The Movie Rat

Stephen King Properties Awaiting Adaptations: Novels

Posted on September 21, 2016 by bernardovillela

Introduction

I’m rather sure that this is the list in this series that most people have been waiting for. Stephen King’s novels be they gargantuan or modestly sized are where most know him from, and it’s where most of his noticeable unadapted works reside.

And as I planned on completing this series on his birthday; Happy Birthday, Mr. King!

Omissions

With King being so prolific, so many means of adaptation, as well as phases of production there are quite a few omissions:

One note about this list is that since The Dark Tower is in production, I have omitted those books from this list, clearly the idea is to start with The Gunslinger and proceed from there.
The Colorado Kid, Under the Dome, and 11/22/63 having been morphed into TV series are also exempt.
Titles currently in any stage of development are excluded namely: Rose Madder, Mister Mercedes (TV series, as well it should be), and Lisey’s Story.
Although it’s no guarantee there was just an announcement made that Mike Flanagan is developing an adaptation of Gerald’s Game for Netflix, so I’ll be optimistic and assume that happens, so I’ll skip on it also.
I include Black House in the section on The Talisman. However, with it being a sequel to the the latter I cannot imagine it going first for obvious reasons.

7. Insomnia

Stephen King wrote, in On Writing I believe, how with all due apologies to his fans who enjoyed it, Insomnia was one of the books he didn’t consider to be very good. Aside from the occasional brilliant image, which would be useful in a film version granted, I don’t see much cause for this one to be adapted, and am not surprised it hasn’t been. However, if the old adage of a bad or mediocre book making a great movie maybe it’s a nut someone can crack when no options remain, and Hollywood is still refusing to buy an original screenplay.

6. Duma Key

Inasmuch as it also deals with paintings that’s where I see a similarity between this and Rose Madder. Why I place Duma Key slightly higher (than Rose Madder would’ve been) in the pecking order is that merely the fact that this is a more extroverted and cohesive effort making the transition in medium easier.

5. From a Buick 8

This is Stephen King’s other car-related novel but is nowhere near the fantastical end that Christine was, and perhaps that’s why it’s not been looked at as a possible film yet. I wouldn’t mind seeing it but as you can tell, I have quite a few ahead of it.

4. The Girl Who Loved Tom Gordon

A few personal items here in the interest of full disclosure (non-sports fans can go down past the photo): one I am a Yankees fan, and as such the only King book I never read is Faithful his collaboration with Stewart O’Nan that chronicled the Red Sox breaking of The Curse of the Bambino. Not that I begrudge them having won in principal, and as a writer I wished my teenage self had chronicled the New York Rangers ending the curse of 1940 (something I felt in my bones would happen in the preseason), but it was the fact that it was against the Yankees, and overcoming a 3-0 deficit (a comeback I also felt coming), that I skipped it.

Once upon a time I considered The Girl Who Loved Tom Gordon part of The Curse no one much talked about. Just after the book came out in April of 1999, Gordon only pitched 17 more innings in a Red Sox uniform. He had elbow issues and ultimately needed Tommy John surgery. Missed all of the 2000 and was then let go by the Sox. Coming full circle on the Curse he was on that Yankees team that lost to the Red Sox.

Tom (Left) and Dee Gordon.

The book tells of a young girl gets separate from her parents in the woods, something may be following her and she relies on her wits and her imagined version of Red Sox star Tom Gordon to help her. The set-up is fairy visual even with all the inner monologue in the story, it doesn’t necessarily need a lot of dialogue and much of that can be externalized or turned into visuals. I’m not sure if it’s the specificity of the title (like that stopped The Shawshank Redemption from making the title more marketable by leaving Rita Hayworth by the wayside) or the fact that interest may be limited in a fictional version of a relief pitcher. It can work. Now it’d have the added bonus of being a period piece. And who knows maybe Tom’s son Dee, also a Major Leaguer, wants to give acting a shot.

4. Joyland

Any amusement park or carnival them in Horror has a certain amount of visual potential, add a ghost and an unsolved murder into the mix and it could have even more. What it is prone to would be a touch too much cinematic cheese and/or a dampened impact by virtue of a non-traditionally unsettling setting. Still I would like to see someone take a stab at this because for every Funhouse, where the atmosphere doesn’t help it much, there is a Goosebumps or Zombieland that uses the locale expertly.

3. Doctor Sleep

I love the idea of a film based on Doctor Sleep. However, there’s no gimmickry that would work to tie it in to The Shining in my mind. You can’t really parallel it to the Kubrick version or the mini-series in any kind of way that would work, nor do I think producing it as a tandem of new films with a new version of The Shining before it would work either.

The most I can say about making it work in a cinematic context is to have a really good casting director look at Danny Lloyd, see who may

2. The Talisman

Though I chose this as my number two selection, I am far more baffled by The Talisman not having been adapted yet than by any other King title. It is one of my earliest reads, one of my favorite books, and one I know has passed through more than one option: none other than Steven Spielberg has this in his docket and some point.

The narrative is lovely and simple, the magic seems real, and one of King’s greatest protagonists abounds. And while it was rumored a while ago, CGI technology has clearly advanced far enough to hand the fantastical elements of this tale. I have nothing but praise for this as a possible adaptation.

As for the sequel Black House, clearly it can’t happen before The Talisman. Not sure it will but it would be amazing if, in an ideal world, if there was a long layoff between The Talisman and this. Maybe even retaining original cast members like whomever is cast as Jack.

1. The Eyes of the Dragon

It’s a wonder, it can get under your skin, yet is a fairy tale the likes of which you might actually read aloud to your kids. And as opposed to the runner-up it’s not a leviathan page count tale. There clearly is no good reason to my mind why this has not happened yet. With Dark Tower films would there be enough of a lull to have casting crossover as well? McConaughey as Flagg? Alright, alright, alright. Idris Elba as King Roland? Hell, yes!

King Properties Awaiting Adaptation: Short Stories

Posted on September 20, 2016 by bernardovillela

Introduction

Please note that films based on short story in any stage pre-release that are confirmed are excluded be they in postproduction, production, pre-production or announced. For a handy reference I suggest you check the IMDb. Now, ferreting out which stories have had releases with public screenings or direct-to-video release because of the existence of the Dollar Baby.

Dollar Babies are short stories that Stephen King allows to be optioned for one dollar ($1) to student and amateur filmmakers for use in the festival circuit only. It’s a great program of giving back and a hand-up to filmmakers.

I was fortunate enough to have entered into a Dollar Baby agreement with Mr. King in 2005. In my final semester I sent out a few inquiries about adaptation rights, the other one or two were cold. Upon his website adding a messaging function I messaged to see if there was any truth to the rumor that this non-exclusive non-commercial rights program existed. His assistant responded saying it did and that I need only pick a story from a given list, write a proposal and send it to the address she disclosed.

The letter was mailed on a wing and a prayer, but once I got a fat envelope at home with a Maine return address and no sender’s name, I knew what it was and that one of the highlights of my life was about to occur. Enclosed was a contract, one that I’ve never had any problem sticking to and am baffled that so many on the internet scoff at because they “really need to see something.” For years I, my producer, and some cast and crew members withstood badgering for submission to a film festival where only Dollar Babies were screened. It’s great to have your film desired but we knew for a fact that said individual, who shall remain nameless, was not to be trusted with a copy of the film as he had been known to illegally distribute them. It was my name on a contract alongside that of my idol and if my movie got out there where it shouldn’t be I was the one who would look unprofessional.

All that aside, my film Suffer the Little Children was a long but rewarding journey, and an education. Thankfully, audio issues were cleaned up and we eventually started getting acceptances and even some prizes.

The film’s mission was complete. Mr. King has been quoted as saying he still grants professional project rights for a dollar and points on the back end, plus, certain exclusivity, which is why this a list I was rather looking forward to writing.

Selections

I included short stories and novellas into the same category.

There are a few titles I felt should be excluded entirely though for almost entirely personal reasons and I will comment on them now.

First, I believe that there will never be a good reason to adapt “Heavenly Shades of Night Are Falling” from Hearts in Atlantis, despite its beauty. The reason for this is that it deal with Bobby Garfield as an adult coming home and reminiscing. The cinematic version of Bobby Garfield, Anton Yelchin, died tragically this year. As such, I feel the chances for this story to be adapted did too. The persistence of Yeltsin’s career from childhood through early adulthood made him the ideal candidate to reprise his role many years later. It’s a dream deferred sadly.

The only other titles I’m excluding are “The Things They Left Behind” and “Graduation Afternoon” as they are 9/11-related stories. Previously I wrote of my own 9/11 story in passing in part to discuss the literal use of it on film, few instances of which I’ve seen. As effective as these stories are in text transposing them to feature length films would change the nature, spirit, and intentions of the stories too much for them to remain wholly tasteful.

As for the things I did select, I will not put them in any kind of order but instead divide them by collection.

Night Shift

I Am the Doorway

Most of Night Shift has already made appearances on film, but usually as shorts in Dollar Baby adaptations.

I am the Doorway is a memorable, eerie tale that deserves a feature length take. Horror and space can and should co-exist and this tale would be an excellent vehicle

Skeleton Crew

Survivor Type

Being stranded on a deserted island is not an unusual cinematic motif, but it’s not one usually employed in the horror genre, which is a unique attribute that Survivor Type would be able to bring forth.

Four Past Midnight

The Library Policeman

While Sun Dog once upon a time was optioned by Frank Darabont and nothing ever came of it, but this has always been and always will be my favorite story in this collection. It blends together a lot of different things like real-world terrors, ghost-like apparitions and creatures using a host body. It’s also another one of King’s greater characters in Sam Peebles. Not only that but additional dovetails into this story in other works may allow for some closure to be felt.
Hearts in Atlantis

Why We’re in Vietnam

As opposed to the Hearts in Atlantis tale that I do not believe can be adapted due to casting issues in this one, which focuses on Sully’s experiences in Vietnam as he reflects on them following a funeral could be portrayed with a new actor in the lead.

Everything’s Eventual

Little Sisters of Eluria

It would be a little way down the line but if the Dark Tower cinematic franchise continues I’d love to see this folded in wherever possible. It may not be easy to find room for it but there are great visual opportunities within.

Autopsy Room 4

This is one that Stephen King based on an old short story, which became a classic episode of Alfred Hitchcock Presents and one I’m sure could be made to work on the silver screen.

Just After Sunset

A Very Tight Place

In his work on the horror genre Danse Macabre King said:

“I recognize terror as the finest emotion and so I will try to terrorize the reader. But if I find that I cannot terrify, I will try to horrify, and if I find that I cannot horrify, I’ll go for the gross-out. I’m not proud. ”

This short story is the best example of this I’ve ever seen. It is perhaps the grossest short tale I ever read, and thus still excels beautifully. The claustrophobia of this tale would be a hard work-around for a film concept but it could definitely work with some creative thinking.

Full Dark, No Stars

1922

This is a marvelously harrowing tale that also being a novella should have sufficient content for a feature film and would make a great one. The frame is built-in the dynamics are mostly interpersonal, and thus, it excels in the horror of the known as opposed to that of the unknown.

Bazaar of Bad Dreams

With this being King’s most recent collection it stands to reason that most of these stories have not been picked up yet. However, there are three that particularly stand out and I would not be surprised if we didn’t see them adapted soon.

Obits

This is King’s homage to the 1950s horror film I Bury the Living. With it being a modern take on the notion of controlling deaths, and with what he feels is a more effective conclusion than the film saw this would be ideal for an adaptation.

The Little Green God of Agony

This is a weird little tale that would need somewhat more than a shoestring budget to take its conclusion out of the realm of The Langoliers, but there is definitely room for expansion.

The Bad Little Kid

In a story that follows through on one of his themes of the persistence and omniscience of evil it could be a great film, as there is already plenty of material and a chilling conclusion. Also, as this story was originally only published in German, it’d be interesting to see dueling adaptations here as well, with the German version getting a little more creative leeway to make it a domestic tale via transference of location.

In the Tall Grass (Kindle Single with Joe Hill)

This is one of King’s (and Hill’s) most hair-raising pieces of fiction that gave me a Children of the Corn vibe and left me wanting much, much more. It is highly recommended.

Music Video Monday: The Blue Neighbourhood Trilogy by Troye Sivan

Posted on September 19, 2016 by bernardovillela

Introduction

I’ve debated starting this theme for a few weeks, and I ultimately decided I would as it would encourage me to looks for options that actually fit what I’m aiming for. If one pays too much attention to Top 40 type music you tend to see a dearth of creativity in the music video form. The music video is spawned from short films and can be as creative if not more so than their predecessor. Far too often it does just become singing heads. I want to try and buck that trend and find ones both new and old that do something somewhat outside the box, at the very least have some sort of visual narrative. Here we go.

The Blue Neighbourhood Trilogy

This one was supposed to be posted a while ago. When the video for “Wild” came out I knew this was going to be something special but I lost track of the releases. At long last, here is the whole of The Blue Neighbourhood Trilogy.

Whether this narrative in anyway reflects your personal life I think is irrelevant. The songs, cinematography, and performance are excellent and can communicate to all. As I watched this I had goosebumps for about 12 minute straight.

Enjoy!

King Unadapted Works: Desired Remakes

Posted on September 18, 2016 by bernardovillela

Introduction

One of the most fallacious complaints in film fandom is the “we don’t need a remake of such and such.” When you look at such statements with merciless logic you realize we don’t technically need any movies. Modern man survived in excess of 1,800 years without them. Another piece of that logic is that a remake or sequel can somehow expunge the immutable. There’s an inherent inclination in humanity to embrace the current and the new, which I believe is why nostalgia exists, in part, because those old enough to remember different times want to embrace part of their experience.

Older films should be seen and studied but the societal emphasis on classicism is as archaic as classics themselves. Those with long cultural memories, longer than their time on Earth even, will always be a niche.

One way in which remakes can be of service is to update the imperfect, flawed, and terrible films of the past. This can be especially useful in adaptations, in which fans of the written work are over-sensitive or when the adaptation is truly painful. Here are the five Stephen King properties that could most benefit from a new take:

Apt Pupil

When I wrote a post about seeing the movie before reading the book I wrote this of Apt Pupil:

This story as written is outstanding. Yes, the cast remained the same but the story delves into the psychology of the situation in ways the film scarcely attempts. You should read it.

The Nazi/kid stand-off never gets the payoff here that it does in Singer’s take on X-Men. That’s a great motif that this movie hinges on, and it is kind of flat. As is the whole aside from Ian McKellan.

Not to mention that this particular film has with it two associations that make it distracting. The first being Bryan Singer’s first on-set controversy and the second being one in hindsight as its star, Brad Benfro, would die of a heroin overdose about 10 years later.
Gramma

When I heard that Gramma was going to be adapted into a feature length film, I wrote a whole post about it and performed a rare re-read. The cast was well in place and it had potential, but, as is too often the case when the premise was expanded and externalized things got a bit stupid towards the end, as evidenced by my review.

When taking those factors into consideration, it’s not a wonder I want there to be another go at this story, even though I find it unlikely that it’ll happen.

The Langoliers

When I wrote a post about seeing the movie before reading the book I wrote this of The Langoliers:

Augmented by having seen it first in part because I love the mini-series up until the very end. It’s like King says, the story just falls into place so smoothly and that translates on to the page and the mini-series is great until one of the worst third act blunders, and effects shots ever.

It’s a lot to remake a whole mini-series for one shot but it’s literally all the movie is leading up to, and even by standards of when it was made the shot, was crap. Sure, Bronson Pinchot won’t really be replaced but the whole of the cast and the story may be upgraded by a fresh take and a shorter running time.

Christine

I had the honor of meeting John Carpenter at Monster-Mania when he went and I took this picture with him:

His Q & A panel was humorous, insightful, inspirational, and as appears to be the case with Carpenter when speaking very forthcoming. He confirmed what I suspected in my gut when I saw Christine. He was assigned the script, not quite knowing what it was, was disappointed it was about an evil car, but he took it because it was a job and he needed work. He never really liked the movie. And neither did I, not by a long shot. There wasn’t a hint of subtlety in Keith Gordon’s Arnie and the car as accurate and gorgeous as it was didn’t work on screen as it did in the book. A book wherein I was beside myself as I found it brilliant and captivating even while feeling the premise ludicrous, and it is until you read it. All the talent in the world won’t translate that intangible to the screen if you’re not chomping at the bit to transform that tale and it never saw an adaptation like that.

Desperation

As mentioned in my Bachman books post, I’d love to see Desperation remade only for the fact that I’d love to see it and The Regulators come out as a tandem in a similar fashion to the books. As for the version of Desperation that exists I was surprised by how much I enjoyed Ron Perlman in the film, and I liked how humorous it was, though it read as more terrifying to me. The only true disservice in the writing of the screenplay is in its treatment of David Carver and his religious inclination.

Stephen King Properties Awaiting Adaptations: Bachman Books

Posted on September 17, 2016 by bernardovillela

Introduction

It recently occurred to me to consider the Stephen King works which are not yet films and which may be most suited for adaptation. I will take this task on in separate posts.

The Running Man and Thinner already exist, so the books in this realm where Stephen once wrote under a pseudonym on rainy days would rank as follows in my estimation:

5. Rage

Last year I acquired the original release of The Stand from 1978, that runs quite a few hundred pages shorter. With that I no longer have any literary white whales. The first one I had was Rage, and it took me a while. I didn’t acquire The Bachman Books when they were still readily available.

After much searching in the days before online shopping was easy, I just happened to see it on the shelf at my friend’s house. I freaked out. I needed to at least borrow it. He voluntarily gave it to me.

It remains the only King book I read in a day. Time and distance from being angered by feeling the need to pull it from print have given King a good perspective on the story independent of the controversy its caused. He discusses it in Guns, and I agree entirely with his take.

While I feel The Long Walk is just detached enough from reality to connect to modern audiences this one hits a little too close to home. It’s truly a wrenching, fascinating, and brilliant work. Sometimes we just can’t have nice things, or in this case nasty things that make you think.

4. Blaze

This one that would be a challenge in similar ways to Roadwork (below). However, with all the different interpretations of mental illness and voices in people’s head that exist in movies there are quite a few interesting ways to go about this one.

3. The Regulators

My impression of The Regulators may have been affected by the fact that I read it long after I did Desperation, which was my introduction to Stephen King and had me hooked as a Constant Reader from there.

I think the best way to make this idea work would be to translate the concept of the book’s companionship to the screen, which would entail a remake of Desperation and have the same cast play very different parts in the dueling films. It would be fascinating to watch, especially if you had the same creative team behind-the-scenes.

2. Roadwork

While I had to use some analytical chops to grin and bear it as I placed a title that was not my absolute favorite in a subset as number one I will start lobbying for my favorite by saying: a story a solitary man who loses it as he refuses to accept a buyout so his house can be bulldozed to make way for a freeway is not a high concept. It’s an insular one, with a lot of inner monologue and flashes. That’s what I love about it and the challenge of it is intoxicating. In my informal independent study during film school I took upwards of 30 pages of notes on how exactly I would translate this story to the screen.

It was in that note-taking, and practice attempts with a tales by Lovecraft, King, and Lumley that I formed an adaptation style that aided me in writing and directing a Dollar Baby of Suffer the Little Children I was fortunate enough to be given the permission to work on.

So, yes, there is a soft spot that elevates this one, but if you haven’t discovered it yet you should.

1. The Long Walk

I place The Long Walk first not because it’s my favorite Bachman title, but despite its violence, it’s the one I’m most surprised that has not been adapted. It’s an indie film budget’s dream. The concept is a simple dystopian premise that’s far more likely to be palatable to today’s audiences than it would’ve been in the 1980s.
Postscript

Kirby McCauley, King’s literary agent, posed as Richard Bachman for author pictures.

When Blaze was released in 2007 it was branded by King as a “trunk novel” meaning it was an old Bachman title he unearthed and edited for release, while still using the pen name. I hope there are more.

When recently J.K. Rowling’s pen name of Robert Galbraith was outed it was kind of like Déjà Vu. I’ve read of how pissed Stephen was when Bachman was found out, and I empathized with Rowling as well. Though clearly the revelation that Rowling was Galbraith inevitably spiked the sales of the first book in Cormorant Strike series, and all subsequent releases – it’s clear there was a reason she felt the need to write under a pen name and now that freedom from name, fame, and expectation is gone from both of them. I admire her not giving it up and I hope Steve still knows what Richard’s up to.

Review: Glassland

Posted on September 16, 2016 by bernardovillela

Glassland concerns itself with John (Jack Reynor), a Dublin cab driver like his estranged father, who is struggling to keep his life together and care for his mother (Toni Collette) who is fighting a losing battle with alcoholism. As things come to a head, he has difficult decisions about how to raise money to make.

This is a film that relies heavily on visual storytelling and strong edit that moves the story along. It never says too much until it has to. It sounds counterintuitive but to have a film communicate this visually is rather unusual in this day and age where video equipment nears ubiquity and dialogue is still as cheap as its ever been.

To paint your story in moving images requires sumptuous cinematography with tremendous framing, and in seeking to dramatize reality make lighting and compositional decisions that are as visually compelling as they are unobtrusive. That’s what Piers McGrail brings to this work persistently for 93 minutes.

A close second to visuals in terms of priority in Grassland are the characters who have to be fully understood and conveyed by the actors playing them, and they succeed in spades. While there can be a debate on the merits of a story-based monologue as a useful tool for actors, there’s no question, however, that Collete’s monologue of the story of her life is one of the most memorable in recent memory; and a standout in a supernova of a performance.

Jack Reynor is more than a worthy adversary and provides a star-making turn of his own, which in my estimation means I will also sit up and take notice when I see him in another film from hereon out. He is convincingly the conscience of the film whom feels the burden of the oldest child to care for his mother when she can’t seem to care for herself. His journey is his own, but being selfless is invariably tied up in the fate of others.

One tricky maneuver this film navigates well is that that it does not genre-shift when criminal activity becomes more involved in the plot. Grassland persistently subsumes the criminal element remaining focused on characters, decisions, and visuals rather than explosive set-pieces.

Also taking part in this ensemble is Will Poulter, one of the finest young actors the world over who never fails to deliver. In this film he adds another weapon to his arsenal blending in seamlessly with the local actors with his own Irish brogue, which also acts and a warning to those who may need subtitling assistance.

Glassland presents all its characters at a crossroads. It doesn’t offer easy solutions or even closure per se, just a close to a chapter but there is a glimmer of hope in some of the third act developments, and at times, in life as in drama, that’s all that remains.

Review: Boy 7 (2015; Netherlands)

Posted on September 15, 2016 by bernardovillela

Boy 7 starts with title that introduces the world wherein the tale takes place, and it undoubtedly reduces the running time of this film somewhat. It’s a film that starts in medias res as the protagonist regains consciousness in a crowd and cannot remember a thing about himself, then before he has time to think on it at all he realizes he’s being pursued by authorities, and has no choice but to frantically run out of sheer instinct.

The film is set in a dystopian future in the Netherlands wherein the government takes absolute control of people’s lives owing to the great need they feel for safety they willingly sacrifice their freedoms.

Based on a novel by Mirjam Mous it features a number of familiar YA tropes, which can be good or bad depending upon your outlook on the genre. The book’s popularity is such that its spawned two adaptations produced in Europe and released last year.

One of the better aspects of a film dealing with a society that devalues individualism and strips these criminals of name entirely replacing them with a number as they are retrained, is that there is a small population in this world. The focus remains on Sam (Matthijs van de Sande Bakhuyzen) who seeks to piece together his past through a journal he wrote; Lara (Ella-June Henrard) whose memory he tries to jog with certain passages and Louis (Yannick Jozefzoon) who helps Sam in his plotting.

The score by Jorrit Kliejnen and Alexander Reumers is effective at underscoring the action and bringing the appropriate amount of tension to the proceedings. The edit is tight and brisk in technical terms but in story terms it seems to be a bit too abrupt and taut for its own good at the end and deadens the climax a bit.

The invariable links and comments that this futuristic tale makes between totalitarianism and corruption are valid, however, the balance between the macrocosmic and microcosmic insight is perilous at best. Much like the society it seeks to critique it lessens the individuals making theme mere pawns, archetypes that are supposed to engender interest and devotion by default because our plight would be theirs.

There are the bones for what is more than just a middling entrant into the YA pantheon here. Sadly, much like many of the films in this genre things get a bit too boiled down to reach maximum efficacy.

6/10

Review: Der Bunker

Posted on September 14, 2016 by bernardovillela

Der Bunker is a film that almost needs to be seen to be conveyed but here goes nothing; I will begin by quoting the great John Waters in saying “Get more out of life. See a fucked up movie.” This one definitely fits the bill, and not just because the Blu-ray features a pull quote that alludes to Waters.

Der Bunker tells the story of a German family who live in a bunker. It begins with a Student, who goes solely by that moniker (Pit Bukowski), who is seeking a rental that affords him solitude to do his scientific research, which is just barely more tangible than things volunteered by Bergman in Scenes from a Marriage or Tarkovsky in Stalker. Quite quickly Mother (Oona von Maydell) and Father (David Scheller) rope him in to taking over the homeschooling duties for their man-child Klaus (David Fripan) whom they have designs on making the future President of the United States. His haircut, comportment, and lack of geographical knowledge vaguely allude to slightly more ludicrous real life candidate.

The labeling of the characters rather than worrying about them having actual names is certainly a fairy tale trope that fits in to the absurdist tone that the film seeks to establish. Further plot details will be spared lest all the fucked-upness is spoiled for you, however, I can advise those who would venture to see this comedy that they should definitely expect the unexpected and soon enough you’ll find yourself understanding the odd rhythm of this world.

It’s one of the first films in a while that have really brought to mind the eternal conundrum which is: “What exactly is good taste and bad taste?” The film goes to there so to speak and is not overly concerned with explication but more so with revelation in stages of a curious world.

The comedy of the film works in simple examples. There are some book titles read where we see what the parents have tried to teach Klaus in the past. The Student observing a lesson noted that he can’t even memorize capitals so more profound things like “What is being?” will have to wait.

Nothing this off-the-wall has no chance of working if the cast is in anyway off, and most crucial in that function is the casting of Klaus. It is quite simply unimaginable that any one but David Fripan could have made this film in anyway believable. In many ways it’s a stroke of casting fortune akin to David Bennent in The Tin Drum. This does not detract from how well the other cast members perform but he clearly is the most pivotal.

Der Bunker is a comedy that’s great for a laugh but it is of the far-too-rare variety in this day and age that makes you think as well.

Mini-Review: The Young Messiah

Posted on September 13, 2016 by bernardovillela

Extracanonical tales might get the hackles of some more by-the-book faith-based film enthusiasts up, but as Stephen King has said of adaptations “free to take the original down from your bookshelf anytime you want. Nothing between the covers has changed a bit.” This is even more crucial when you also consider the fact that this film is based on a novel by Anne Rice, during her return to the Catholic Church, it should keep this duality of film and text further in focus.

As such, The Young Messiah succeeds tremendously on its own merits. It features a bombastic symphonic score by John Debney reminiscent of the earlier days of film. It also employs the convention of British accents representing people speaking in a foreign language, which is one of the oldest to film — and one that must continue to be accepted on occasion even in light of more intriguing alternatives that have been demonstrated.

What brings it home the most, however, is that it creates its drama through relatable challenges namely of how to speak to your child on difficult topics, the obvious difference being that there is a far more difficult topic Mary (Sara Lazzaro) and Joseph (Vincent Walsh) feel that they need to discuss with their young child in this film.

While the Young Lord’s (Adam Greaves-Neal) true nature has not been discussed with Him, what is also a source of conflict is that he is seeing visions, many of them of a Demon (Rory Keenan), that create conflict and foreshadow the revelation of His nature. In Gospel terms these visions would foreshadow the temptation of Christ, and some other allusions are there to make for those who know the tales.

However, for those who may not know Gospels or the life of Jesus the crafting of a familiarly classical plot, without relying on the same old tropes, make it an experience young viewers could easily enjoy and get involved in. Furthermore, a tale of the story of Christ and his family as refugees cannot possibly be more topical at this date in time. This is highly recommended title and is available on both physical media and digitally.

Note: This review was first published in Glad Tidings! Volume IX, Issue 8, September 2016, St. David’s Episcopal Church, Wilmington, DE. Reprinted with Permission.

Commentary, Uncategorized

Harry Potter and How It Changed My Life

Gallery | Posted on September 12, 2016 by bernardovillela

In 2011 Rohan Gotobed was a small part of the cast of Harry Potter and the Deathly Hallows, Part 2. He played Young Sirius Black in a flashback. As such, he was listed among the nominees and winners of my annual BAM Awards.

Being a young person in this day and age in a film as massive as the Harry Potter series he developed a following, and was known to people for a brief film appearance. It’s the kind of notoriety that could turn bittersweet, or stop being sweet altogether. But with the below post on his experience being part of the Wizarding World, Rohan reveals a great wisdom, and perspective on things. Whatever the future holds it’s great to see he sees his brief involvement in the series as a blessing, as a bonus he provides and update on his now resurgent acting career.

rohangotobed

poster

In a weird way, I often think about how much my time during high school mirrored Harry’s time at Hogwarts. When I turned up aged 12 in 2010, I immediately became known as “the Harry Potter kid”, mainly because I had already introduced myself as being in the next Harry Potter film. Had Snape been my chemistry teacher, I’m sure he’d have prefaced our first lesson with “Rohan Gotobed, our new… celebrity.” Like Harry, I was an object of weird fascination.Then, once the film came out and everyone realised I was only in it for six seconds (my friends counted), I felt a lot like Harry probably does about 99% of the time. However, there were always younger Colin Creevey-esque students who were fascinated with me, and I probably split opinion between teachers as to whether I was lovely or arrogant. Then, came sixth form, I began to book more…

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