2 items from 2013
Chicago – First Joe Wright sucked the life out of “Anna Karenina” with his meticulously choreographed, self-conscious pageantry. Then Baz Luhrmann proved that while heavy-handed spectacle may have appealed to Jay Gatsby himself, it was a recipe for disaster when applied to F. Scott Fitzgerald’s prose. Nothing kills off the power of a metaphor more than a large neon sign erected to underline its significance.
After seeing Andrea Arnold’s quietly mesmerizing adaptation of Emily Brontë’s 1847 classic “Wuthering Heights,” I’m now hungering to see her take on other literary landmarks, particularly “The Great Gatsby.” Luhrmann’s film hammers home the meaning of Fitzgerald’s writing with such aggravating pomp and circumstance, complete with entire sections of text materializing onscreen, I was half-expecting to see a bouncing Gatsby head spring off each word as it was dutifully recited. Though Wright and Luhrmann pride themselves on their filmic exuberance, Arnold »
- firstname.lastname@example.org (Adam Fendelman)
The dark and moody new adaptation of Wuthering Heights puts an emphasis on the “wuthering.” Writer-director Andrea Arnold includes extensive footage of the natural world around the Heights to represent the beauty and brutality of nature—both in the world and within the characters. She also explores human nature by telling this entire story from the point of view of Heathcliff.
When young Heathcliff (Solomon Glave) is brought to the Heights by Mr. Earnshaw, he is immediately treated like an outsider not just because he comes from the streets but also because of the dark color of his skin. He is raised as a laborer by the Earnshaw’s and suffers extreme beatings from racist Hindley Earnshaw (Lee Shaw). Heathcliff’s only sense of comfort and refuge comes from Hindley’s younger sister Catherine (Shannon Beer). As children they form an intense emotional bond that follows them through their lives. »
- John Keith
2 items from 2013
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