bookmark_border“Everything is Illuminated” by Jonathan Safran Foer

A while back (apparently February of 2023), I saw the 2005 movie (starring Elijah Wood) that Liev Schreiber made from the 2002 novel. I was very taken by the film, and I knew that the novel would give me a different perspective on the story. I did not know how different these two stories would be. It took me about a month to read the novel.

The film details the “very rigid search” that a young American man (also named Jonathan Foer) makes to Ukraine to explore the history of his family there. Jonathan is the family collector. At home, Jonathan has a museum of his family’s history, filled with photos and artifacts. The film is narrated with voice over and vignetted with chapter cards by the young Ukrainian man who is hired to guide the American to “Trachimbrod” the birthplace of American’s grandfather Safran Foer. There are some flashbacks, but most of the film is the story of the search for Trachimbrod and what they find there.

The narration of the film is taken from letters that the guide, named Alex, writes to Jonathan after Jonathan has returned to the USA. Alex’s father runs “Heritage Tours”, the company that Jonathan hires to take him to Trachimbrod. Alex is the guide, pressed into service by his father, and Alex’s grandfather is the driver of the company car. Grandfather believes he is blind, so he has a seeing eye dog who he has named “Sammy Davis Junior, Junior”. Alex’s letters are printed in the book with his fractured English and editorial comments.

There is so much more in the book, however. Alex’s letters are interspersed with a history of Trachimbrod, and of Jonathan’s family there. This “history” is fantastic in the sense that it appears to be largely made of fantasies that Jonathan imagines to be the history of Trachimbrod. These fantasies are probably based on the artifacts that Jonathan retrieves from Trachimbrod, but an early detail in one of Alex’s letters reveals that these items were all stolen while Jonathan is still in Ukraine. This detail, like the note in the foreword to Lolita regarding the death of Mrs. Richard F. Schiller, will most likely be forgotten by the reader before its import becomes clear. None of this is included in the film.

The history of Alex’s family and its connection to the Foer family is also wildly different between the novel and the film. This is not a criticism of either. Both stories are poignant, enigmatic, and impactful. I don’t know if I think either story is better than the other. They are very different, though they end similarly. Alex’s final letters reveal more than the film about how he and his family fare after he returns home with his Grandfather.

Jonathan Safran Foer the author also wrote the novel Extremely Loud and Incredibly Close, which was also made into a film. For personal reasons, I have never allowed myself to watch that film, but perhaps I will read the book.

I am not sure if this is, strictly speaking, a book review.

bookmark_borderJune 21, 2024

Hey, do you remember that movie from 1999 where the characters are in a simulation and they don’t realize it? No, not that one. That one’s The Matrix. I mean the other one. No, not that one. That’s eXistenZ. I mean the other other one. I’m talking about The Thirteenth Floor.

Now, at the end of the movie there’s a newspaper on the kitchen counter, and OK, so you’re releasing your movie in 1999 you probably wouldn’t be able to predict that newspapers will be mostly dead, but you should be able to “predict” that June 21st would not be a Monday.

June 21st was a Monday in 1999, or maybe it’s a clue that… nah.

bookmark_borderBook Review – “Once Upon a Time In Hollywood”

I’m a great big slobbering fan of Quentin Tarantino’s films, so when I saw that he had released a “novelization” of his most recent film, “Once Upon a Time… In Hollywood” I added it to my shopping list.

Cover image courtesy of alibris.com

I greatly enjoyed reading this book, but one thing you need to know about it is that it is not the same story as the film. First of all, since it is a book there is a lot more of the story told from inside the heads of the characters. You see the world through their eyes and histories, rather than through your eyes and Tarantino’s camera. There are long expository sequences recounting the history of cinema and television, as regarded by different characters. These sequences inform the actions of the characters, but this exposition is not present in the film.

Actually, the book is edited so that the entire “point” of the story is different. If you utilize my theory that a well-crafted story ends on the point, then the end of the movie indicates that what Rick Dalton really wants to be is a real hero (like his friend Cliff Booth is), but the end of the book indicates that what Rick Dalton really wants to be is a real actor. This is a big difference.

Some of the Charlie Manson stuff from the movie is present in the book, but much of it has been edited out. Rick Dalton even makes some different choices in the book than he does in the movie, or at least that is what is implied. Anyway, the book is different than the film. I enjoyed both, but they are not exactly the same. I wonder if the book is the movie that Tarantino kind of wishes he could have released, but the movie is the movie that he knew he had to release to avoid bad reviews. Maybe Tarantino is just making fun of the way that novelizations are almost always different from the films.

The design of the book is really cool, mimicking the design of movie novelizations from the sixties. There are even ads for sixties books and movies in the back. I wish there was an ad for Red Apple cigarettes. I have so many old SF paperbacks with cigarette ads in them.

bookmark_borderReturn of the Brushwork

These three scroll blanks are traced from a frame captured from “The Tale of Princess Kaguya” a 2013 animated film Studio Ghibli. This film is beautiful, and has a large number of beautiful images in it.

This modern animated film is based on an anonymous 10th-century folk tale called “Tale of the Bamboo Cutter”. It follows the life of a mysterious baby girl who is found in a shining bamboo stump and raised to be a princess by a poor childless couple.

For almost a decade following its release, this was the most expensive Japanese film ever produced, possibly due to the art style that is based on the Yamato-e style of old Japanese illustrated scrolls (emaki). In 1999, director Takahata published a book called “From a Painting” in which he explored traditional Japanese art and its ties to his animation.

In this image, the devoted maidservants of the Princess ready her cart for travel.

This one, I think I laid the color on a bit heavy. It’s vibrant as heck, but you can’t tell that the maid’s gowns are four different colors.

This one’s a bit lighter, but still too heavy. I tried a different green on the cart, and embellished it with bamboo leaves the way it is in the film, though.

This one is so much lighter, and you can really see the different hues on the robes. I’m starting to get the hang of using really watery mixes of paint to wash color into the paper. The paper is super-absorbent, so you need a light touch to keep from creating blobs of color. Super happy with this one.

bookmark_borderMovie Review: SW ch.9 The Rise of Skywalker

I liked it, overall. It is first and foremost definitely a Star Wars movie. It failed to do some things I was hoping it would do, but it also declined to do some things I was hoping it would not do, so I guess that’s a wash. It did do some things I was not expecting it to do, but that I am glad it did, so that’s a net positive. I suppose that I am most impressed with the way that it resolved some things that had to be resolved, but left open some things that were more important to leave open. Well done, Mr. Abrams. There are still plenty of people who aren’t going to like this on its own, and people who aren’t going to like it as the finale to a 9 film series, but I think it’s good.