Adaptation

I fi­nal­ly got around to see­ing Adaptation, which has been rec­om­mend­ed to me for about the past year as a flik I should see. It was pret­ty good, I was amazed by Chris Cooper, im­pressed with Nicholas Cage but not re­al­ly with Meryl Streep. As an added bonus, the love­ly Judy Greer was in the film as well. I be­lieve I have a slight crush on her.

It is a movie about mak­ing a movie about mak­ing a movie about flow­ers.

This is new ter­ri­to­ry for Hollywood, but old hat to in­de­pen­dent film­mak­ers. One of these, my old pro­fes­sor Jill Godmilow, has been mak­ing films and en­cour­ag­ing oth­ers to do so for quite some time. But ac­tu­al­ly, what she and oth­ers have pro­mot­ed is just mak­ing a movie about how it is hard to make a movie about [in­sert sub­ject]. Self-re­flex­iv­i­ty in this form is used to point out the weak­ness­es of the film form, but Hollywood takes it one fur­ther it­er­a­tion, which makes the self-re­flex­iv­i­ty a mere gim­mick that makes many things in the film in­to a kind of joke. [Kaufmann does not want to write a screen­play about drugs, sex, vi­o­lence, etc. but he ends up do­ing that very thing, which we are ac­tu­al­ly watch­ing on the screen]. The psy­cho­log­i­cal ex­am­i­na­tions of the char­ac­ters are quite in­ter­est­ing, but at times the edit­ing got a bit too slop­py. For in­stance, the scenes in which Cage as Kaufmann was en­gaged in con­ver­sa­tion with Cage as Donald were a bit ob­vi­ous. The strength of this movie lies def­i­nite­ly with the screen­play and the act­ing, oth­er filmic qual­i­ties did not im­press. Nonetheless, it was some­thing much bet­ter than I would usu­al­ly ex­pect from Hollywood.

3 thoughts on “Adaptation

  1. Boooooooooooooo! While I find the plot fun­da­men­tal­ly sound, the twists and turns to­ward the end of the film were lu­di­crous. Adaptation for­gets to be “a movie about writ­ing a movie” and be­comes “a movie about writ­ing a movie, and oh yeah, there’s some hel­la-kewl un­ex­pect­ed stunts too.” Oh broth­er. I be­lieve the film be­trayed ul­ti­mate­ly be­trayed it­self.

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