The Not That Faithful Adaptation

Off The Rails Adaptation Of Inane Book Is Released To Savage Reviews

Los Angeles (AP) The first few weeks of the year is often a dumping ground for films that the studios deem a waste, of poor quality and poor potential. So too is the case with a new film opening this weekend coming from the creative talents (if one wants to use that word) of two of the worst hacks on the planet. Director Michael Bay, who has given the world so many loud, explosion prone films over the years such as Pearl Harbor and the Transformers franchise, has just released Hopeless Yearning, the adaptation of a novel by Nicholas Sparks, who’s carved out a reputation as a hack himself, churning out pretty much the same plotline in every book. To call the two hacks is an understatement (editor: stop saying that! Michael Bay is a visionary, and my wife loves reading Nicholas Sparks books!)

The movie differs significantly from the book- at least as told to this reporter by the paper’s movie review columnist, who was forced by the very requirements of her occupation to sit down and waste two and a half hours of her life watching a Nicholas Sparks adaptation by Michael Bay. Her zero star review appears in today’s edition. The book featured a standard Sparks plot- the star crossed young lovers, class difference, disapproving parents, heartbreak, and so on, pretty much the same thing in the rest of the author’s works (editor: he does not write the same plotline over and over again!).

Bay made significant changes, turning the mechanic protagonist, Jonah McKay (played by Shia LaBeouf) into an Army bomb disposal expert. His romantic interest Clarissa (played by Megan Fox) was the daughter of a high society family, with a mother who turned out to be a megalomaniac villain, played by Julianna Margulies. The actress was outspoken about her dislike of Bay throughout production and has refused to take any part in publicity for the film. “**** Michael Bay!” Margulies said in a recent tweet.

Nicolas Cage, a perennial player in Bay films, appeared as McKay’s mentor Jeb Gallagher, and the film was plagued with interruptions due to drinking binges. What would usually be a bittersweet film (and an endless bore for anyone who hates Nicholas Sparks adaptations) was turned into an explosion prone, logic ignoring mess of noise, quick cut edits, an Aerosmith theme song, and babes in high cut shorts waxing cars in slow motion.

Bay is, as usual, ignoring the bad reviews. Found at his production offices at Digital Domain, the director was in a good mood. He looked his usual self- the dishevelled hair, the three days of stubble, the casual clothing, the vacant look in the eyes that suggested nothing much was going on inside his head, and the demented smile (editor: stop insulting Michael Bay!). “Who cares about the critics? They rip apart my films, and why? Because they just don’t understand them. My audiences understand them. My audiences love my films. So they come for the explosions and the Aerosmith theme and the action and the explosions and the hot babes and fast cars and the explosions and the… did I mention the explosions?”

Bay grinned even more. This reporter, doomed for the rest of his career to cover things he didn’t like because he had a cranky editor who was subject to a restraining order preventing him from being in the same space as this reporter, and who hated this reporter (editor: for good reason! Shut the hell up!), had to put up with this self absorbed nitwit (editor: what did I just say about not insulting Michael Bay?). “And then there are the Nicholas Sparks fans. I mean, women love this stuff. The star crossed lovers, the bittersweet endings, the sappy sentimental drama, the whole nine yards. Or ten yards. Or maybe there’s not even a yard involved, unless it has a white picket fence. Come to think of it, there’s a lot white about Nicholas Sparks. It’s as if people of colour don’t even exist in a Nicholas Sparks world.”

This reporter was momentarily stunned. Was Michael Bay having a moment of clarity? This, from a director who usually used minorities for comic relief in his over the top explosion prone films? This realization that Sparks has been criticized in the past for presenting a white bread sort of world? Or would it pass as quickly as ripples in the water of a mountain stream? Bay shrugged. “Well, that doesn’t matter. What matters is I’ve got double my audience, and this weekend we’re gonna do big box office numbers, baby, because people are gonna flock to this movie in droves. And we’re gonna prove the critics wrong next year at the Oscars, because if there’s anything I know, and I know a lot….” This reporter highly doubted that (editor: stop insulting Michael Bay!) “….it’s that the Oscars love tear jerkers. Which reminds me, why didn’t anyone ask me to direct The Notebook? I’d have been great at that.”

The last word goes to the author himself. Sparks has been spending years churning out the same plotline with different names and titles. He fashions himself as a unique writer, not willing to label himself a romance novelist (all while failing to keep his marriage together, how’s that for you?). He disregards criticism and shrugs off the irritation of people who dislike his books, such as this reporter, who regards him as a plague on the planet. “I didn’t know who he was,” Sparks admitted while at a café in his North Carolina hometown.

“I mean, sure, I’d heard his name before, but he didn’t present himself with his real name. So I signed off on an adaptation. I mean, I’ve had lots of my books made into movies that people have really been touched by and moved over and all that, so I assumed it would be more of the same. When you adapt one of my novels, you’re talking about true love and heart wrenching plot developments and cancer diagnosis moments and… why are you rolling your eyes?” Sparks asked, looking offended.

This reporter inquired, “are you aware that not everyone in this world likes your books? Because I don’t.”

Sparks seemed shocked. “That’s impossible.”

“No, it’s true,” this reporter assured him.

Sparks shook his head. “Then there can be only one explanation.”

This reporter wondered about the answer. “And that would be?”

“It means you have no soul,” Sparks stated with confidence.

This reporter sighed, shrugged, and walked away rather than spend another minute in the company of a buffoon of a writer, wondering what inane assignment his cranky editor would send him on next time (editor: if he’s right and you have no soul, that must make you a vampire. And thus no one will blame me for putting a wooden stake in your heart and ending you.)

This reporter would like to remind the authorities that his cranky editor keeps making death threats upon this reporter’s life, and should be dealt with accordingly (editor: shut up! I hate you! Oh, do I hate you! I hate you infinity plus one!)

From Captivity To Freedom: The Great Escape

“We have in effect put all our rotten eggs in one basket. And we intend to watch this basket very closely.” ~ Von Luger

“Colonel Von Luger, it is the sworn duty of all officers to try to escape. If they cannot escape, it is their sworn duty to cause the enemy to use an inordinate number of troops to guard them, and their sworn duty to harass the enemy to the best of their ability.” ~ Ramsey

“Afraid this tea’s pathetic. Must have used these wretched leaves about twenty times. It’s not that I mind so much. Tea without milk is so uncivilized.” ~ Blythe

“Blythe’s not blind while he’s with me. And he’s going with me.” ~ Hendley

“I haven’t seen Berlin yet, from the ground or the air, and I plan on doing both before the war is over.”  ~ Hilts

“If you’re asking me how far a commanding officer is allowed to go, or dare go, or should be permitted to play God, I can’t answer you.” ~ Bartlett 

The 1963 war drama The Great Escape adapts the story of the true escape of British and Commonwealth prisoners of war from Stalag Luft III, a German POW camp in what is now Poland, during the Second World War. Adapted from the book written by Paul Brickhill, one of the members of the escape, the film weaves together one of the best casts assembled for a film. While certain names are changed, other characters are composites of several people, and there are dramatic licenses taken (such as the fact that there were no Americans in the camp at the time of the breakout in reality), the film takes great care to present the details of the escape as accurately as possible. It comes from director John Sturges (The Magnificent Seven, Gunfight At the O.K. Corral, Hour Of The Gun).

In 1943, the most troublesome Allied prisoners of war are being brought to a newly constructed prison camp, headed by a Luftwaffe colonel, Von Luger (Hannes Messemer). He meets the largest group of arrivals personally, informing the senior commander, a British group captain named Ramsey (James Donald) that they should give up their attempts to escape. Among the early arrivals in the camp are two Americans,  Hendley (James Garner) and Hilts (Steve McQueen). British servicemen include Blythe (Donald Pleasence), Cavendish (Nigel Stock), Macdonald (Gordon Jackson), Ashley-Pitt (David McCallum), Ives (Angus Lennie) and William Dickes (John Leyton). The Australian Sedgwick (James Coburn) and a Polish pilot, Danny Velinski (Charles Bronson) are also among the early internees at the camp. An additional arrival turns up courtesy of the Gestapo, Roger Bartlett (Richard Attenborough), a British pilot with a reputation for masterminding multiple escapes and a chip on his shoulder where the Nazis are concerned.

The prisoners settle in after some first day escape attempts. Hilts and Ives get tossed into solitary confinement for their initial escapes and get to know each other during their time in what’s referred to as the cooler. Bartlett begins making plans to engineer a mass escape and takes stock of the particular skills of the prisoners within the camp. Some he knows, others he makes their acquaintance, and it’s his concept that leads to the digging of tunnels. Bartlett not only wants to escape- he wants to open a whole new front in the heart of occupied Europe and make life hell for the Germans.

The screenplay by James Clavell, W.R Burnett, and Walter Newman adapted the book recounting the events of the escape. They chose to make composites of certain real men while telling the story, as well as producing a screenplay that would be a star vehicle for some of the lead actors. There are aspects of the film that didn’t happen in real life. The fact that many of the prisoners were Canadian, for instance, is not touched on, and the nationalities of the three prisoners who did make it all the way to freedom were in fact Norwegian and Dutch. The sequences involving an airplane and a motorbike were also dramatic license for the story. The screenplay does honour the details of the escape by 76 POWs though, and grounds itself in strong characterization. There’s also humour added into the mix of the screenplay where appropriate, as well as the swinging back and forth between despair; while the ending might seem initially downcast, the very last moments of the film bring an optimistic tone of defiance and resilience that makes it work beautifully. We get to know the characters gradually as the film unfolds and as they get to know each other, and that’s one of the strengths of the screenplay.

Sturges filmed both on set and locations in Germany – the camp interiors and the tunnel sequences are all done on set, while the exteriors of the camp were erected near the studios. Local villages and towns also featured prominently in location shooting. The set construction by the crew particularly pays off- the interiors of the prison camp huts look as Spartan and of the time as you would expect, and the tunnels feel claustrophobic- very fitting considering one of the chief diggers is secretly terrified of closed in spaces. The exterior construction of the camp also has an accurate feel- it looks much like we would see in World War Two POW camps, barbed wire and all. The place has an oppressive, dreadful feel. The uniforms, props, and various other equipment are very much of the time, giving the film an authentic sense of time and place. Sturges also brought composer Elmer Bernstein in for the score. Bernstein, who had composed works such as The Ten Commandments, To Kill A Mockingbird, The Magnificent Seven, and Thoroughly Modern Millie among his many credits throughout his career, composed one of his finest scores for the film, with cues that mirror the themes of the film- oppression, defiance, hope, and exhilaration.

The casting is impeccable, one of the finest casts ever assembled. Hannes Messemer might be the commander of the camp, but he’s not unsympathetic as Von Luger. He’s a disciplined man, trying to keep a camp of POWs under control, trying to be cordial, all while not crossing the line. The actual man the character is based on survived the war, and the testimony of former POWs that he had treated them fairly and within the rules of the Geneva Conventions saw the officer freed. Von Luger doesn’t particularly seem that much of a believer in the Nazi ideology, starkly seen early on during his interaction with a Gestapo officer, who’s clearly a die-hard supporter. He also doesn’t care for the mistreatment of prisoners. He might be a hard man, but there’s an underlying decency in the man, and that’s what Messemer brings across in his performance.

Donald Pleasence gives his best career performance as the soft spoken and calm mannered British officer Colin Blythe, a detail oriented headquarters officer who by a trick of fate has ended up a POW. His skills make him a masterful forger, a vital skill for an escape attempt. Pleasence brought experience to the role, too- he spent a year during the war as a POW in a German camp. Blythe is tremendously sympathetic as a character; as the story unfolds and he faces an unexpected obstacle, Pleasence plays to that sympathy in his performance. Blythe and Hendley find themselves unlikely roommates, and gradually friends. One of the finest moments in the film is the decision Hendley makes to see Blythe out to freedom, and it speaks to the fact that they’ve become such good friends.

Charles Bronson also has the best performance in his career as Danny Velinski, the Polish pilot who is one of the two “tunnel kings” along with Dickes. The two characters are already friends, and do much of the advance work deep in the tunnels, which has involved frequent cave-ins as they’ve worked. Midway through the film, Danny reveals his deep fear of closed spaces to Dickes. It’s a crucial moment for the character and the actor (it seems Bronson had claustrophobia issues himself) as his desire to be free clashes with the fear, and his admission that he worries freezing up in the tunnel will put others in danger. Considering the actor later ended up getting known for playing a lot of tough guy roles, having him admit to a vulnerability that would be understandable to many people is a good measure.

James Donald had a tendency to play authority figures throughout his acting career on stage and screen. He was one of the featured players in The Bridge On The River Kwai, King Rat, and Lust For Life. He plays the senior officer Ramsey with the cool British reserve you would expect of the character. Ramsey is based on the actual senior officer in the camp, an experienced escaper who didn’t take part in the escape and yet had to be briefed in on what was going on. Ramsey comes across as calm under pressure, a steady leader, somewhat pragmatic and with less of a chip on his shoulder than Bartlett where the Germans are concerned.

James Coburn as Sedgwick is one of the quiet pleasures of the film, a charming Aussie who’s the chief manufacturer in the escape attempt. The character’s capable and resourceful, making use of whatever supplies can come his way to aid in the escape. And he shows resilience and calm under pressure as the film unfolds- out on the run and on his own, he shows wisdom in the choices he makes, and takes things in stride when a rather startling event unfolds around him.

Richard Attenborough became well known to audiences in North America because of his role as Big X, aka Roger Bartlett, based on the real mastermind of the breakout. Bartlett is ambitious in his plans for the escape, a resolute leader, decisive, organized, and someone who pays close attention to detail. He also bears a grudge against the Germans, who haven’t been appreciative of his previous escapes, and there’s the sense that the character is out for some payback as much as he wants to get to freedom. He’s not as calm as Ramsey, but we can believe the character as a leader of men.

James Garner is one of the great treats of the film, a charming scoundrel whose skill is at scrounging for the needs of the escape. A skilled pickpocket or negotiator, Hendley is gifted at smuggling what needs to be smuggled, charming, easygoing, and a good liar. The audience might suspect he’d be a pretty good used car salesman- but under the charm is strongly held principle and integrity (which of course would disqualify him from that job). His decision before the escape to help Blythe reach freedom is a clear mark of how decent Hendley is, and Garner plays these qualities throughout the film.

This film solidified Steve McQueen’s status as a superstar in the world of film, and it’s a compelling, tremendously likeable character. Hilts is based on more than one pilot, and is a defiant and irreverent man. When he’s not breaking out of the camp during earlier attempts, he’s an irritant to Von Luger and the guards in general. Of course he ends up spending a good deal of time in the cooler, but solitary confinement doesn’t break his spirit, it just strengthens his resolve. Events lead him to consider the benefits of the larger escape attempt and play a pivotal role in it, and once on the outside, Hilts finds himself on the run, with trouble circling in from all sides. The character is a standout in a film filled with standout performances.

The Great Escape is one of those classic films that never gets old with repeated viewings. Its characters have depth and complexity, and it’s not all black and white as a POW film- the jailer is not entirely without sympathy. The film has a good sense of humour, paces itself well, lets us get to know these men, and then unleashes them in a bid for freedom. While the events that play out don’t go according to plan, there is still resilience in the spirit of the men, and the result is a rousing, tremendously satisfying film. It is a personal favourite film, and a true classic.

The Passing Of A Great Acting Legend

“Never cry over spilt milk. It could have been whiskey.” ~ Bret Maverick, Maverick

“Colin’s not a blind man as long as he’s with me. And he’s going with me.” ~ Robert Hendley, The Great Escape

“I don’t care much about the rules anymore. I’m not that much of a hypocrite.” ~ Wyatt Earp, The Hour Of The Gun

"You don't mouth off to anything that big. He looks like 190 pounds of gristle." ~ Jim Rockford, The Rockford Files

"Well now you know. I enjoy spending time with dead men. You don't believe me? Go ahead and die. It'll perk me right up." ~ President Matt Douglas, My Fellow Americans

“I never committed a cold blooded murder in my life. And I won’t… not til I find Maverick.” ~ Zane Cooper, Maverick

James Garner passed away last weekend at the age of 86 after a long career in film and television. The actor had a history of playing charmers, scoundrels, and good natured anti-heroes. In television, he was best known for two roles, the gambler Bret Maverick in Maverick and the down on his luck private investigator Jim Rockford in The Rockford Files. On the big screen, he enjoyed much success throughout his career in films like The Great Escape, Murphy’s Romance, Victor/ Victoria, Support Your Local Sheriff, The Notebook, Space Cowboys, My Fellow Americans, and the film adaptation of Maverick. His characters often had that affable, smooth talking quality to them, the sort of persona entirely willing to get out of a scrape by their wits.

Garner was a veteran of the Korean War, and spent time in the 1950s in a variety of jobs before moving into acting. The part of Bret Maverick came his way, one of a torrent of westerns in that decade. The gambler and all around ladies man character was the anti-John Wayne (this is a good thing) in that he’d have no problem ducking out of a fight or talking his way out of a jam. The series proved popular with audiences, and Garner’s career took off.

In 1960, he walked away from the series after a dispute with the studio and producers. Film was waiting for him, and he moved from part to part, gathering acclaim and playing the sort of people you might get along with very well, though you’d feel inclined to watch your wallet. He played characters who could express exasperation with just a look, while smiling in a way that made you think he was laughing at the world. Garner brought a light, comic take to his work that made him stand out. Some of his other roles in this era included The Americanization of Emily, The Children’s Hour, Grand Prix, The Thrill Of It All, Marlowe, and as Wyatt Earp in The Hour Of The Gun.

In the 1970s he returned to television to play Jim Rockford, a role that would win him an Emmy along the six year run of the series (and would be reprised later on in television movies). The character was an ex-con who worked cases as a private eye, all while seemingly never getting paid. He’d find himself regularly in trouble helping out a friend (or passing acquaintance). And Garner’s easy going screen persona made it popular once again with audiences.

Garner would receive an Oscar nomination for his lead role opposite Sally Field in Murphy’s Romance, playing a widower starting a new relationship with a young divorced mother. Film and television work would continue to come his way through the years, like Mark Twain in the television movie Roughing It, or parts that came along in established shows such as Chicago Hope or 8 Simple Rules. The film roles kept coming along too, including Maverick, which saw him opposite Mel Gibson and Jodie Foster as Marshal Zane Cooper, father of Bret Maverick. Comedic timing was, as to be expected of Garner, exactly on cue in his bickering with Gibson and his flirtations with Foster.

That same comic timing would play into My Fellow Americans, where he played a one term former president alongside Jack Lemmon, also playing a one termer. The two characters can’t stand each other, and yet find themselves having to work together when they’re cast into danger. Garner’s President Douglas is a charmer, of course, and the dynamic between the two actors works better for me than the dynamic Lemmon often played with Walter Matthau, who was slated to play Douglas.

In 2004, Garner got yet another big role in a film I personally dislike- but that’s the source novel that’s the problem, not the cast. He played an older man in The Notebook, the Nicholas Sparks adaptation about young love in the form of Rachel McAdams and Ryan Gosling, and their story being told to a dementia afflicted woman (Gena Rowlands). The story of course was dripping with sentiment- an overwhelming problem with all Sparks books- but it made a big impact at the box office, and captured Garner and Rowlands in a poignant way. The film gave him a second Oscar nomination, for best supporting actor.

James Garner was that rarity in Hollywood. His personal life was quiet. He married Lois Clarke in 1956, and they stayed married. He adopted her daughter, and they went on to have another daughter. I wasn’t aware that he had an interest in racing (beyond his appearance in Grand Prix). He was an owner in an auto racing team in the late Sixties, and maintained an interest in the racing world afterwards.

Some will look back on his career and think of their favourite role. The choice might be as Bret Maverick, or Jim Rockford. Others might look to the movies and recall that role that stood out most of all. For me, it was his role as Robert Hendley in The Great Escape. Garner played one of the few Americans in a POW camp during the Second World War, held in place by Luftwaffe officers. Co-starring Steve McQueen, Richard Attenborough, Donald Pleasence, James Coburn, Charles Bronson, and James Donald, the film follows the real-life story of the escape of dozens of prisoners from Stalag Luft III, in what is now Poland. Garner’s character was the Scrounger, the man with the skills to gather whatever’s needed for an escape. That might involve simply finding the raw materials in the camp itself. It might also involve pick pocketing or talking a German guard into providing the required item, like a camera. The character is resourceful and clever, a smooth talker who could do quite well for himself as a con artist.

Yet there’s also another aspect of the character that Garner brings across. He’s bunking in with Donald Pleasence’s character Colin Blyth, a staff officer whose speciality is in forging documents. The two have very little in common, and yet at the story carries on, there’s a friendship between them growing. This makes itself perfectly clear when Colin’s vision problems may doom him to stay behind during the escape. Hendley tells Attenborough’s Roger Bartlett, the head of the escape operation, that he’ll personally take Colin out to freedom, a promise he keeps. It’s a testament to the friendship between the two men, and one of my favourite moments of the film.

It was sad to hear of his passing, and yet he leaves such a rich legacy of film and television work behind him. There are many roles for the audience to treasure long after he’s gone, and he lived a long, productive life. He was one of the greats, and he will be missed.