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‘The Giver’ Taketh Away

Anyone familiar with Lois Lowry’s beloved children’s novel The Giver knows that one of its key tenets is precise language. So I’m going to phrase the next sentence as precisely as possible: This movie adaption does not live up to the book. In fact, this movie adaptation is so bland that it makes the chief inspiration for such young adult sci-fi dystopias as The Hunger Games and Divergent seem like a shoddy knockoff.

Part of the film’s problem may be timing. Jeff Bridges, who both stars as the eponymous Giver and is credited as a producer, began trying to adapt Lowry’s subtle, smart indictment of totalitarian societies (including, arguably, our own) almost as soon as it was published in 1993. But back then, everyone from possible financiers to Lowry herself resisted. In the intervening years, it influenced an entire industry of young adult books and subsequent movie franchises, which in turn boasted massive followings, Hollywood budgets, and, yes, talent – not to mention bad-ass female heroines, which The Giver itself sorely lacks. By the time Bridges finally managed to get this film project together, the ground beneath it had shifted seismically. And perhaps its foundation just wasn’t strong enough to withstand such changes. Continue Reading →

The Uncanny Fog of ‘The Congress’

Hodge-podge, thy name is The Congress. Ostensibly about an iteration of Robin Wright played by Robin Wright who sells the rights to her on-screen persona to a big Hollywood studio, it is not really about that at all. It is part animation, part live-action; part adaptation of Stanisław Lem’s 1971 sci-fi novel The Futurological Congress, part anti-Hollywood meta-movie; part electric Kool-Aid acid trip, part anti-commercialist treatise. And if all that sounds a bit much, try actually sitting through this two hour-plus film. The funny thing is: I heartily recommend the experience.

It might sweeten the deal to know this is the brainchild of Ari Folman, the writer-director of Waltz with Bashir.  A 2008 animated documentary about his experience as an Israeli infantry soldier, Bashir grounded questions about the fluidity of memory and identity with the reality of the 1982 Lebanon War, and deserved the Oscar for which it only received a nomination. The Congress may take Folman’s big-picture interrogations much (much!) further afield but he anchors its fancies with the same sort of real-world stakes. In this case, those stakes are an actual female body, which, as it turns out, cuts through all kinds of blips in the time-space continuum. In this capacity, Robin Wright, who channeled an old-soulfulness even as a budding starlet, proves the perfect muse. But she is also far more than a muse, and it is this dance between her subjectivity and her objectivity – not to mention her objectification – that runs as the common thread through this new cinematic organism that both heralds and laments a new era in filmmaking. Continue Reading →

Nadine Gordimer, 1923-2014

She was a prickly, complicated woman whose best self could be found in her pages. She said: “The tension between standing apart and being fully involved; that is what makes a writer. That is where we begin.” She also said: “I cannot live with someone who cannot live without me.” The older I get, the more I recognize such thorniness as essential to a woman writer’s survival.

"All, everything I understand, I understand only because I love."
― Leo Tolstoy