Posts Tagged ‘Bret Easton Ellis’

7 Movies That Are (Arguably) Better Than The Book

Posted 08 Dec 2013 — by Ezra Stead
Category Essay, Film Reviews, Movies I Got

By Ezra Stead

The Maltese Falcon is a masterpiece of stylistic economy, so faithfully adapted by director John Huston that reading the novel is almost like reading an exceptionally detailed treatment for the film.This is one of the most persistent clichés of film criticism: that the book is always better than its film adaptation. More often than not, it’s true, as the novel is generally able to provide a richer, more nuanced character study, not limited to only two senses the way films are. However, in some cases, less is more. Here are seven films that I would argue are even better than the books on which they are based.

7 Movies That Are (Arguably) Better Than The Book1. THE MALTESE FALCON (1941) – Dashiell Hammet’s original 1930 detective novel is a masterpiece of stylistic economy, so faithfully adapted by director John Huston that reading the novel is almost like reading an exceptionally detailed treatment for the film. However, eight simple words improvised by Humphrey Bogart as detective Sam Spade make all the difference. When asked what the titular bird sculpture is at the end of the film, Spade says, “It’s the stuff that dreams are made of.” This classic, oft-quoted line of dialogue has become the most memorable moment of the film, a subtle commentary on filmmaking itself, especially of the Hollywood “Dream Factory” variety, of which The Maltese Falcon was itself a part. The line is nowhere to be found in the book, and that alone is enough to warrant the film’s inclusion on this list. Read More

Spoiler Alert! Some Thoughts On Twist Endings

By Ezra Stead

The Sixth Sense ruined twist endings for quite sometime after its 1999 release. Since M. Night Shyamalan’s much-ballyhooed 1999 feature The Sixth Sense, twist endings have gotten something of a bad rap, and usually with good reason. After all, in many cases they are a cheap way to add excitement to the climax of an otherwise dull story; sometimes they are a cop-out, negating all emotional involvement that may have been invested in a film up until that point; others seem to be the sole reason for a story’s existence, without which the whole thing crumbles. On the other hand, when they work, twist endings can make a good film great, and they occasionally even reward repeat viewings by revealing previously unseen layers that can only be recognized once the conclusion of the story is known.

As rightly reviled as are many recent examples of the technique, especially many of Shyamalan’s subsequent efforts, there are also many laudable examples to be found among some of history’s greatest cinematic achievements, old and new. Widely respected filmmakers from Alfred Hitchcock to David Fincher and Christopher Nolan have successfully employed the well-placed twist to wonderful effect, and even Orson Welles’s immortal classic Citizen Kane, considered by many to be the greatest American film ever made, concludes with what can only be deemed an elegant, emotionally rich twist ending. Read More