Susan Orlean: “There are too many ideas and things and
people. Too many directions to go. I was starting to believe the reason it
matters to care passionately about something, is that it whittles the world
down to a more manageable size.”
The film I
have chosen to turn you onto in this, my latest installment, is Charlie Kaufman
and Spike Jonze’s loose adaptation of Susan Orlean’s book The Orchid Thief,
entitled Adaptation. To properly introduce such a sprawling, inventive,
and enigmatic movie, I will attempt a brief explanation of the structure. I
won’t go too far into the details as unpacking the configuration of the script
as you watch is a large part of the enjoyment of the movie, but the fact of the
matter is that this movie, which is in essence an adaptation of a book about
flowers, blooms into a film about the creative process of adaptation in
general.
We are shown multiple layers of
characters in a variety of different story lines. We have Charlie Kaufman, the
actual person, adapting the book, his twin brother and all of the people in his
circle (his agent, publicist, girl friend etc.), and we watch as he struggles
with such a complex and original adaptation. Then we also follow Susan Orlean,
John Laroche, and all of the other satellite characters involved in the book he
is adapting. The fun of the film is the fact that as the plot develops the
worlds of the two begin to merge and levels of fiction seep into the story to
the point where it is the viewer’s task to either give into the developing
story or try to decide where the lines of fact and fiction are blended.
One of the reasons I fell
completely head over heels for this film is the brilliant way in which Kaufman
(the writer not the character… or wait both I guess) has woven these two story
arcs based in reality, where almost no immense action happens into one
overblown and immense film experience. Early in the film the character of
Charlie Kaufman is speaking to his publisher about the adaptation and the possibility
of a love interest: “Okay. But, I'm saying, it's like, I don't want to cram in
sex or guns or car chases, you know... or characters, you know, learning
profound life lessons or growing or coming to like each other or overcoming
obstacles to succeed in the end, you know. I mean... The book isn't like that,
and life isn't like that. You know, it just isn't. And... I feel very strongly
about this.” The battle of creating a story that is true to this
statement is in essence the main focus of the film. However there is a very
surprising and climactic ending lurking in the wings (but I won’t go too far
into that…).
While the plot, characters, and
dark comedic wit are the main focus and what truly makes this film one that I
can enjoy over and over, there are certainly other reasons I can pull in an
attempt to turn you on to Adaptation. if you aren’t hooked already.
Charlie Kaufman (who also wrote Being John Malkovich (1999), Eternal
Sunshine of the Spotless Mind (2004), and wrote and directed Synecdoche,
New York (2008)) wrote the film and his work is always infused with a
healthy dose of self-deprecating humor. Spike Jonze (known also for directing Being
John Malkovich, Where the Wild Things Are (2009), Her (2013)
and countless amazing music videos) then took the script and directed it into
the amazing amalgamation it is. On top of these two creative masterminds the
always-stunning Lance Accord then shot it – you may remember my ruminating on
the magic of his eye in my essays about Marie Antoinette (2006) and Buffalo
’66 (1998). So the people behind the lens are incredibly well chosen. Then
on top of this the acting is fantastic. Nicolas Cage luminously pays both of
the Kaufman brothers (I know: Nicolas Cage! I’m as surprised as you!),
Meryl Streep is fantastic (as usual) as New Yorker writer Susan Orlean,
and Chris Cooper perfectly embodies the perplexing character of John Laroche.
So those working in front of the lens are equally adept.
In a brief review and conclusion as
to why you should buy and watch (re-watch) this film: the plot is imaginative
and inventive, the direction and cinematography are spot on, the acting raises
the bar of the story, and just to reiterate I cannot stress the fun and
excitement of the story development. Watching this movie again in prep for this
essay I was again immediately enveloped in the worlds of the story and couldn’t
pull myself away from the screen. So give it a shot and if you hate it you can
come in and find me to tell me why – but that’s not going to happen. You’ll love
it.
- Edward Hill
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