew Over the Cuckoo’s Nest is a better film (but only slightly, & only cos of Jack Nicholson), Everything is Illuminated is a much better book (saw the movie first, however!), & Roald Dahl’s books all get turned into great movies, for what they’re worth (The Witches being the best, then Matilda & Charlie and the Chocolate Factory in that order, altho I think we’re all holding out for Peter Jackson to make a 5-hour version of The BFG, preferably in three installments).

The biggest novel-to-film adaptation I can recommend, tho, is Requiem for a Dream by a million miles. I might be a bit biased cos it’s my favorite film, but Hubert Selby Jr.’s book took me months to get through, & I think that’s a good thing. I had seen the movie tons of times before I dug into the novel, & for the record it was a pleasant surprise; Selby uses no punctuation or spellcheck & because of it the story of 3 heroin addicts in the mid-70’s (which Aronofsky made late-90’s for the film) is frantic, scizophrenic, & really hard to follow at times. For that, I award Requiem the award for Watch the Movie & the Book, Please! Feels good to write about that movie, such a phenomenal film, expect me to come back to it later. & repeatedly.

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Ruth 1:10

And they said to her, surely we will return with thee unto thy people.

I am Beth. There is no way around it, I’m not going to tip-toe anymore. Out of the past 14 days, I have been in a hospital bed for 9. My lung has collapsed 2 times in 2 weeks, & though there is a big part of me that wants to write another narrative about these past 5 days, I just can’t. I am hungry to do it, hungrier than I’ve been for anything else ever since the morphine made me vomit up anything that I swallowed, but something tells me I shouldn’t. It could be my frustration, or maybe it’s just the headaches I get when I walk up & down the stairs. But even without the narrative, the Beth in me has never been more apparent. Friends & family come to yr bedside, & all you can do is wince & wag yr head around, too embarassed & ashamed to call the nurse for more Percocet. Plus, the heavy stuff will make you nauseous, & yr 9 year old sister doesn’t need to see you throw up green Jell-o more than once today.

Do you see what I’m trying to get at here? I knew from the start that Beth was the best & most useless March girl, & nothing in the world will make you feel better or more useless than video-assisted thoracoscopic surgery. This is the kind where they make 3 incisions in yr thorax & probe cameras inside to find where they can staple off those darn air pockets that cause lungs to collapse. Of course, Beth died because the word “video-assisted” was not yet in the English vernacular, so I suppose there is one great last hope for mankind in the end. Because I am convinced that Beth’s ailment was none other than spontaneous pneumothorax, or what we might call a collapsed lung. If only Marmee had known that all they needed was some anesthesia & talc to rub along the outer lining of the pleural sac to make sure the lung stays inflated this time. This one, the surgery with the talc, they call it pleurodesis. I had that one, too.

Thoracoscopy

But see, once again, that’s just my Beth talking. The frail, useless character who everybody pities & everybody loves, but no one can help. The advantage I have over Beth, I suppose, is only that everyone was able to help, & eventually it will pay off. Whereas Beth died &, Christ-like, was revived in time for Father’s arrival, I have no intention of dying in the first place. Sure the panic attacks at 3 in the morning when you can’t breathe feel like death, & right now not having the strength to open a window all the way just to get some fresh air is the sign of the body’s recession, but every deep breath is life, if that makes sense. Each time I can have a conversation without losing my breath, or take the dog outside for a bit, these are all Jo’s poetry written for me. Measuring the bile, losing the feeling in my mouth & chest, all of that is Beth’s sickness.

But I am Beth, & this sickness is mine after all. Only I bet Beth’s battle scars aren’t nearly as cool as mine.

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Mark 10:27

Jesus said, “For mortals it is impossible, but not for God; for God all things are possible.”

Jana & I are carrying on & drinking apple cider in the car on the way back to school from the radiology center. I was getting chest x-rays done per the request of the school’s Health Center, where I had gone that morning to find out why I was still coughing dryly & why I had woken up with startling, near-paralyzing chest pains. This is monday afternoon, here in the car. Ten days ago I had woken up with similar chest pains, only much more startling & paralyzing in the true way, & they had diagnosed me with pleurisy. Pleurisy is the inflammation of the sac that holds yr lungs in yr chest, causing them to rub painfully against both the sac & yr ribs. I would bet that it feels every bit as painful as it sounds, the only problem is that what I had wasn’t pleurisy.
Because that monday afternoon in the car with Jana, my phone rings. Luke calls to say that the campus police have just called the room asking for me, & he’s given them my cell phone number. He says he doesn’t think it’s bad, but be ready for it. In the ten seconds that rest heavily between hanging up the phone & hearing it ring again, the car gets suddenly hot & Jana tells me not to worry. I haven’t done anything, I couldn’t have done anything. When the police call me, my confusion only gets worse. The voice on the end of the phone is young, nervous. He asks me if I have just gotten x-rays done, & when I say that I have he tells me to get to the emergency room immediately. The radiologist has called the school & has told them to get me immediate, emergency care. He doesn’t know why, but he asks me if I need an ambulance. I say no thanks, I tell Jana to turn around & go back to the hospital. Having hung up the phone, I am suddenly shaking & stifled by the air in the car again; I don’t do fright very well. Jana is casual, trying to joke around to make me feel better, but she is just as confused & frightened as I am. This five minute car ride to the ER is one of the most nervous moments of my life.
In the hospital, we find the waiting room & I introduce myself to the receptionist. No, I can’t say why I’m there, sorry. I was told to come here, I just had x-rays done, can you find out what’s happening, please? I fill out the forms, sit & watch little children play with empty McDonald’s bags while their parents watch CNN on television. Anna Nicole is still dead, her body still in limbo; this is the news. The receptionist calls the doctor, & with me watching her at the desk her eyes widen & she says Oh my God, thank goodness he came back. She hangs up, grimaces sympathetically, asks me Having some trouble breathing, honey? I grin like someone who just doesn’t know, say No ma’am, I feel perfectly all right. Suddenly nurses sweep in from sliding glass doors, tell me not to take one step, bring me a wheelchair & order me to sit down before moving another inch. Jana is laughing, but she’s nervous, & she stays by my side. We are both young & terrified, too nervous to be honest about it.
I am wheeled hurriedly to Trauma Ward Room 6, where I change behind a curtain into a hospital gown & wait for someone new to show up. A confidently pretty blond nurse named Carrie joins Jana & me in the room, looking concerned but smiling still. I still don’t know what’s happening, still waiting in darkness for someone to shed some light on the situation. I am still grinning like a dufus. Carrie says that my lung has collapsed, how substantially she doesn’t know right now, & the three of us in the room share furrowed brows. I crack some kind of joke to ease the situation, & for some reason we all laugh. Carrie explains how when the doctor arrives, they’re going to have to cut into my left side & slide a tube between two of my ribs, through the sac that I once thought was inflamed, & up against my lung. This is how they deal with spontaneous pneumothorax, most common in tall, slim males between the ages of 20 & 24. There is no reason other than genetics, this is medical spontenaity at its finest. The purpose of the operation will be to pump the air out from around my left lung that has been slowly collapsing it for the past ten days. This is what I thought was just a common case of viral pleurisy; later I will find out that my lung was 75% collapsed, & that somehow I was managing with just one. This is why the nurses were all so concerned. This is why everyone was too afraid to tell me what was going on.
I give Jana my cell phone, & she starts making calls to my mother & father. I get to speak to my mom before they pump something into my arm with a needle, & she asks me if they told me that it was going to hurt, a lot. They hadn’t told me that, but when I ask Carrie, she taps the end of the needle & tells me that yes, it’s going to hurt. A lot. I make another wisecrack, we all laugh, but I think my ease is making Carrie more nervous, & she shoots little sideways glances at me when I tell her I’m going through with this unmedicated. In fact, I say, I want them to punch me in the lung right before they begin. That way I’ll be more of a man. No one finds that very funny, I feel like I should apologize for some reason, & I think Jana & Carrie are both a little grateful when they finally pump me with the sedative. As they wheel me into the operating room, I take a last look back at Jana, who cries to me that she’ll make more calls & square everyone away. This is my first time in the hospital since they put tubes in my ears at 18 months old. If the lights weren’t so fuzzed & the voices so heavy, I might feel scared. This is the magic of medicine, ladies & gentlemen.
The next four days or so are slow & uncomfortable. My father drives down from our home in Springfield, my mom trains it from Connecticut. Nurses & friends come in & out of my room on the fourth floor, taking my vitals in the middle of the night, asking about my pain. There isn’t very much, but that doesn’t mean I get any sleep. With a tube sticking out from under mounds of bandages on my side, there isn’t much movement going on. I am x-rayed, cat-scanned, poked, prodded, annoyed. While the rest of campus has a snow day, my Valentine’s Day is spent waiting for lab results & drifting in & out of stiff, filthy naps. I cannot shower. I pee into a bottle, sitting on the edge of my bed. Hospitals are not meant for resting, I discover this quickly.
Eventually the tube is taken out – they yank it with their hands quickly while you exhale, causing minimal pain but a lot of tension while you wait for that eternal tug – & my mom washes the scabs off of my scalp in the bathroom sink. I wait for 24 hours bored, tired, & not entirely without pain while the doctor ruminates over labs & decides when I can leave. Thursday night they wheel me out the front door, & the world looks changed; there are piles of snow that weren’t there the last time I was outside, & everything is covered in patches of ice. This is the end of my hospital stay but from what they tell me, there’s a good chance that now that it’s collapsed once, it’s bound to happen again. In the end, I’ll be back, & for that reason I am still afraid to sleep easily.

As for Little Women, I’m not the biggest fan of the style of writing, but the story has its perks. The characters are likeable for the most part, although I don’t think Jo had a fair wrap in the end. In fact, neither did Beth. She may be the immortal grievance of the novel, in my mind. I haven’t yet watched the first scheduled adaptation, but I look forward to discussing the book in class, at least. School is back in session.

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Proverbs 14:29

He that is slow to wrath is of great understanding: but he that is hasty of spirit exalteth folly.

These comparisons that we trudged through last class between the 3 films & the novel were a long time coming. Personally, I’m more atune with the latter 2 adaptations that we watched, but perhaps it’s only because they didn’t try to pass themselves off as explicit adaptations, but rather borrowed aspects of the book instead. I’ve said again & again that I thought the first Glass Key we watched was trite & useless, but I suppose it made it better for Yojimbo & Miller’s Crossing, as my expectations were lower for them (although they didn’t need to have been, in the end).
So I suppose now, because of all this, I’m on a remake kick; adaptations gone awry or those that end up better than the originals. My favorite thing to talk about when it comes to adaptations right now are the film remake of Texas Chainsaw Massacre compared with the original 1976 version. The original is at times my favorite movie of all time (other times it’s Requiem for a Dream, & still there are those days when I only like the Guinea Pig series), so when the remake was released I went to the movie theater with my brother & Andrew Tran, a friend of ours (both of which are my age) to check it out. I guess at this time we were all 15 or 16, & Texas Chainsaw was rated the highly illustrious R, thus making it an exciting midday experience. We weren’t brave enough to sneak in, so Andrew’s mother paid for our tickets (being of age), & left us to go watch the film. But the ticket taker would have none of it. She glared at us, made us change our tickets, & followed us like a foxhound into the dark theater to make sure we didn’t go see that R-rated film. I hid in the bathroom, sensing confrontation (& because I’m a wuss under pressure), & it wasn’t long until my brother & Andrew flew in to join me, with the Hound on their tails, shouting at them to come out & leave the theater. They had tried to change movies, & had underestimated her like fools.
Soon enough the woman tore into the bathroom, grabbed my two companions & ordered them out, while I calmly washed my hands & dried them under the automatic fans. I felt like Ned, now that I think about it; staying cool to have the upper-hand once it all hit the fan. Once I exited, the Hound was waiting for me outside the bathroom door, fuming & yelling at me to leave. I calmly told her to get off me & shut up, please, & explain what happened. I remember saying that exactly: “No, no, shut up. What happened, what are you saying? Shut up, please.” Needless to say, we were told to leave (even tho we paid money for our tickets) & I never did get around to seeing that Texas Chainsaw remake. At this point, the story of trying to see it is more amusing to me than I think the film itself ever could be, especially when you take into consideration how outstanding the original is. Don’t take my word for it, watch my favorite scene of all time & judge for yrself:
p.s. It’s loud, dark, & highly claustrophobic on purpose.

The other remake issue I have is not even remotely interesting, but only deals with the novel American Psycho & its film adaptation. I have often stated that I think the book is the best written novel I’ve ever read, & for this reason have chosen never to see the film version of it. I’ve heard it was a good movie, but I’m confident in thinking that there is no way that the film could have even 80% of what is in the book; it would be banned & made illegal immediately. Other than that, tho, adaptations are give-or-take with me. I’m still waiting for someone to make a competent movie out of Le Petit Prince. Until then, I suppose the musical will have to do. Or not.

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John 16:33

These things I have spoken unto you, that in me ye might have peace. In the world ye shall have tribulation: but be of good cheer; I have overcome the world.

I feel like there’s a lot I don’t understand about Miller’s Crossing after this one viewing, but the most confusing motif of the film is the Hat, by a million miles. Does it signify a drifting of conscious, of loyalty, of faith or strength? Does it signify anything at all? At the very least, it shows that the Coen Bros. know what they’re doing, putting so much thought into their work & still managing to make an enjoyable (& enjoyably violent!) film. I’ll tell you one thing, tho: that Hat reminded me of one of my favorite movie scenes of all time. So, God bless YouTube!

The first 1:18 is all that’s really pertinent to Miller’s, but you get the point. Benny & Joon is no crime-drama masterpiece, but the idea of a man being a fool to chase his hat was an idea I really liked to see repeated again & again both in Miller’s & this mid-nineties romantic comedy (genre film, anyone?). I want to talk about this Glass Key “adaptation” before I say much more, cos I’m more confused than anything else right now, but I will say that I really liked the film & was even moved by it a little bit. Just a little.

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Matthew 4:16

The people which sat in darkness saw great light; and to them which sat in the region and shadow of death light is sprung up.

I’m trying to devote my time on this blog these days to finding dope YouTube clips of some of the most interesting movies I’ve seen, & when we started talking about the different plateaus of devotion & replication, I remembered the neo-classic Dead & Breakfast. The film is a parody of sorts of zombie movies old & new, poking fun while at the same time paying an homage to all the classic movements, lines, & directions that make the zombie “genre” so much fun. Thrown into the mix, though, are randomly interspersed synchronized musical moments that blend the odd line between Michael Jackson’s “Thriller” & The Rocky Horror Picture Show (for better or worse, after all).

The movie is absurd, daring, hilarious, & at times terrifying (& as gory as you need it to be, which is always a plus in my mind), very reminiscent of the equally great Shaun of the Dead; it’s often been tagged as the American version of that same film, actually, although they aren’t really based off of one another in any way. In terms of genre-tagging, Dead & Breakfast plays off of almost every level, the burlesque especially, but the nostalgic in its different terms & forms as well. It’s possible no one will ever want to see this (especially after that embedded YouTube clip…jeez), but really I couldn’t recommend it more. This is the kind of genre film that people should be watching, in the end.

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Ecclesiastes 10:1

Dead flies make a perfumer’s oil stink, so a little foolishness is weightier than wisdom and honor.

It’s interesting to think about Genre Films in an outsider/artistic perspective, not in what they show or how they’re made, but simply in the fact of their being made in the first place, but I’m still not sure I agree with their general study. I do agree for the most part that film is an oft-forgotten field of artistic development, & I like that nowadays more directors who spent countless amounts of time & energy are being recognized with steady reissues of their works, etc. However, I cannot see very much integrity in so many movies being released today (& in the past, too, sure), even ironically. There may be little nuances involved in every film, but a nuance can be mistaken for symbolic representation too easily, even when all it is might be some split-minute decision of movement or light by the producer, director, or even cameraman. Saying something like Date Movie preserves the “art of film” just as much as something with seemingly infinite amounts of originality, creativity, & emotional resonance seems too far-fetched to me. I can’t help but wonder if such rash statements are made concerning art just to spark pointless controversy. I do think there exists a fine line between what makes a movie good & bad, & I’m trying hard not to say it just to get some sort of hip film cred. There’s really no way to save face when talking about personal preferences, tho, & in the end all I can do is suggest popping in some Bill & Ted on the weekends, & saving the heavy stuff for film class.

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Job 3:26

I was not in safety, neither had I rest, neither was I quiet; yet trouble came.

Yojimbo is definitely one of those movies, it seems, that gathers together a large group of kids together in every generation to sing of its praises (arguably Seven Samurai is more cult-ish, but this will do), much like The Boondock Saints & just about any Quentin Tarantino film (though it’s not cool to like Pulp Fiction anymore as much as it used to be, the much bigger rage is Resevoir Dogs as it were). I may just be unusually interested in the way hype is generated in pop culture, but I’m gonna go out on a limb here & say it’s the violence…? I don’t know, I like me some good hyped movies too (I didn’t not enjoy The Usual Suspects, & even Yojimbo was very good in it’s own right), but it’s much more interesting to just sit back & watch how excited the youth get in front a violent flick. & Yojimbo wasn’t even bloody! It was hardly even action-packed. Look, I’m not saying this made it a worse movie, I’m just analyzing how something gets to have such a large fanbase…it might be the “foreignness” of it. Cos ever since Amelie came out, it was cool to like subtitled movies again, & if it’s Asian-imported? Oh man, that is a recipe for success over here for young American hearts, I suppose.

violent!

For my own two cents, I do think Yojimbo was wonderfully made, especially the shots we looked at in class – the escape, the man & wife discussing politics – & the various click-clacking mechanisms was something I hadn’t thought of before. I applaud the film, like that it wasn’t Hollywood-drenched, & might try to find some way to pick up the music from it…even if I have to boot it myself.

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Isaiah 42:14

I have long time holden my peace; I have been still, and refrained myself: now will I cry like a travailing woman; I will destroy and devour at once.

As to Yojimbo, the Samurai-western film of much discussion in the realm of Western cinema, it seems to be vastly influential, perhaps as much as every other film Akira Kurosawa has made. The director has been cited repeatedly by bigshot Hollywood directors such as George Lucas & Steven Spielberg as being the direct muse behind films like the entire Star Wars series, & I can see why for the most part.

Yojimbo

The film seems meticulously structured, every scene laid out with careful precision (I refer here to the lighting & placement of the characters, mostly, although the faces of the actors & lines they regurgitate are a bit priceless, too). Definitely inspired by classic John Ford-type westerns, Yojimbo‘s most rewarding aspect is actually its musical score, a sort of strange blend of traditional Japanese tinkerings & untraditional western toodlings. It is the music, I feel, that kept the movie together, especially in the most suspenseful moments, something which The Glass Key‘s film adaptation had very little of (both suspense & original music). It seems to me that, in the end, the only way you’re going to get a competent adaptation of any idea or general concept is to drag the thing away from Hollywood. As with Kurosawa’s film, the results are sure to be refreshing, creative, & wholly unexpected. I’d much rather watch a Japanese film of scorn, denial, & pain than just another 1940’s romantic comedy with the same old actors doing the same old thing again & again. Thank God we’re not the only country making movies out there.

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Psalms 38:12

They also that seek after my life lay snares for me: and they that seek my hurt speak mischievous things, and imagine deceits all the day long.

As to Janet Henry’s place in the film The Glass Key, while I found it a bit interesting to muse on the idea of going to the movies to watch a starlet & not worry about the actions or dialogue, I still don’t agree that it makes the film worthwhile. Certainly, just because the general public finds entertainment (or an escape) in romantic comedies with unimportant dribble scattered amongst semi-important utterances, this cannot make it artistic or worthy? This isn’t to say that I don’t understand the importance of the directions in the eyes in certain scenes or whatever – although the eyes played a much bigger role in the novel, & to a more suspenseful effect at that – but I also just don’t find enjoyment in cliched movie roles.
Perhaps it’s my gender, or perhaps it’s my generation, but these kinds of romantic doodlings pulled without warrant from an otherwise lean, mean, & daring story make me bored & anxious to just go read the book again. During the dinner scene especially, as that was one of the instances of conversation in the class, Paul’s mannerisms & demeanor are disposable shades of an otherwise forlorn, beaten character. The same can be said for just about every other character, as well. What was mysterious & coldly calculated on the page became a joke of itself on stage. That is to say nothing of the tale itself, either. While Hammett constructed the story to flow in angles, leaving the reader always guessing, the Big Screen adaptation is like some old mopey dog: slow, aloof, & unadventurous. The only difference is, I would feel sorry for the dog.

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