Wow! I am now through Jericho, and it has been an incredible ride!
In the first season, the stories dealt with logical and natural problems that would befall a small town after an apocolyptic attack, such as radioactive rain, food shortages and lawlessness. The stories were personal and real, as people dealt with the massive shift in their lives from civilization to survival.
The first season ends on a cliff hanger, and apparently the network did not renew Jericho for a second season. Fans were devastated, and took up a grassroots campain of sending boxes of peanuts to the network in support of the show. This “nuts” campaign pressured the execs to pick Jericho back up as a midseason show. They gave Jericho seven episodes to close the show (although I think they dangled renewal out there, it never happened.)
As a result, the second season of Jericho does in seven episodes what most series do over 21 episodes, so it has a fast-paced, world-coming-apart-at-the-seams feel. During the turning point episode midway through, I was shocked at the things that happened. Things they couldn’t come back from, that they couldn’t write around. It was risky, bold. It was “nuts”.
The show’s producers mentioned in the disc special features that they felt they had to be true to the story, that the fans deserved that, since they were the only reason Jericho made a second season.
It reminded me that when things are made more for the art than the business, great things can happen. Be true to the stories, to the audience, to thine own self! Not to the studio or the publisher or the agent. Or the disapproving aunt or whoever else is stifling your creativity!
And back to Jericho: I’m giving it five nods — well, maybe 4.75 but we’ll round up. Enjoy the ride, and tell me what you think!
BTW, family friendly, IMO. People die but nothing is very gruesome and there is tension without crassness. One scene mid-season 2 is harsh, you’ll know it when you see it, but it’s not graphic.
Best episode of the series is season 2, Sedition, with its WWII parallels. Wow!
I came across this post at the Seattle Library blog, about how cover (and interior) art has changed over time for some tried-and-true favorites. The blog-writer lays in to such drastic changes as Arthur, who had a very long nose in the ’70’s but is not even discernible as an aardvark on today’s covers:
‘Tis sad, for those of us who pair a memory of lilting prose with the mood of particular illustrations. I was elated a few years ago to find that one of my childhood favorites was still in print, and I ordered several copies (online, not noticing the pictures much). When the box came, I was surprised to learn that my favorite little witch (and her ghost friend) looked nothing like I remembered. Here she is, then and now, The Witch Who Was Afraid of Witches:
This is an awesome little picture book, in either form. Get it now for Halloween reading!
This one gets five nods from me!
Fortunately, Ira Sleeps Over has remained true. Interestingly, my favorite illustration in this book turned out to be the same one my daughter loves. There’s nothing special about the page, just Ira and his sister setting the table for dinner. The power of great images… and paired with great words, nothing better!
This one also gets five nods from me!
Sometimes, the changes are fun, though. My sister bought me, for Christmas, my number one favorite (early) childhood story, which had traditionally been one of the “other stories” in The Sneeches. It is now a standalone with glow-in-the-dark ink, no less: What was I Scared of? which is perhaps better known as “Pale Green Pants with Nobody Inside Them”. I can still recite this from memory. Thankfully, no well-meaning moneyperson has decided that the strange Dr. Seuss animals need a makeover for modern readers!
Five nods from me!
What are your childhood favorites?? Are they still around?
So, the other night I was sorely lacking in Netflix movies, so I thumbed through my well-worn personal collection, and trumped out the Hollywood version of Jane Austin’s Pride and Prejudice.
I own this movie, yes. I also hate it.
Or, I did hate it when I first saw it. But since I love the story (like every other English-speaking pansy) I thought I’d better let it rest and try it again later. And yes, on subsequent viewings, I’ve hated it LESS, but I still hate the poor movie as though it has personally injured me.
Why, I asked myself upon this latest viewing. I shouldbe able to rationally dissect it after a handful of viewings, shouldn’t I? Why do I have such a visceral reaction to it?
Here are some thoughts:
Elizabeth — is poorly cast. Now, I’ve liked Keira Knightly in other roles — she makes a great Elizabeth Swan, so she’s not inappropriate for period dramas (did I just call Pirates of the Carribean a period drama? Ho ho ho!) But why on earth did the poor woman think that spunk meant baring one’s teeth and looking as cat-like as possible. Her performance lacked elegance. Elizabeth Bennet was not brash, just spirited. This distinction is important to the story because she contrasts her ridiculous family (as well as her elegant but demure elder sister — a delicate balance).
Darcy — is poorly cast. Okay, I had to look up Matthew Macfadyen to see what else he’s done, so obviously I’m not an MI-5 fan. Maybe his fans were pleased. And I’m not saying it’s easy to reprise the role that made Colin Firth an immortal sex symbol. But all his mannerisms seemed off to me. He helps her into the carriage, then, upon walking away, splays out his fingers like he’s trying to shake off something disgusting. Maybe he’d gently stroke the tips of his fingers with his thumb, re-enacting the touch of her hand? Maybe he’d clasp his hands together in front of his face, bringing her touch to his own lips. Splayed fingers, not working for me. The pasty mask that was supposed to be shy indifference didn’t work for me, either.
Other castings — oh dear. Mr. Bingley is not a buffoon! Mr. Collins is not a serial killer! But I best move on…
Dialogue — Why is everyone in such a hurry to say their lines? Are they trying to fit a three hour movie into two hours? Apparently. Yikes. Slow down, people.
Beauty — the film lost something of the art of Jane’s book. Something the 1995 BBC version captured. I get it — they were trying to differentiate the public assembly dance from the Netherfield ball, but the assembly came off dirty and chaotic. Dude, I would thumb my nose if I were Darcy! Yet in this scene we are supposed to side with Elizabeth.
But here’s the real problem with this version: The Screenplay!The credited writer is Deborah Moggach who has no other notable credits, but as is often the case with Hollywood, the compromised story and affected dialogue may not be her fault… it may have been a case of too many cooks in the kitchen.
The thing is, you can’t rush a character story. You can’t fit all the scenes from the book into two hours and make any of them feel genuine and nuanced, subtle and understated. Pride and Prejudice is over 120,000 words long. Harry Potter six had to hack it to the bone to display 170,000 words onscreen… but then I think they’ll bleed over some key points into HP7. But I digress.
Lesson to be learned: Writing is important! A good screenplay is like the first domino. When it falls, everything down the line suffers. And it’s really hard to adapt a well-woven character story into a two-hour narrative. When adapting a classic you have this ugly desire to be “faithful” to the book. I’d rather see them be true to the spirit of the book than to the actual scenes. They tried, with P&P, but ultimately I think they failed. You don’t love Elizabeth’s spunk, you don’t admire Darcy’s reserve, you don’t laugh at Mr. Collins or understand Charlotte’s choice. Wickham and Georgiana become cardboard and don’t feel important to the plot, and poor Bingley is truly cringe-worthy. Jane and her parents survive rather well, as does Lydia. Lady Catherine is given too much screen time, presumably to play her role in the reversal of fortune at the end, but frankly the stronger motivator of reconciliation is what Darcy does for Lydia. Not that I would change the book one iota. But a film is not a book.
I give the Hollywood version of Pride and Prejudice a paltry two nods:
Last night, feeling the void where a great period adaptation should be, I put on Little Women. Ahhhh. Need satisfied*.
* To be fair, Pride and Prejudice is a longer novel than Little Women by 30,000 words.
Wow! I am now through Jericho, and it has been an incredible ride!
