Global warming autumns are now so common that I no longer find it odd to be wearing a tank top and shorts on a September afternoon (whether it is appropriate for a 29-year-old to don such an outfit is another question entirely). Apparently, television and film are mirroring this climate trend because we are still mired in the late-summer pop cultural doldrums despite having already celebrated Labor Day. Now is, therefore, the perfect time to delve into those books, films, and lesser known television shows that can sustain us until Mad Men returns and the Oscar season officially begins. Continue reading “Weekly Girl Crushes: When You Can’t Watch Mad Men…”
When adapting an immensely popular book, a filmmaker must always be wary of evoking the wrath of fans if the film diverts—even slightly—from the page. Although the third Harry Potter film is by far the most successful, Alfonso Curón was still criticized for adding gothic elements and cutting superfluous Quidditch scenes. Gary Ross was clearly conscious of this fact when creating the entertaining but slavishly faithful Hunger Games.
Initially, I thought The Hunger Games could be easily adapted to the screen because it is a well-paced narrative. After watching the film, my initial reaction matched that of most other critics: the atmosphere of the reaping was pitch perfect, the cornucopia was horrifying without fetishizing the violence, the slow pacing of the film’s first half and the quick pacing of the second was jarring, and the shaky cam was annoying precisely 99.9% of the time. What was most striking, however, was how the film’s tone and characters differed from the book even though the film was basically a page-by-page adaptation.
I was immediately reminded that this first book takes place almost entirely in Katniss’s head. Entire relationships are formed and played out through her thoughts, and we see her character develop less through her actions—save in a few key scenes (e.g., the reaping, Rue’s death)—and more through her psychological battles and internal reactions to her circumstances. The classic response to this dilemma is, “Well, it’s impossible to film interior monologues unless you include intrusive voiceovers violating every show-don’t-tell law ever written.” I disagree. Yes, you cannot film exactly what is going on inside a character’s head through language, so you should instead use the tools unique to cinema to express the same meaning. Continue reading “All Up Inside Katniss’s Head”
