This isn't an original complaint: Liking the book better than the movie is a middlebrow rite of passage. And novels are a constant, renewable source of stories for Hollywood, with ready-built brand appeal—from the kiddie franchises (Harry Potter, Lord of the Rings, Narnia) to the airport bangers (Da Vinci Code, the Bourne etceteras). Nor are these always bad movies. It turns out that good plots and an epic dimension translate well from page to screen. But the attempt to scale this model by making midsize movies from literary novels has been an ugly disaster. In our post-The Reader world, I can safely say that I'd rather personally digitize back issues of Talk magazine than see another movie based on Harvey Weinstein's favorite book.
But it rests on the idea that what makes a literary novel good can be translated with any reliability into what makes a movie good. Three of the films that will be feted come Oscar night are based on recognizable literature. And while The Curious Case of Benjamin Button and The Reader are definitely terrible movies, Revolutionary Road is both the worst movie I saw this year and one of the best novels I've read.
What makes the book so good and the movie so bad? And why is this divergence so unsurprising? The answer is simple, but it has complex implications: Novels are long, but movies are short. It's impossible to encapsulate the tonal shifts of a book like Revolutionary Road in a feature-length film, no matter how long those two hours feel.
Then I saw Mishima: A Life in Four Chapters, which the Criterion Collection has recently re-released. Director Paul Schrader—who had grown up in a strict Calvinist household, been mentored by Pauline Kael, written Taxi Driver, and directed American Gigolo—used the life and work of Yukio Mishima to make his masterpiece.
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