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February 02, 2009

IT'S THAT "BASED ON A SCREENPLAY BY" THAT GIVES US PAUSE ...

Glenn Close "is hoping to fulfil a long-term ambition by making a film based on a screenplay by John Banville" ...

Close has spent almost two decades securing finance and finding a director and producer to make The Singular Life of Albert Nobbs, the story of a poverty-stricken woman in 1860s Ireland who disguises herself as a man to gain employment.

The film is inching closer to production after Close enlisted Bonnie Curtis, who worked with her on a recent film, The Chumscrubber, to produce and Rodrigo Garcia, who collaborated with her on another recent film, Nine Lives, to direct.

The script is based on a short story by George Moore, the 19th-century Irish author who has been described as the country’s first great modern novelist. It is supposedly based on a true story. A screenplay by Istvan Szabo, the acclaimed Hungarian writer/director, has been exchanged for a new script by Banville, who says Close is eager to retain the “Irishness” of the original story. “It’s quite an unusual project for a Hollywood actress to pursue for so long with such passion,” he said.

Banville was recommended to Close by Stephen Frears, the English director.

Posted at 12:24 AM in Obsessions |

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TEV DEFINED


  • The Elegant Variation is "Fowler’s (1926, 1965) term for the inept writer’s overstrained efforts at freshness or vividness of expression. Prose guilty of elegant variation calls attention to itself and doesn’t permit its ideas to seem naturally clear. It typically seeks fancy new words for familiar things, and it scrambles for synonyms in order to avoid at all costs repeating a word, even though repetition might be the natural, normal thing to do: The audience had a certain bovine placidity, instead of The audience was as placid as cows. Elegant variation is often the rock, and a stereotype, a cliché, or a tired metaphor the hard place between which inexperienced or foolish writers come to grief. The familiar middle ground in treating these homely topics is almost always the safest. In untrained or unrestrained hands, a thesaurus can be dangerous."

SECOND LOOK

  • The Bookshop by Penelope Fitzgerald

    Bs

    Penelope Fitzgerald's second novel is the tale of Florence Green, a widow who seeks, in the late 1950s, to bring a bookstore to an isolated British town, encountering all manner of obstacles, including incompetent builders, vindictive gentry, small minded bankers, an irritable poltergeist, but, above all, a town that might not, in fact, want a bookshop. Fitzgerald's prose is spare but evocative – there's no wasted effort and her work reminds one of Hemingway's dictum that every word should fight for its right to be on the page. Florence is an engaging creation, stubbornly committed to her plan even as uncertainty regarding the wisdom of the enterprise gnaws at her. But The Bookshop concerns itself, finally, with the astonishing vindictiveness of which provincials are capable, and, as so much English fiction must, it grapples with the inevitabilities of class. It's a dense marvel at 123 pages, a book you won't want to – or be able to – rush through.
  • The Rider by Tim Krabbe

    Rider_4

    Tim Krabbé's superb 1978 memoir-cum-novel is the single best book we've read about cycling, a book that will come closer to bringing you inside a grueling road race than anything else out there. A kilometer-by-kilometer look at just what is required to endure some of the most grueling terrain in the world, Krabbé explains the tactics, the choices and – above all – the grinding, endless, excruciating pain that every cyclist faces and makes it heart-pounding rather than expository or tedious. No writer has better captured both the agony and the determination to ride through the agony. He's an elegant stylist (ably served by Sam Garrett's fine translation) and The Rider manages to be that rarest hybrid – an authentic, accurate book about cycling that's a pleasure to read. "Non-racers," he writes. "The emptiness of those lives shocks me."

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