Posts Tagged ‘Tokyo’

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

Enter The Void

Posted 25 Jan 2011 — by Ezra Stead
Category Film Reviews, Most Confusing Films of All time, Movies I Didn't Get

By Ezra Stead

Enter the Void, France / Germany / Italy, 2009

Directed by Gaspar Noe

Enter The Void is a strange and unique film experience. French filmmaker Gaspar Noe has always been known for the intensity of his vision. His 1998 debut, I Stand Alone, features one of the most unlikable protagonists in cinema history (Philippe Nahon’s brilliantly realized “The Butcher”), as well as moments of shockingly realistic violence and subject matter that includes incest and the brutal beating of a pregnant woman (who, it must be noted, is at least as unlikable as The Butcher himself). His highly polarizing 2002 follow-up, Irreversible, managed to drastically raise the already high ante with its horrifyingly unflinching and lengthy depictions of murder and rape; it may have had more theatrical walkouts than any single film in history, and has only arguably been topped by Lars von Trier’s Antichrist (2009) as the most disturbing film ever shown at the Cannes Film Festival.

Now, with his latest feature Enter the Void, Noe seems to be pushing audience tolerance levels even further, albeit in a very different way. While I Stand Alone was essentially a one man show for The Butcher’s virulent hatred of pretty much everything and everyone (kind of like a French Taxi Driver, for people who thought the original was too cute and cuddly), and Irreversible showed extraordinary technical prowess with its impossible camera angles and chronologically backwards narrative (inspired by Christopher Nolan’s Memento), both films show a great artistic restraint and clarity of vision by comparison to the sprawling head-trip that is Enter the Void. For one thing, Void is nearly an hour longer than Noe’s previous features, taking the viewer on a wild and occasionally tedious ride full of even more dizzying and impossible cinematography than Irreversible. The film is nothing if not original, and Noe’s determination to push the boundaries of what cinema can do must be admired. Read More