I watched the film The Quiet American some years back, without having read the book. And my memory is vague. Only remember Michael Caine and Brendan Fraser, the setting in Vietnam, in the early 50′s, a complex fusion of political thriller, murder mystery, and a love triangle.

But now that I’ve read the book I’m thoroughly intrigued, thanks to this Penguin Classics Graham Greene Centennial Edition (1904 – 2004), with the intro written by American novelist Robert Stone. Stone’s novel Dog Soldiers about the Vietnam war and its effects won the 1975 National Book Award. From his introduction, I’ve come to appreciate how intricate and multi-layered the conflicts are, and, how political the novel stands.

Interesting to learn from Stone about the joke embedded in the title: the only quiet American is a dead American. In the midst of a colonial war between the French and the communists in 1950′s Saigon, American Alden Pyle’s subversive brand of democracy satisfied none other than his own idealism. A Harvard grad, armed with naiveté and book knowledge, a CIA under the guise of the American Economic Attaché, Pyle’s involvement might well represent American meddling in other country’s affairs in the name of spreading democracy.

We see all these through the eyes of the narrator, the British reporter Thomas Fowler. Much older, more experienced, and having been posted in Vietnam for some years, Fowler has grown to love the humanity therein, but is plagued by bitter cynicism. He doesn’t take sides, he just writes his story as an observer, smokes his opium pipe prepared by his young mistress Phuong, and lies in bed with her. But Fowler’s noncommittal stance comes to a breaking point at the end:

“… one has to take sides. If one is to remain human.”

The Quiet American is noted for its divergent from Greene’s ‘Catholic’ novels. But the existential issues are very much in the forefront. Fowler is a man of conscience, albeit aloof in his outward stance. The climax comes as he resolves a moral dilemma. Guilt is his nemesis, regarding his wife in England, regarding Phuong, and much more acutely at the end of the novel, regarding Pyle. The book ends with this line:

“I wished there existed someone to whom I could say that I was sorry.”

And then there’s Phuong, manipulated by her older sister, weaves herself between the two foreigners whom she sees as her ticket out of the country and into a dream future. I find her reaction to Pyle’s death most disturbing.

In a short 180 pages, Greene has brilliantly depicted the political complexities of the conflicts at the time, and addressed the internal war waged within a man’s conscience, ironically, a man whose outward creed is noninvolvement. I’m thoroughly intrigued by the story that is told with depth, eloquence and skill by a master storyteller.

~ ~ ~ 1/2 Ripples

***

The Movie: DVD

I watch the film again after finishing the book. It has altered some characters, and taken a more sympathetic view of Phuong. But the overall story and perspective remain intact. Upon this second time viewing, I find several interesting facts that I wasn’t aware of before.

Michael Caine was nominated for a Best Actor Oscar and Golden Globe in 2003 for his role as British reporter Thomas Fowler. He has portrayed the character convincingly. Brendan Fraser as the young American I feel is a miscast. If they’re making the film today, James Franco would be my choice for Alden Pyle.

Director is the award-winning Australian Phillip Noyce. (Rabbit-Proof Fence, 2002). One of the two screenwriters is Christopher Hampton who got an Oscar nom for his adapted screenplay Atonement from Ian McEwan’s novel. He is also the screenwriter for the current film A Dangerous Method. Executive producers were two personalities whom I highly respect, Anthony Minghella of The English Patient fame plus some more, and Sydney Pollack whose credits are too numerous to mention. It was a great loss that they both passed away within two months in 2008.

The DVD comes with a resource of special features. Other than all the interviews and making-of, there is a useful “Vietnam Timeline”, outlining the history of Vietnam from 194o to 1980. Further, I appreciate the inclusion of original book reviews. One line particularly stands out. From the 1956 review of the book by John Lehman of The New Republic: 

“The Quiet American is one of the most icily anti-American books I’ve ever read”.

Oh…  the wealth of information one can gather from watching these special features.

~ ~ ~ Ripples

***

Here are the 9 nominees for Best Motion Picture:

The Artist —  Riding high the waves in this Awards Season, and most likely to grab the top Oscar. Kudos to the filmmakers for taking a bold and contrary step to pay homage to the silent era of Hollywood. Audacious in its attempt at a black and white silent film in 2011, where CGI and 3D’s are the cinematic effects, a long way from the great advancement of sound. Sure it’s light and frothy, which makes me admire all the more the boldness and foresight of the financial backers. Actions do speak louder than words. 10 noms in all.

The Descendants —  Well acted, probably George Clooney’s best performance I’ve seen, a close Oscar contender with Jean Dujardin of The Artist for Best Actor. The idyllic setting in Hawaii shrouds conflicts among family members: between husband and wife, parents and children, and in the extended level, relatives when it comes to monetary gains and interests. A fine film from Oscar winning director Alexander Payne of Sideways fame. While there are interesting twists and turns, the ending is predictable. A close contender with The Artist for Best Picture.

The Tree of Life – I’m excited to see Terrence Malick’s existential epic included in the list.  The film generally draws two opposing reactions, like its premiere in Cannes, boos and applause. Ironically, those might well be the two ways the film portrays, two possible views towards life. Other noms: Terrence Malick for Best Director, and deservedly, Emmanuel Lubezki for Best Cinematography.

Midnight In Paris — It has been a long time since Woody Allen won a Best Picture Oscar (Annie Hall, 1977), glad it’s time again for a nod, even though its chance of winning is slim. As in a few other nominated movies on this list, nostalgia is key. An imaginary trip back to Paris during the literary and artistic golden age of Gertrude Stein, Hemingway and Picasso, an aspiring writer from California learns the notion of golden is only relative. What’s precious may well be the time at hand. Woody Allen also receives noms for Directing and Original Screenplay.

Hugo – Leading the Oscar nom counts with 11. Another homage to the cinema, or, the creation of the cinema dating back to the Lumière Brothers, but specifically to Georges Méliès, the French innovator of cinematic special effects. Interesting to see Martin Scorsese uses the modern technique of 3D to honor the pioneer Méliès. A visually stunning adaptation of Brian Selznick’s The Invention of Hugo Cabret. Scorsese has proven to me that 3D doesn’t have to be synonymous with soulless gimmick. Heart-warming, beautiful film for everyone.

The Help — As Roger Ebert was labelled “a lackey for imperialism” after writing that he likes ‘Downton Abbey’, I must put in this Disclaimer: I have high respect for the courageous fighters in the civil rights movement, both on a societal level like Martin Luther King Jr. and those making personal steps like Rosa Parks. How I feel about this movie is strictly to do with the movie itself. Ok, here it is: I find it riddled with simplistic and contrived sentiments. The pool of major acting talents are morphed into caricatures. As I was watching, I felt they were all acting, not being. Can’t blame them, they were following a script and a director. Viola Davis nom for Best Actress, Jessica Chastain and Octavia Spencer for Best Supporting Actress. And the Oscar likely goes to Spencer.

The War Horse — Again, a Disclaimer here: I’m not against animals in movies… often, it’s the humans that leave much to be desired. Personally, I’m surprised that this is from Spielberg. Lacklustre storytelling, cliché moments and superficial characterization. The most natural and beautiful actor could well be Joey, the horse. The film is an adaptation of the children’s book of the same name written from the POV of the horse. Now, that sounds fresh and unique.

Moneyball – Can strike the heart of even non-baseball fans. A well paced and edited, engaging movie. The real story of Oakland A’s general manager Billy Beane. It’s always satisfying when the underdog wins, David overcoming Goliath, especially when money is involved. Brad Pitt getting Best Actor nom, and Jonah Hill Best Supporting. Other categories include Editing and Adapted Screenplay.

Extremely Loud and Incredibly Close — I have yet to see this movie, for truly I did not expect it to be nominated for Best Picture. I have read Jonathan Safran Foer’s novel, the source material. I must say, I had mixed feelings when reading. And for it to be adapted into a film, much has to be done to interpret, alter, and display.  So, I reserve judgement on the film until I’ve seen it.

Other Nominees:

Meryl Streep for Best Actress in The Iron Lady – If you want historical accuracy, go see a documentary. But even there it depends on the POV of the filmmaker.  Director Phyllida Lloyd (Mamma Mia!) has conjured up an internal world of the only woman Prime Minister of Britain, Margaret Thatcher. Unless she comes to rebut the director’s view, who are we to argue against it? Let’s just go beyond the debates and appreciate the marvellous performance by Meryl Streep. This might well be her chance for a second Best Actress Oscar since Sophie’s Choice in 1983. Jim Broadbent always complements superbly.

Michelle Williams for Best Actress in My Week With Marilyn — Michelle Williams proves her amazing versatility here. I mean, after seeing Wendy and Lucy, Blue Valentine, can you imagine a more diverse role as Marilyn Monroe? She delivers convincingly. Kenneth Branagh gets the nom for Best Supporting Actor as Sir Laurence Olivier. And who’s that obscure chap that gets to spend a week with Marilyn? Why, he’s Eddie Redmayne, Angel Claire in Tess of the D’Urbervilles.

Gary Oldman for Best Actor in Tinker Tailor Soldier Spy – Film scholar David Bordwell suggests that we see it as ‘a moving mosaic’. This film is made up of fragments of John Le Carré’s complex and massive work. So it’s better that you’ve read it first before watching. But if you’re like me, abandoning the book without finishing, you can still appreciate the overall atmosphere and the fine acting. Intricately weaving characters and time frames, the film’s intriguing ending has prompted me to go back to the book after watching it. CLICK HERE to read Bordwell‘s insightful review to help you through the Labyrinth.

***

CLICK HERE for a full list of Nominees.

Molly Fox’s Birthday was on the long list of the 2009 Orange Prize. Despite the title and the look of the book cover, it’s not chic lit. It’s not about celebrating a birthday either.

The book is set on a single day, Molly Fox’s birthday, June 21st, the summer solstice. Molly Fox is a popular and gifted theatre actor. On that day, the narrator of the book is staying at Molly’s home in Dublin while Molly has gone on a trip to New York. Nothing much happens really on Molly’s birthday, a day that she doesn’t even celebrate.

The narrator is a playwright who has enjoyed acclaims at one time but is now going through a low period in her career. On this day, she is struggling with writer’s block. While she is staying in Molly’s home trying to start a new play, she is preoccupied with memories and pondering. She reminisces on her longtime friendship with Molly, who was initially propelled to fame when she performed  in the narrator’s debut play.

Gaiety Theatre, Dublin

Through her quiet recollections, the narrator describes how their lives intertwine with two other significant characters, Molly’s brother Fergus and their mutual friend Andrew, who is from Northern Ireland. The political events that happend during the past decades had shattered his family. A successful art historian living in London now,  Andrew is still haunted by disturbing memories. And Fergus is another personality which the narrator finds intriguing to discover slowly.

Sometimes it’s just a gut feeling that you like a book. As you’re reading, there’s a gentle push that prompts you forward, reinforcing your favor as you slowly go along… even though ‘nothing much happens’. To go beyond feeling is what I need to do now. Let me try to organise my thoughts:

First it’s the voice. Often that’s the first thing that draws me into the story. Throughout the book, the narrator is unnamed. Her voice is casual, understated, and her tone is occasionally self-deprecating: “… I was in the supporting role: ever the stooge…” For some reason, I’m instantly drawn to such remarks.

But the self-deprecation only hides a genuine search for self-worth, and a deep longing for what is true in relationships and in life. I admire her sincere quest for that which is authentic in herself and others. Like a close friend relating to you her deepest thoughts, you want to listen attentively.

Author Madden’s strategy of keeping the narrator anonymous is most apt, for we are led to discover her inner world, and appreciate the substance that makes up who she is. A name only identifies the surface, the content within is what makes it worthwhile for readers to know in a character.

Intriguingly, this is exactly what the narrator tries to do. As she struggles with writer’s block, she is also sorting out the blockages of veiled personas of those whom she thinks she has come to know, to find out what they are beneath the surface.

What appeals to me is the narrator’s insightful point of view disguised as casual remarks. Like how she recalls the first time she recognized Molly in a café, sitting nearby her and reading a book:

“I did not approach Molly — what could I possibly have said? I really liked you in ‘The Importance of Being Ernest’. And what could she have replied? Why thank you very much. What would that have amounted to? Less than nothing. There are forms of communication that drive people apart, that do nothing other than confirm distance. But there are also instances when no connection seems to be made and yet something profound takes place, and this was just such a moment.”

Café in Dublin

On Molly’s birthday, the narrator talks to three people who come by Molly’s home, Andrew, whom the narrative has not seen for a while, Molly’s brother Fergus and a well-wisher. From interactions with them, the narrator is surprised to learn that people’s outward image may well be a front hiding a very different self or intent.

From the narrator’s oldest brother Tom, a Catholic priest –

“Eternity is a priest’s business. But we all live in time. And what I’m doing is trying to make people aware of how the two coexist… keeping that sense of eternity while being in time; and trying to live accordingly…”

How the narrator describes Molly’s acting –

“There was always something unmediated and supremely natural about her acting, it was the thing itself. Becoming, not pretending.”

About the self on and off stage –

“Is the self really such a fluid thing, something we invent as we go along, almost as a social reflex?… so much social interchange is inherently false, and real communication can only be achieved in ways that seem strange and artificial.”

And this –

“Sometimes, on stage, not showing something can be more powerful than showing it.”

Seems like this might well be the style Madden follows in writing her book. Subtle prompting, slow revealing… and we’re led to surprising discovery alongside the narrator.

Molly Fox’s Birthday reminds me of Somerset Maugham’s novel Theatre. But this is quieter. And after I’ve finished I wonder… what have I missed now… for there are so many layers, I haven’t explored them all. First off, what’s the significance of a birthday on the summer solstice…

~ ~ ~  Ripples

***

Post of similar subject:

THEATRE by W. Somerset Maugham: In Search of Reality

***

• Best Motion Picture – Drama: The Descendants
• Best Motion Picture – Comedy or Musical: The Artist
• Best Actress – Drama: Meryl Streep (Iron Lady)
• Best Actor – Drama: George Clooney (The Descendants)
• Best Actress – Comedy or Musical: Michelle Williams (My Week with Marilyn)
• Best Actor – Comedy or Musical: Jean Dujardin (The Artist)
• Best Director – Motion Picture: Martin Scorsese (Hugo)
• Best Screenplay – Motion Picture: Woody Allen, Midnight In Paris

I must say I’m not too excited about this year’s Golden Globes to start with. Main reason: how can they totally snub Terrence Malick’s The Tree of Life? Not even one single nomination for that epic production! I hope the Academy Awards can correct that negligence.

But I’m glad though for The Artist winning Best Picture, Comedy or Musical. It offers me a unique experience: watching a silent movie made in 2011 in the theatre, a successful, nostalgic attempt paying homage to the golden era of Hollywood. Last night, Uggie got a chance to share the spotlight.

Michelle Williams is impressive as Marilyn Monroe. Just a look at her at the Golden Globes and you’ll know how acting and make-up can create a whole world of difference. The transformation of an understated actor into a legendary personality in a dreamscape is what’s so magical about the cinema.

George Clooney is good in The Descendants, a showcase for his acting talent. You can actually see a tear welling up in his eye then flow slowly down his cheek to the tip of his nose. That scene is so deeply imprinted in my memory.

Haven’t seen Iron Lady yet, but what I remember from last night Meryl Streep winning Best Actress is her presenter, the inimitable, ever poised (even more so this time… marvellous result of some great workout?): Colin Firth.

And last but not least, excited to see Woody Allen once again getting recognized for his talent, albeit not in directing, still a worthy nod, winning Best Screenplay with Midnight In Paris. And I must mention this: not too long ago I read a book entitled Insanity Defense: The Complete Prose by Woody Allen. In it I read a story called “A Twenties Memory”.  O what a discovery! Of course! This piece of writing dating back to 1971 must be the original spark that later materialized into the script for Midnight In Paris, some forty years later. CLICK HERE to read “A Twenties Memory”. This just shows it’s never too late to bring ingenuity to life.

***

For a full list of nominations and winners, CLICK HERE.

***

Yasunari Kawabata (川端 康成, 14 June 1899 – 16 April 1972) is the first of two Japanese Nobel laureates in literature, receiving the honor in 1968 (Kenzaburo Oe in 1994). So far I’ve only read two of Kawabata’s books, Snow Country and The Sound of the Mountain. But from this limited experience, I’ve found that reading Kawabata is like watching an Ozu film. The camera is set low and mostly stationary to depict quiet expressions and gestures. Viewers are engaged by the nuanced dialogues as the director explores in depth thematic materials rather than presents plot-driven sequences. Both masters deal with intimate relationships, their characterization sensitive , their imagery poetic.

Ogata Shingo is in his early sixties, beginning to show signs of old age. Ever introspective and sensitive, he can almost hear the beckoning of death as sound that comes from the mountain to the rear of his house in Kamakura. As he lies in bed at night, beside his oblivious, snoring wife Yasuko, he can distinctly hear that sound:

“It was like wind, far away, but with a depth like a rumbling of the earth… The sound stopped, and he was suddenly afraid. A chill passed over him, as if he had been notified that death was approaching.”

At most, Shingo feels a duty towards his wife Yasuko. His heart though is drawn to two women, one is his wife Yasuko’s older sister who passed away from an illness some time ago. Yet Shingo still cherishes memories of her. The other is his son Shuichi’s wife, his own daughter-in-law Kikuko, who lives in his house. Nurturing a crush on two women who are not his wife has troubled Shingo deeply.

But the guilt he wrestles with is only a part of the distress he faces so late in life. Shingo has to face the marital problems of both his son Shuichi’s and his daughter Fusako’s.  Shuichi, who lives with his wife Kikuko in the house of his parents, has been seeing another woman, Kinu. And Shingo’s daughter Fusako has recently returned to her parent’s home with her two young children after her husband has deserted them.  Despite their being adults now, Shingo feels responsible for the failure of his children’s marriage.

In a restrained bickering between father and son, Shingo is put on the spot:

“I’ve been thinking a little,” muttered Shuichi. “About Father’s life.”
“About my life?”
“Oh, nothing very definite. But if I had to summarize my speculations, I suppose they would go something like this: has Father been a success or a failure?”

…..

“But whether or not a parent is a success would seem to have something to do with whether or not his children’s marriages are successful. There I haven’t done too well.”

As I was reading this book, I thought of Ozu’s films. Like Ozu, Kawabata is bold to expose the breakdown of the traditional family and the threat to paternal authority in post WWII Japan. He depicts the shift from a parent-child emphasis to one between husband and wife. He is honest in revealing the common cracks of unfaithfulness which can destroy marriages. In the book, he openly describes the strain and alienation between generations and within a marriage.

Besides relationships, Shingo has to battle with something more inherent and spiritual. His son Shuichi neglects his wife Kikuko and often goes to his mistress, Kinu, who later becomes pregnant. Shingo not only takes upon himself to deal with Kinu, but is drawn into something even more difficult to confront, for in Shuichi, he sees himself:

“Shingo was astonished at his son’s spiritual paralysis and decay, but it seemed to him that he was caught in the same filthy slough. Dark terror swept over him.”

Shingo is a man afflicted on severals fronts, guilt, responsibility, spiritual decay. Author Kawabata instills relief for his protagonist as well as his readers by means of Nature.

Gingko Tree in Japan

Shingo is superbly in tune with the natural world, and in turn, nature is a mirror from which he sees himself clearly. The temperamental sky reflects his moods; the typhoon, his inner turmoil; stalks of bamboo broken off by the storm parallel the broken family relationships he lives with; the noise of locust wings spells restlessness; and yet the unseasonable buds on the great gingko tree splashes hope in a troubled time:

“The gingko has a sort of strength that the cherry doesn’t,” he said. “I’ve been thinking the ones that live long are different from the others. It must take a great deal of strength for an old tree like that to put out leaves in the fall.”

And thus comes the turning point in Shuichi and Kikuko’s marriage, though fragile, still a glimmer of hope, while Fasuko’s marriage comes to an abrupt end like an overnight storm. As for Shingo, we wish him well, like the unseasonable buds on the great gingko tree.

The Sound of the Mountain requires slow reading and quiet contemplation. Like a good film, I know I will go back to it as time goes by.

**

The Sound of the Mountain by Yasunari Kawabata, translated by Edward G. Seidensticker, published by Vintage International, NY., 1996, 276 pages.

Note: ‘gingko’ in this book is spelt differently from our common spelling nowadays ‘ginkgo’

Ginkgo Tree photo from Wikimedia Commons

***

Other related posts on Japanese Literature and Films:

Reading Snow Country in Snow Country

Rouse Up O Young Men of the New Age by Oe

Yasujiro Ozu and the Art of Aloneness 

Notes on the Synthesis of Film, Art… Life?

Along came the new year and another opportunity. Thanks to Mrs. B of The Literary Stew, who suggested to me a read-a-long of Salman Rushdie’s Midnight’s Children, I gladly accepted the idea. We’re excited that Bellezza of Dolce Bellezza and Colleen of Books in the City will also be joining us. I know that on Bellezza’s blog, she has a few who have shown interest. You’re invited to hop on as well.

Salman Rushdie’s Midnight’s Children won the 1981 Booker Prize. In 1993, it was awarded the Booker of the Bookers trophy, the best novel to have won the Booker Prize for Fiction in the Award’s 25-year history. I admit I haven’t read any Rushdie before, so I just thought this would be a good one to start. Do click on the link above to Booker’s website for the synopsis and bio.

Another major reason for my interest in reading it this year is that its film adaptation is currently in post-production. Acclaimed Canadian director Deepa Mehta (Water, 2005) is at the helm of the production. Rushdie is closely involved in the process with Mehta in condensing his novel into 130 pages of screenplay. Filming has already been completed in Sri Lanka. According to IMDb, it will be released this fall.

My copy is the 25th Anniversary Edition. It has 533 pages. Considering the dense writing and the historical backdrop of the novel, it sounds like a book that calls for reading camaraderie and dialogue. Also, we’ve decided to take it slow. By so doing, we can also pursue other readings or blogging activities while doing this.

So here’s our plan. The novel is divided into 3 sections, with the middle the longest, so we’ll split it in two. We’ll begin reading in March. One month for each part. Review posts are to be posted according to the following schedule:

March 31 — Book One
April 30   — Book Two (Part A ending with ‘Alpha and Omega’)
May 31    –  Book Two (Part B starting with ‘The Kolynos Kid’)
June 30   — Book Three

You’re welcome to join us in this slow read. Just indicate in the comment section and leave a link. 

**

And to everyone, Happy Reading in 2012!

***

]]> http://rippleeffects.wordpress.com/2012/01/08/midnights-children-read-a-long/feed/ 12 Arti Midnights-Children http://rippleeffects.wordpress.com/2012/01/04/the-artist-2011/ http://rippleeffects.wordpress.com/2012/01/04/the-artist-2011/#comments Wed, 04 Jan 2012 14:47:49 +0000 Arti http://rippleeffects.wordpress.com/?p=10228 Continue reading →]]> I like to start the year with something bright and cheerful. Glad I found it in The Artist. It’s a colourful and spirited romance comedy, kicking off the new year with style. The Artist is a black and white silent film made in 2011.

Directed by Michel Hazanavicius, it premiered at Cannes and was nominated for the Palme d’Or. The French actor Jean Dujardin won Best Actor at the Festival. The Artist is now gathering momentum for an Oscar Best Picture nom.

I was totally captivated by the film, an homage to the silent era of Hollywood movie-making. In the style and tradition of Charlie Chaplin and Buster Keaton, The Artist is a comedy with a heart. It’s not a deep exploration of true love, or what makes an artist, but a light, fun and melodramatic genre piece, gratifying without demanding much.

The story is about a silent movie star George Valentin (Jean Dujardin), who is the rave of the time. His presence is cheered by live audiences at the cinema and on the streets, greeted by swarms of women screaming and swooning. One of them is Peppy Miller (Bérénice Bejo), an aspiring actress. Miller’s dance steps and perky personality soon open doors for her into Hollywood. She can now get close to George, who in turn is mesmerized by her.

But the torrents of change are callous and indifferent. The year is 1927, the pioneering of talking movies. Sound quickly replaces silence. George soon finds himself swept from the top of the world into oblivion. He’s dumped by his producer Al Zimmer (John Goodman), for George is now a nobody from yesterday. Reduced to poverty, he has to let go of his last supporter, his faithful butler Clifton (James Cromwell).

Now folks, this is 1927… not unlike what we’re seeing today. All trends are ephemeral. And uh… I hate to say this, but it was mentioned by my college son who saw the movie with me, sound ~ 3D of today?

Seeing George Valentin’s plight, Peppy Miller cautiously comes to the rescue. Now a popular Hollywood star, she knows how proud he is of his career as a silent film actor, an artist, a purist who refuses to be lured into what he perceives as the gimmick of sound productions. So ultimately, the story is about change, and how one can still seek to accommodate without compromising.

The Artist is a genre romance comedy, silent style. That’s when acting and outward expressions of thoughts and emotions take over in the absence of dialogues. I was impressed by how effective it is. I remember in a screenwriting course, I was told to leave the dialogues to the last. Since film is a visual medium, the actions should tell the story even without any words spoken.

How true it is. I can see vividly this axiom in action by watching The Artist. Sure there are prompters for us, like the old silent films where short descriptions of words are inserted on occasions, more for comedic effects I feel. But I can follow the story, totally immersed in the circumstance of the characters, their highs, their lows, purely from watching them act without saying a word. That is a wonderful experience.

It’s not totally silent though… there’s music of course, and it’s an important part of the movie, generating the mood and momentum. I was totally engaged through it.

And last but not least, I must mention this. All ye dog lovers, even if you aren’t, this is a film for you. If there’s an Oscar for the Best Dog Actor, Uggie should definitely get the honor.

A new year bang. Let the silence speak for itself. Uggie never has to say a word.

~ ~ ~ 1/2 Ripples

Search Engine Terms

• modern day insane asylum
• stranger than fiction free will or predestination
• Vermeer skulls
• how many hunting license were sold before and after  the movie Bambi
• Toronto International Film Festival social impact
• culture and imperialism in Mansfield Park
• Shawshank Redemption sewer pipe
• Hemingway beaten up by Canadian authors
• what value in life if not together
• how to get in touch with Diane Keaton

Give you a feel of what Ripple Effects is all about, right? Yes, it’s a mixed bag of ruminations on books and films, where crawling through a sewer pipe could be noted as an existential quest, and always, a lookout for the minutest ripples of current culture… while maintaining humor and sanity doing all that. And, if you know how to get in touch with Diane Keaton, do let me know.

Most Popular Post

Slowly heading towards half a million views, this turtle does not intend  to win any races, but is glad just the same to see some posts maintaining their popularity. This is the all time most popular post:

Memorable Movie Love Quotes which I compiled and posted for Valentine’s Day 2008. I sure hope that the 24,000 views in 2011 have contributed to some consolidation (and conciliation?) of relationships.

My Personal Best Picks

There are posts people may like, there are also posts that I favour more. Books into films is Arti’s ‘specialty’, and it’s always fun to link the two, albeit I know they are distinctly different art forms.  Some of my favorite posts in 2011 are:

• Howards End by E. M. Forster (A book review framed by the movie)
• Midnight In Paris – (A bookish imaginary scenario)
• Can a Movie Adaptation Ever Be As Good As The Book?
• You’ll Never Catch Up
• As sequels to last year’s list: More Upcoming Books Into Movies and Upcoming Books Into Movies – List 3

And that leads me to the coming new year. From my upcoming book to movie lists, I look forward to reading the following titles, as they are in development with their film adaptations:

Books to Read in 2012 (before the film comes out)

• The Marriage Plot by Jeffrey Eugenides
• The Emperor’s Children by Claire Messud
• Runaway (short story) by Alice Munro
• Midnight’s Children by Salman Rushdie
• As I Lay Dying by William Faulkner

Book Challenges in 2012

I’m excited to sign up for two Book Challenges sponsored by CarrieK. at Books And Movies.

2012 Graham Greene Challenge — What better way to delve into books and movies than reading Graham Greene, who had almost all of his works adapted into feature film or TV series. I’ve selected these titles:

• The Quiet American
• The End of the Affair
• Brighton Rock

.

2012 Ireland Challenge — I’m to pick four titles, including fiction and non-fiction by Irish writers with setting in Ireland. Now this is uncharted water for me. I’ve John Banville and Anne Enright in my TRB pile which I want to get to, and Deirdre Madden’s book suggested by litlove. I’m open to other recommendations.

• Molly Fox’s Birthday by Deirdre Madden
• The Sea by John Banville
• The Gathering or
• The Forgotten Waltz by Anne Enright

Most Anticipated Books to be Released in 2012

• When I Was a Child I Read Books by Marilynne Robinson
• Some Assembly Required: A Journal of My Son’s First Son by Anne Lamott

I’ll be reading screenplays too. Selections will likely be driven by spur of the moment, but these I’d like to get hold of:

Screenplays to Read in 2012

• The Descendants (see how Alexander Payne adapts from novel)
• Midnight In Paris (Woody Allen’s always fun to read)
• Young Adult (Screenwriter Diablo Cody’s script after Juno)

Ironically, I find reading and blogging feed my procrastination. Finishing a book or a blog post is usually the best reason to delay, pulling me away from ‘real’ writing… I still have a screenplay half finished. 2012 looks like a good year to get that done.

And then of course…

The Awards Season 2012

• Golden Globes – Jan. 15
• SAG Awards (Screen Actors Guild) – Jan. 29
• BAFTA Awards (British Academy) – Feb. 12
• WGA Awards (Writers Guild) – Feb. 19
• Independent Spirit Awards – Feb. 25
• The 84th Academy Awards – Feb. 26

As we edge towards the end of the year, my thanks to all who have visited, and those who have stirred up ripples by leaving their thoughts. The pond is all yours.

Best Wishes to All for a Wonderful 2012!

Happy New Year!

***

This is a moving video clip on the paintings in Kurelek’s children book A Northern Nativity, accompanied by Chris de Burgh’s touching piano music “When Winter Comes”.

.

And to All, A Merry Christmas!

***

After reading it, I went straight to her Newbery Award novel A Wrinkle In Time (another long time TBR for me). Amazed at its wisdom and depth, once I finished it I went back to reread Walking On Water, appreciated all the more L’Engle’s intricate weaving of intellect and spiritual insights.

At the very beginning of the book, these words jumped right out at me:

I sit on my favourite rock, looking over the brook, to take time away from busyness, time to be. I’ve long since stopped feeling guilty about taking being time; it’s something we all need for our spiritual health, and often we don’t take enough of it.

And just a few pages after that, I found this gem:

Leonard Bernstein tells me … for him music is cosmos in chaos. That has the ring of truth in my ears and sparks my creative imagination. And it is true not only of music; all art is cosmos, cosmos found within chaos.

Bernstein might have echoed a Jungian notion, but there’s a spiritual reality in the thought.

It all began with the calling forth of light from darkness, splendor from void, life from nothingness, the Creation. Terrence Malick’s The Tree of Life comes to mind… the cosmic light and galaxy clouds, the molten lava that spews out of the earth, the roaring breakers of the ocean deep, and my heart resounds: ‘day to day pours forth speech, night to night declares knowledge.’

But what’s most awesome is not just the forming of the cosmos, but the Creator incarnated, the infinite confined, the invincible made vulnerable in order to live the hurts, to share the pains. L’Engle writes:

To be alive is to be vulnerable. To be born is to start the journey towards death… We might paraphrase Descartes to read, ‘I hurt; therefore I am.’

The Creator demonstrated that behind the majesty, there’s the power of love, that driving force behind the willingness to stoop, to be made vulnerable, to be stripped naked, be born a babe. Utterly unfathomable. At one point in human history,  Cosmos entered and lived among Chaos.

And artists, those who write, who paint, who sing, who dance, who act… they are birth-givers. “An act of art is an incarnational activity,” L’Engle writes. Artists partake in the continuation of creation, bringing wholeness to a fragmented world, hope in the slough of despair.

As well, true artists live the vulnerability as the One who first took that cosmic plunge, taking the risk of birth because of love.

Here, take a 3:44 minute respite to enjoy some Seasonal reflections. Click on the video to listen to the music as your read Madeleine L’Engle’s poem:

The Risk of Birth 

This is no time for a child to be born,
With the earth betrayed by war & hate
And a nova lighting the sky to warn
That time runs out & the sun burns late.

That was no time for a child to be born,
In a land in the crushing grip of Rome;
Honour & truth were trampled by scorn–
Yet here did the Saviour make his home.

When is the time for love to be born?
The inn is full on the planet earth,
And by greed & pride the sky is torn–
Yet Love still takes the risk of birth.

Madeleine L’Engle

***

Walking On Water: Reflections On Faith And Art by Madeleine L’Engle, Commemorative Edition, published by Shaw, 1998, 227 pages.

‘Reading The Season’ posts in previous years:

Reading The Season: C. S. Lewis

Reading The Season: Fleming Rutledge

Reading The Season: Madeleine L’Engle’s The Irrational Season

Reading The Season: Luci Shaw