-> George Roy Hill's adaptation of John Irving's novel largely conforms to its source's spirit, warts and all. On the one hand, second-wave feminism is adamantly lensed through Garp's eyes. After Jenny publishes her groundbreaking book"Sexual Suspect", which instantly becomes a manifesto and exalts her to be the point (wo)man of the voguing movement, a popular public figure with massive devotees, among which is Lithgow's Roberta, a toweringly empowered trans-woman, funny, endearing and devoid of any sequela from a victim of transphobia, an exigent, idealized screen presentation of the stigmatized, marginalized minority. Also, since Garp has the same ambition in writing, in the early scenes, the contest between a mother and her son striving for the same cause strikes a witty chord, jealousy is only a normal outgrowth for Garp, but eventually he is philosophically countenanced to be known as"Jenny's son" with no hard feelings, for what it is worth, the unflinching and affectionate mother-son bond is the film's kernel, the uplifting proclamation is "Garp doesn't need a father".
Read my full review on my blog: Cinema Omnivore, please google it, thanks.
Read my full review on my blog: Cinema Omnivore, please google it, thanks.