50 Books to Read Before You Die

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Tag: Movies

Off-Topic: Favorite Movie Adaptations (From the List)

September 28, 2018 /

Welcome back class.

Movies have always connected with me. My interest in writing comes from falling in love with the stories in movies—and one of the greatest things a movie can do is bring a novel to life. It’s never perfect and often falls short—it takes severe dedication, risk, and miracle work, and even then the stars need to align correctly. When it does work, though, the result is imagination made into reality.

From many books on the list of 50 Books to Read Before You Die, several filmmakers, writers, actors, composers, designers, and artists have taken a powerful story, done the heavy lifting, and made a faithful adaptation—the authors’ and readers’ dream-come-true. Some are good, some are great, and some are above and beyond my favorites.

So here they are, my favorite movie adaptations from the list of 50 Books to Read Before You Die—in order of release date (and click on the links to see what I thought of the original novels!).

Actor Gregory Peck as Atticus Finch in To Kill A Mockingbird (1962)

To Kill a Mockingbird (1962)

When a classic novel is put to screen, it’s unlikely that it competes with the original—much less becomes a classic itself. To Kill a Mockingbird does just that. The movie has stood the test of time, much like the novel, and is a powerful perspective on race, racism, Southern culture, morality, and childhood.

There are several things that make the movie special, but the cherry on top is always going to be actor Gregory Peck as Atticus Finch. I’ve never seen him in anything else, but this movie alone proves to me he was one of the greatest actors of his time, and his compassionate, reserved, and compelling portrayal of such a wise father and dedicated lawyer stands out as one of the movie’s strongest attributes. He is one of my favorite father figures in both literature and film, and there’s only a handful of characters I can say that about.

Actress Whoopi Goldberg, who portrayed Celie in The Color Purple (1985)

The Color Purple (1985)

This was one of the first movies from Steven Spielberg that proved he could do it all—not just sci-fi adventures or summer blockbusters, but serious dramas that come from places of pain and joy and soul. After movies like E.T. and the Indiana Jones franchise, he helped bring to life the story a black woman separated from her sister, who subsequently discovers her sexuality and challenges the lot life has given her. The movie was beautiful and made me cry as much as the book did.

I grew up seeing Whoopi Goldberg as the comedic counterpart of any movie she was in; but seeing her in The Color Purple as Celie changed my view of her. She portrayed a woman who knew only hardship and grief, who had had her life stripped away from her, and who was able to find love and mercy in the everyday terror of her life. It’s not an easy movie to watch (neither is the book easy to read); but it’s the kind of movie that tells a worthwhile story, and in an age of action-packed blockbusters, The Color Purple is a precious gem.

Kenneth Branagh, director of and lead star in Hamlet (1996)

Hamlet (1996)

There are lots of Hamlet‘s out there. There are at least five Hamlet movies I know of acclaimed enough to be worth mentioning. But Kenneth Branagh’s version is my favorite for many reasons. For one thing, it’s one of the only Hamlet adaptations that put the entire drama to screen—and it paid the price, clocking in at a four-hour running time and milking the original text for all it’s worth.

Hamlet (1996) didn’t limit itself to accuracy though—it also happens to take place in the 19th century, far beyond Shakespeare’s time, and the dynamic setting and garish colors make a point of proving that true Shakespearean genius has never been limited to the words on the page. Most of Kenneth Branagh’s adaptations of Shakespeare have been masterpieces, and this one is arguably the best modern Shakespeare movie there is.

Movie poster for Harry Potter and the Sorcerer’s Stone (2001)

The Harry Potter Series (2001 – 2011)

I’m not picking a favorite Harry Potter movie (nor am I picking a least favorite, and believe me, I have a couple in mind). No, I take this childhood-altering series altogether, magic and warts and all—this movie franchise defined a huge portion of my life, and the ten-year journey I took with the characters in these films (along with the child actors that my generation and I grew up with) is half of the reason these are some of my favorite movies ever.

I have to admit something I don’t like to admit. I read all of the Harry Potter books before seeing the movies . . . all except the first one. For as much as I love reading, I can drag my feet around a new book unless I have a good reason to dive into it—something interesting to look for, or if it’s somehow pertinent to my life. This was the case for the first Harry Potter book, which I ignored until being swept up by the magic of the movie adaptation of Harry Potter and the Sorcerer’s Stone, and that started a reading journey that has affected me to this day. Most of what I’ve read in my lifetime stemmed from a love of the Harry Potter series, and all of my love for the Harry Potter series stemmed from my love for that first movie—and I’m overwhelmingly grateful for it.

From left to right: Actors Dominic Monaghan, Elijah Wood, Billy Boyd, and Sean Astin portraying Meriadoc Brandybuck, Frodo Baggins, Peregrin Took, and Samwise Gamgee in The Lord of the Rings: The Fellowship of the Ring (2001).

The Lord of the Rings (2001 – 2003)

The Lord of the Rings movies are some of the best movies ever made. Not just the best book-to-film adaptations, not just the best fantasy movies . . . they’re some of the best, period. There are movies where the amazing dedication of filmmakers combines with an alignment of the stars that blesses the work from beginning to end—this is the case for all 9 hours of this fantasy trilogy.

These movies are some of my favorites for several reasons—the most important of which is that I watched them growing up, right alongside Harry Potter. The actors are perfect, notably Andy Serkis, Ian McKellen, Elijah Wood, Viggo Mortensen, Sean Astin . . . and the list could go on! The aesthetics and special effects make this trilogy stand out as one of the most beautiful stories ever put to film—these movies proudly delivered Tolkien’s masterful world on a silver screen. It’s worth noting that the music by Howard Shore is some of the best movie music ever composed. The movies do such a good job of telling the original story that they have earned a place in my heart beyond what the book was able to accomplish—there aren’t many movies that can boast the same.

Matthew Macfayden and Keira Knightley in Pride and Prejudice (2005)

Pride and Prejudice (2005)

This one surprised me. I didn’t expect a movie about a woman finding love in Victorian Era England to be so impressive, but it roped me in. The colors, the music, the elaborate nature of each scene . . . the emotional undercurrent of every interaction and the display of intelligence in every creative decision, all of it tied together so succinctly. I could fawn over this movie for days.

The 1990s mini-series is worth mentioning in the same breath, for its stronger sense of accuracy and its dedication to what makes the original novel so special. But there’s something about the 2005 movie that takes the spirit of the story and transforms it into film. Part of it has to do with Keira Knightley and Matthew Macfayden, the two amazing actors that brought Elizabeth Bennett and Mr. Darcy to life. There’s always something special happening when Knightley is on screen in any movie, often being her most Victorian self, and Macfayden seemingly came out of nowhere born to play the awkward, reserved, frustrating, deeply passionate Mr. Darcy. Pride and Prejudice was always simultaneously social commentary and a love story for the ages, and this movie manages to bring that much to life and more.

There are other movies out there adapted from the list that I haven’t seen, so this is a tentative line up—but like any good English major, I plan on reading the books first, so those other movies will have to wait.

I’m finishing up Moby-Dick and I’ll share my thoughts soon. More on that next time!

Prof. Jeffrey

Hamlet

October 26, 2016 /
A Portrait of William Shakespeare

A Portrait of William Shakespeare

Something is rotten in the state of Denmark, class.

Hamlet is one of my favorites. It’s been pulled apart by experts for hundreds of years, and it can still be interpreted in new ways. But no matter what, it still remains a classic, untarnished by these interpretations. It stands the test of time, thanks to Shakespeare’s awesomeness.

On the surface, Hamlet is about a grieving prince trying to avenge his father’s murder at the hands of his uncle. This leads into a sweeping commentary on suicide, revenge, masculinity, insanity, parenthood, inaction, the afterlife, humanity, and ghosts, all at once. The discussions that spring from this story are limitless.

As much as I’d like to add to those discussions, I think it’s safer for me to stick to the story itself; I might otherwise begin writing a dissertation. That’s partly what makes Hamlet such a good work of literature—when one strips away the wide and varying interpretations, what’s left is a strong story. Shakespeare’s famous for a reason.

Shakespeare wrote Hamlet after his son died at a young age. Hamlet’s journey, having lost his father, is from grief to peace, reflecting Shakespeare’s own grieving process. Hamlet spends most of the play deep in madness, revenge plots, conspiracy, and suicidal thoughts—but in the end, even as he faces death, he seems to have found an inner peace.

This journey is catharsis—the release of overflowing emotions—and it’s one of the oldest reasons why literature is important (we can thank Aristotle for that). Hamlet, like many great works of literature, art, and music, is therapeutic. It portrays grief and the path to peace, and reading it or viewing it, just like Shakespeare’s act of writing it, is a catalyst for the grieving process.

hamlet-kenneth-branagh-poster

Poster for Kenneth Branagh’s “Hamlet” (1996)

This is an important point for Shakespeare, because Hamlet is his longest play. The only movie version I know that’s portrayed the entire text is Kenneth Branagh’s Hamlet (1996), which clocks in at FOUR HOURS of screen time. Hamlet alone has more to say than any other Shakespearean character, with enough monologues to fill up the standard length of a play by himself. His journey through grief is long and painful.

The length of the play also reveals a foundational element for the character: the middle three acts of the play have Hamlet struggling to act on the wishes of his father’s ghost. He doubts himself, seeks evidence, kills the wrong man, pretends to be insane to throw people off, and monologues like there’s no tomorrow. I think this is about his grief as well; he loves his father more than he hates his uncle, and he resists the call to murdering his father’s killer because of the pain of his father’s death. The ghost wants his son’s anger, but Hamlet is more complicated than pure revenge will allow.

One passage that struck me reading it this time is in Act 1, Scene 2 (Hamlet’s introduction scene). Hamlet’s uncle calls his excessive grief “unmanly,” because he is still in mourning after the rest of the kingdom, even the king’s wife, has moved on. Hamlet has an air of femininity throughout the play, conventionally speaking, and this provides some context in regards to the questions about Shakespeare’s sexuality.

Hamlet is the hero, not in spite of his femininity but because of it. His “feminine” qualities make him who he is—a different kind of man, perfect for the scenarios provided in the play, and therefore our tragic hero. His “unmanly grief” isn’t weakness…it’s love.

David Tennant as Hamlet (2009)

David Tennant as Hamlet (2009)

I’ve barely scratched the surface here, so I encourage you to try Hamlet on your own. In fact, try any of the movie versions first; watching Hamlet is far more enjoyable than reading it. I know of five solid adaptations, featuring actors like Sir Laurence Olivier, David Tennant, Sir Patrick Stewart, Glenn Close, Ethan Hawke, and even Mel Gibson.

If none of those versions suit you, just watch The Lion King. Simba is Hamlet, Mufasa is the King, Scar is Hamlet’s uncle, Nala is Ophelia (with a happier ending), Timon and Pumbaa are Rosencrantz and Guildenstern…the list goes on.

David Tennant as Hamlet and Sir Patrick Stewart as King Claudius (2009)

David Tennant as Hamlet and Sir Patrick Stewart as King Claudius (2009)

If you know Hamlet well enough and need even more existential crises, I recommend the play Rosencrantz and Guildenstern are Dead by Tom Stoppard. It’s philosophically funny and expands on Shakespeare’s ideas in the best way possible.

It would seem that Hamlet is just as important for the works it has inspired.

Don’t forget your homework! Reply in the comments: If you’ve read Hamlet before, what’s your favorite part? Why do you like it? Or not like it?

Take a moment to celebrate with me…I’ve been professor-blogging for two months now, and I feel like it’s going well! Grades look good, so you must be learning something.  Keep up the good work, students.

I’m reading my next book, but it will take a while. Next week, I’ll talk about a book I’ve chosen not to reread—the Bible. I know what you’re thinking… “even you, Professor, could stand to reread the Bible.” As it turns out, I have been reading my Bible everyday, and I’m a few chapters away from a years-long goal of reading it cover to cover.  In fact, I’ve studied the Bible since the earliest memories of my childhood, since before I could even read. I even currently work at a church. How do you like them apples?

In any case, next week is gonna be a scream.

Prof. Jeffrey

The Lord of the Rings

September 21, 2016 /

Welcome, students. I’ve finally finished reading all 1,000+ pages of The Lord of the Rings.

I am biased, in a way: I grew up watching The Lord of the Rings as movies, so I knew the story almost by heart by the time I sat down with the original material.  But there is so much that separates the original from the movies, not only in the medium, but in the mood and development of the story too.  It not only looks different; it feels different.

The trilogy has its problems, but it is outmatched by what Tolkien does right.  For example, Middle-Earth is astounding–the hobbits of the Shire, the mystical Elven-land of Rivendell, the forests of Lothlórien and Fangorn, the vast kingdom of the horse-land Rohan, the glorious realm of Gondor helmed by the white towers of Minas Tirith, and the dark and fiery Mordor.  Its scope is matched with depth; Tolkien creates dynamic cultures from the ground up, founded on his beautifully invented languages.

Gandalf the Wizard

Gandalf the Wizard

Tolkien’s characters are wonderful, and I’ve got three favorites–Gandalf, Gollum, and Sam.  Gandalf, a wizard, is the voice of wisdom; he is the story’s mind and moral compass.  Gandalf fights evil in many ways, but his chief method is through acts of love, and through the comfort of believing in the smaller things that tip the scales in times of war.  He is, quite possibly, the most quotable character.

Gollum

Gollum

Gollum is much more interesting to study–he has been torn apart by the dark magic of the One Ring, and the pieces of himself fight with each other.  He calls the ring “my precious,” an excellent metaphor for materialism and what it does to the soul.  He is the smallest of enemies, but he is dynamic, pitiable, terrifying, and integral to the quest of our characters.

Samwise Gamgee

Samwise Gamgee

And then there’s Sam.  Samwise Gamgee is the heart of the story, and easily the most cherished character.  He is Frodo’s servant and friend, and as Frodo dutifully bears the ring, Sam bears his master Frodo.  Amidst the terrifying obstacles they face, Sam is incredibly brave, refreshingly hopeful, and unquestionably hilarious.  He is also directly involved in every tearjerker moment, in both the books and the movies, and while the cost of their quest is greatest on Frodo, Sam’s place helps ground that cost back in the real world–in the hope that after such a journey, such a treasure as home can be regained.

The trilogy has flaws.  The most glaring issue is the fact that it has, approximately, four female characters.  Two of them are forgettable, one is an Elven queen (angelic beyond compare, so impossible to connect to), and the last is a warrior, who eventually gives up fighting for her kingdom when she finds true love.  Feminism does not abound here.

On a personal note, Tolkien also suffers when it comes to exposition.  The movies notably tighten the story, but the novel lags on in huge passages where Tolkien is simply trying to catch up with his characters’ tales, and it forces the reader to trudge through the narrative.  The story seems to date itself when it handles conspiracy and secrecy, but because I know the movies so well, it could just be that the big reveals didn’t feel like much.

The One Ring

The One Ring

These issues aside, the depth of the world and the everlasting themes are the reason to read The Lord of the Rings.  Environmentalism has its say on more than one occasion, most notably when the trees of Fangorn fight back against Saruman’s machine-like destruction of the forests.  The ring’s dark power is temptation–characters succumb to pride, vengeance, greed, and selfishness, which speaks to the power of things and the frailty of humankind.  Tales and songs act as meta-fiction, showing us that this is a great story as we read it–this is a kind of song, an epic journey for the ages, that helps us appreciate the stories we know and the stories we’re in.

Most importantly, we see a sprawling war hinge on the actions of a hobbit, the smallest of creatures in Middle-Earth, who has a greater strength than men twice his size: an inner strength, which is more powerful than an army of monsters.  Through the small things–acts of love and kindness, trust, bearing our everyday burdens–we can change the course of the future.

My reading of The Lord of the Rings is unconventional–the movies helped me understand the book.  I’d like to hear from others who just so happened to experience the opposite.

Your homework: if you read the story BEFORE watching the movies, take a minute to comment on what that experience was like!  Was Tolkien’s work difficult to read without the assistance of the movies?  Were you more critical of the movie adaptations than most?  What did you think of Tolkien’s writing–not just the plot and the characters, but also his voice, style, exposition?  Leave a comment below!  (And I don’t want to be blatant, but the more thorough your answers are, the better your grade will be.  I’m just saying.)

Up next, I’m reading the remarkably short novel The Picture of Dorian Gray by Oscar Wilde.  I’m very excited about this–I’m a fan of Irish literature, but I’ve never read any of Wilde’s work.  All I know about Dorian Gray so far is his portrayal in the graphic-novel-based movie The League of Extraordinary Gentlemen…so, basically, I know his name is Dorian Gray.

Hopefully, I’ll know more next week.  See you then.

Prof. Jeffrey

Off-Topic: Dismantling the “Book vs. Movie” Debate

September 14, 2016 /

Welcome back, class.

I’ve noticed that for the first three entries for this blog–Alice’s Adventures in Wonderland, the Harry Potter series, and The Lord of the Rings (pending…I’ll finish reading it eventually, I promise)–each novel in question has a major film franchise.  In fact, the fame for most (if not all) of the books on the list comes from the film adaptations.  I’m not saying that the movies are responsible for their success, but I am saying that their mainstream popularity can be easily linked to their movie versions.

Take, for example, the Harry Potter series.  I grew up with both the books and the movies, so like most fans my age, I have strong opinions about each novel and each film.  Based on entertainment value alone, I would say I enjoyed the movies more when I was younger, and now I enjoy the books more.  The movies did a good job bringing the magic of the series to life, and the books tend to be subtler and less stylistic in their approach.

Other opinions on the series, even in this class, will differ vastly from mine–and that’s the case with every adaptation.  Some prefer the books more, and some prefer the movies.

But every so often, these two media are dragged into the arena by screaming fans and are forced to battle senselessly. The books, as the source material, win much more often than not, and the movies are beaten to a pulp, built back up by hardcore fans, and sent back into the arena for more needless violence.  And what’s worse–our culture encourages this barbarism!

Let me lay this out plainly for you, students, so that you know exactly what’s happening here: books and movies are different.  They are as different as paintings and sculptures.  They are as different as science and history.  They are as different as Earth and Mars.  They shouldn’t be so severely ranked in comparison with each other, because it belittles the work put in by the creators of each product (and if your goal is to belittle those artists, we have a different issue to discuss).

You, as a human being with rights to your feelings, can most certainly enjoy the book more than the movie, and vice versa.  Feelings are much more permitted in society today than they were hundreds of years ago, you’ll be surprised to know.  But when you start shouting about the book being better than the movie, you better know that I FEEL enraged at your unceremoniously preposterous ranking system.  There’s no need for that kind of hierarchy.

So when I read a book and watch its movie version, I know (and, now, you know as well) that it is eye-opening to compare the two and senseless to rank the two.  The book, being the countless hours of work by both a hungering author and those responsible for editing and publishing a collection scattered thoughts into a cohesive story, cannot be better or worse than the movie, being the large-scale production of one or more directors that carefully guide actors, script writers, set designers, composers, special effects producers, and numerous other artists through a narrative set to film; it is impossible in the universe we live in.  Update your book reports and movie reviews accordingly.

Instead of ranking books vs. movies, it might be a better use of your time to analyze and discuss the ways a book and a movie tell the same story, or how one might fail to tell such a story in comparison with the other.  For instance, instead of saying “Prisoner of Azkaban was much better as a book than as a movie” or, even worse, “the movie version was STUPID,” you could say “The third movie did a good job of capturing the mood of the book and it was a good change from the first two, but it was much harder to follow the story for viewers who hadn’t read the books; I prefer the book because it tells a better story.”  See what I did there?

On a lighter note, I am enjoying reading The Lord of the Rings and I like comparing it to the movie versions.  I grew up watching the movies, so reading the original story now is akin to watching the extended editions of the movies, years after the original release.  I’m learning more about characters and more about Middle-Earth, which is going to give me a deeper understanding of the movies and of the source material.  I’ll get into all of this next week, though.

Thanks for listening to my rant.  I hope you learned something.

Prof. Jeffrey

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