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NBooth

The Sound and the Fury (2014)

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This is weird--no trailers anywhere online. And we don't seem to have a thread on it--and given how many threads we have on different literary adaptations, that strikes me as unusual. So here's the IMDB page. Here's our thread on Franco's previous Faulkner foray, As I Lay Dying.

 

 The Guardian has a review up:

 

The Sound and the Fury is not a cynical film though, just ham-fisted. So bogged down by form, Franco fails to get his head up enough to think about content. He does get one thing however, and that's Benjy's sensual awareness, his ability to connect with the sublime. As the 33-year-old man (or 'three for thirty years') rolls a lily between his hands or watches a solitary match burn, we see him engaging with feelings everyone else has buried, the better to concentrate on day-to-day propriety. It's a tantalising glimpse into what this film might have been, but it's very brief indeed.

 

I note that Franco gave himself the role of Benjy, which makes me flash back to Tropic Thunder. He should have taken warning from the way the last adaptation of The Sound and the Fury turned out:

 

 

Seriously, filmmakers. Do Sanctuary. It's begging to be adapted.

Edited by NBooth

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Man, Quentin (the male one) seems to get no love in adaptations. The first deletes him from existence, and I can't tell if the Guardian review is calling his portrayal there a moping drag because of the film's shortcomings or because the reviewer doesn't like the character to begin with. Sure, he's a big ball of torment and angst, but if the three Compsons' sections in the book are to be compared to a triptych, his is the Hell panel. Even though it's in the middle.


Did George Clinton ever get a permit for the Mothership, or did he get Snoop Dogg to fetch one two decades late?

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if the three Compsons' sections in the book are to be compared to a triptych, his is the Hell panel. Even though it's in the middle.

 

Interesting. Where would you put Jason, then?

 

Oh--and I finally found a clip from the movie:

 

 

At least there's no split-screens. 

 

EDIT: And here's The Playlist, evoking--what else?--Tropic Thunder:

 

Based on the extraordinary, complex Nobel Prize-winning William Faulkner novel of the same name, Franco’s 101 minute film version is immensely truncated, but somehow manages to feel self-indulgent nonetheless, particularly in the first of its three chapters, which is told from the point of view of the Compson family’s shame, the idiot Benjy. Starring Franco’s halfwit bucktooth dentures in the role, and also Franco himself we suppose, his Benjy roils, spasms, groans, gurns and flails his way through an interminable first third which is surely destined to be listed as the precise filmic definition of the “Tropic Thunder” meme of “going full retard.”

 

Edited by NBooth

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Everything leading up to this screening screamed "run away" to me, but I had to grudgingly concede that the film didn't suck.

I'm not sure I'll ever use the word "good" in conjunction with the film--we'll see how it looks when I sleep on it. But I was impressed with the moxie that went into trying.

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if the three Compsons' sections in the book are to be compared to a triptych, his is the Hell panel. Even though it's in the middle.

 

Interesting. Where would you put Jason, then?

Well, I hadn't thought it out that much. I just put him under Hell in my mind because he's the most tormented of the three Compsons. Perhaps a case could be argued for Jacob being that as well, but perhaps not from the angle I was coming from. Maybe I just resonate with Quentin's psychological self-flagellation; Jacob makes more of an effort to grin and bear it. I guess I see Benjy as being in emotional circle-walking due to his non-linear sense of time (maybe someone could make a Mirror-style TSATF adaptation that's just about him), Quentin as one who just spirals further and further down (in fact, if I remember correctly, his section doesn't end with him jumping off the bridge, but rather goes just a little bit back after mentioning it, as if not even suicide has ended his pain), and Jacob as relatively static. When someone's narration starts with a phrase like "once a bitch, always a bitch", and ends with "I just want an even chance to get my money back" (okay, that's the second-to-last sentence, but still), I don't see much character growth (or regression).

Maybe someone can extract meaning from that rambling.


Did George Clinton ever get a permit for the Mothership, or did he get Snoop Dogg to fetch one two decades late?

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My two cents:

 

At one point Caddy pays her brother $50 for the privilege of looking at her daughter for one minute. They dicker over price for awhile and about whether she has to pay in advance. They argue over who hates who more and who is more deserving of that hate. It’s all very artistically done, but a movie hasn’t made me feel this miserable about being alive since August: Osage County. Take you pick, Meryl Streep doing another accent or James Franco drooling and biting someone on the buttocks. Both are tales told by master actors, full of spit and venom, signifying that there will be one less nomination spot available next award season.

 

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Franco says he wants to do two more Faulkner movies: The Hamlet and The Bear. The quote is at the end of this interview.

 

Well, there are two more Faulkners we want to do: The Hamlet and The Bear. The Bear would be difficult, just because you need a trained bear [laughs], but nowadays you could probably do CGI or motion capture, like in Planet of the Apes, and get Seth Rogen to play it.

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