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Genius (2016)

PG-13 | | Biography, Drama | 10 June 2016 (USA)
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A chronicle of Max Perkins's time as the book editor at Scribner, where he oversaw works by Thomas Wolfe, Ernest Hemingway, F. Scott Fitzgerald and others.

Director:

Michael Grandage

Writers:

John Logan (screenplay by), A. Scott Berg (based on the book 'Max Perkins: Editor of Genius' by)
1 win & 5 nominations. See more awards »

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Cast

Cast overview, first billed only:
Colin Firth ... Max Perkins
Jude Law ... Thomas Wolfe
Nicole Kidman ... Aline Bernstein
Laura Linney ... Louise Perkins
Guy Pearce ... F. Scott Fitzgerald
Dominic West ... Ernest Hemingway
Vanessa Kirby ... Zelda Fitzgerald
Gillian Hanna Gillian Hanna ... Julia Wolfe
Angela Ashton ... Bertha Perkins
Eve Bracken ... Zippy Perkins
Katya Watson Katya Watson ... Jane Perkins
Lorna Doherty Lorna Doherty ... Peggy Perkins
Makenna McBrierty Makenna McBrierty ... Nancy Perkins
Miquel Brown Miquel Brown ... Eleanor, Perkins' Maid
Corey Johnson ... John Wheelock
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Storyline

When, one day in 1929, writer Thomas Wolfe decided to keep the appointment made by Max Perkins, editor at Scribner's, he had no illusions: his manuscript would be turned down as had invariably been the case. But, to his happy amazement, his novel, which was to become "Look Homeward, Angel," was accepted for publication. The only trouble was that it was overlong (by 300 pages) and had to be reduced. Although reluctant to see his poetic prose trimmed, Wolfe agreed and was helped by Perkins, who had become a true friend, with the result that it instantly became a favorite with the critics and a best seller. Success was even greater in 1935 when "Of Time and the River" appeared, but the fight for reducing Wolfe's logorrheic written expression had been even harder, with the novel originally at 5,000 pages. Perkins managed to cut 90,000 words from the book, and with bitterness ultimately taking its toll, the relationships between the two men gradually deteriorated. Wolfe did not feel ... Written by Guy Bellinger

Plot Summary | Add Synopsis

Taglines:

Max Perkins discovered Ernest Hemingway and F. Scott Fitzgerald. But he never met anyone like Thomas Wolfe.

Genres:

Biography | Drama

Motion Picture Rating (MPAA)

Rated PG-13 for some thematic elements and suggestive content | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK | USA

Language:

English

Release Date:

10 June 2016 (USA) See more »

Also Known As:

Pasión por las letras See more »

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Box Office

Opening Weekend USA:

$98,274, 12 June 2016, Limited Release

Gross USA:

$1,358,018, 12 August 2016

Cumulative Worldwide Gross:

$1,346,531, 4 August 2016
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color | Black and White (opening sequence)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

The third collaboration between Colin Firth and Nicole Kidman, and this is first time they don't portray each other's spouse. They previously starred in The Railway Man (2013) and Before I Go to Sleep (2014). This also marks the second collaboration between Kidman and Jude Law, after Cold Mountain (2003). See more »

Goofs

Maxwell Perkins tells Thomas Wolfe his book needs a new title that will appeal to potential purchasers, and gives the example of F. Scott Fitzgerald changing the title of a novel from "Trimalchio in West Egg" to "The Great Gatsby." The real Perkins, as Fitzgerald's editor, certainly would have known that "The Great Gatsby" was a flop upon its release in 1925 and did not sell well until the 1950s. See more »

Quotes

[first lines]
John Wheelock: [throwing down a manuscript onto his desk] Might want to read this one.
Maxwell Evarts Perkins: Please tell me it's double-spaced.
John Wheelock: No such luck.
Maxwell Evarts Perkins: Where'd you get it?
John Wheelock: A woman named Aline Bernstein. The stage designer? The author's her protege. Every other publisher in town has already tuned it down.
Maxwell Evarts Perkins: Is it any good?
John Wheelock: Good? No. But it's unique.
Maxwell Evarts Perkins: A quick look.
John Wheelock: Thanks, Max. I'm in your debt.
See more »

Connections

Referenced in The Good Place: What We Owe to Each Other (2016) See more »

Soundtracks

Flow Gently Sweet Afton
(Sottish traditional)
Composed by Jonathan E. Spillman
(1873)
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User Reviews

 
It must be the hat
16 June 2016 | by ferguson-6See all my reviews

Greetings again from the darkness. Most biopics provide a look into the life of someone who had an impact. If after watching this film, you are confused about just who the main subject is, that's understandable. It's rare to find a biopic about two people … a duo biopic … but that's what the film directorial debut of noted British theatre director Michael Grandage presents. Novelist Thomas Wolfe and editor Max Perkins are forever linked in history, and the screenplay by John Logan (Oscar nominated for Gladiator, The Aviator, Hugo) shows us just how intertwined these two lives became. It's based on A Scott Berg's 1978 book "Max Perkins: Editor of Genius".

It's 1929 and writer Thomas Wolfe (Jude Law) is tapping his foot as he smokes a cigarette while standing on the sidewalk staring at Scribner's Sons Publishing building in New York City. A moment later he is bursting into an office whilst unleashing a rapid-fire blast of words to which our ears can barely keep pace. Taking in the verbal fireworks is an elegantly quiet and eternally hatted man behind the desk. With only the phrase "Mr. Wolfe, we intend to publish your book", editor Max Perkins (Colin Firth) manages to silence the bombastic writer for a few stunned seconds … mostly the only time we witness this.

And so begins not so much a friendship as a professional dependency and surrogate father/son relationship. Thomas Wolfe was other-worldly prolific in his ability to craft words into stories. He was also an exceedingly creative workaholic and alcoholic who found his way to Perkins via North Carolina and Harvard. Yes, it's the same Max Perkins who was editor to such literary luminaries as Ernest Hemingway and F Scott Fitzgerald.

Seen as personality polar opposites, we also get to witness the differences within the personal lives of the two gentlemen. Both have strong women at home. Mr. Perkins' wife Louise is played by Laura Linney, and their 5 daughters are smitten with the outlandish behavior and stories of Mr. Wolfe as he visits for dinner. In an unusual twist for the times, an older married woman Aline Bernstein (Nicole Kidman), was Wolfe's lover and supporter … even through his carousing and endless nights of work with Perkins.

The red pencil of Perkins is as ever-present as the hat on his head, as he slashes and burns through paragraph after paragraph and page after page of Wolfe's writing in order to fashion an end product that is "marketable". The result was Wolfe's first novel "Look Homeward, Angel" … even the title was changed by Perkins. The editing sequences and Perkins' directive for "Big story, fewer words" have us (and Perkins himself) questioning the role of an editor. Do they make the story better or just different? Is marketable more important than the original words of the author? It's a legitimate point of discussion, as it's doubtful anyone told da Vinci that his Mona Lisa should have a bigger smile, or Mozart that The Magic Flute should have fewer notes. Are book editors under-appreciated or overly critical? In the case of the second Wolfe novel "Of Time and the River", Perkins reduced the work by not hundreds, but rather thousands of pages … all for the goal of marketability. And it turned out to be Wolfe's best-selling book.

The best scene in the film is also the most insightful. Wolfe drags the always dignified Perkins to a late night jazz club, and with the help of the band, displays in song how Wolfe's brain kicks into writing mode. It's a moment of enlightenment for Perkins, as well as us viewers. Law's Wolfe is a whirlwind of words and prose and those in his path are simply overwhelmed by the enormity of his way. In what feels like a touch of name-dropping, the film tacks on a couple of scenes with Hemingway (Dominic West) and Fitzgerald (Guy Pearce). Though the scenes are a bit heavy-handed, they do serve as a reminder of what terrific writing came from this era, as well as the impact of editor Perkins.

It's a little disconcerting to see the leads in an America tale played by Brits and Aussies, but there is no denying the effectiveness of Firth, Law, et al. It's truly a tale of two geniuses, and Aline was correct … after Wolfe, there was "a great hush".


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