Fiction to Film

Fiction-to-Film

Many people claim the book is always better than the movie, but that's never stopped Hollywood from seeking inspiration in the world of literature. Throughout Hollywood's history, books have provided seemingly limitless fodder for its masterpieces and missteps alike. Check out the latest adaptations to make it onto those little silver discs.

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Steven Spielberg, proving he's one of the few modern filmmakers who has the visual fluency to be capable of making a great silent film, took a melodramatic, D.W. Griffith-inspired approach to filming Alice Walker's novel. His tactics made the film controversial, but also a popular hit. You can argue with the appropriateness of Spielberg's decision, but his astonishing facility with images is undeniable--from the exhilarating and eye-popping opening shots of children playing in paradisiacal purple fields to the way he conveys the brutality of a rape by showing hanging leather belts banging against the head of the shaking bed. In a way it's a shame that Whoopi Goldberg, a stage monologist who made her screen debut in this movie, went on to become so famous, because it was, in part, her unfamiliarity that made her understated performance as Celie so effective. (This may be the first and last time that the adjective understated can be applied to Goldberg.) Nominated for 11 Academy Awards, including best picture and actress (supporting players Oprah Winfrey and Margaret Avery were also nominated), it was quite a scandal--and a crushing blow to Spielberg--when it won none. The digital video disc requires flipping to play the whole movie. --Jim Emerson

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A sumptuously mounted and photographed celebration of artful wickedness, betrayal, and sexual intrigue among depraved 18th-century French aristocrats, Dangerous Liaisons (based on Christopher Hampton's Les Liaisons Dangereuses) is seductively decadent fun. The villainous heroes are the Marquise De Merteuil (Glenn Close) and the Vicomte De Valmont (John Malkovich), who have cultivated their mutual cynicism into a highly developed and exquisitely mannered form of (in-)human expression. Former lovers, they now fancy themselves rather like demigods whose mutual desires have evolved beyond the crudeness of sex or emotion. They ritualistically act out their twisted affections by engaging in elaborate conspiracies to destroy the lives of their less calculating acquaintances, daring each other to ever-more-dastardly acts of manipulation and betrayal. Why? Just because they can; it's their perverted way of getting get their kicks in a dead-end, pre-Revolutionary culture. Among their voluptuous and virtuous prey are fair-haired angels played by Michelle Pfeiffer and Uma Thurman, who have never looked more ripe for ravishing. When the Vicomte finds himself beset by bewilderingly genuine emotions for one of his victims, the Marquise considers it the ultimate betrayal and plots her heartless revenge. Dangerous Liaisons is a high-mannered revel for the actors, who also include Swoosie Kurtz, Mildred Natwick, and Keanu Reeves. --Jim Emerson

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Based on a memoir by former undercover cop Joe Pistone (whose daring and unprecedented infiltration of the New York Mob scene earned him a place in the federal witness protection program), Donnie Brasco is like a de- romanticized, de-mythologized version of The Godfather. It offers an uncommonly detailed, privileged glimpse inside the world of organized crime from the perspective of the little guys at the bottom of Mafia hierarchy rather than from the kingpins at the top. Donnie Brasco is not only one of the great modern-day gangster movies to put in the company of The Godfather films and GoodFellas, but it is also one of the great undercover police movies--arguably surpassing Serpico and Prince of the City in richness of character, detail, and moral complexity. Donnie (Johnny Depp, a splendid actor) is practically adopted by Lefty Ruggiero (Al Pacino), a gregarious, low-level "made" man who grows to love his young protégé like a son. (Pacino really sinks into this guy's skin and polyester slacks, and creates his freshest, most fully realized character since his 1970s heyday.) As Donnie acclimates himself to Lefty's world, he distances himself from his wife (a terrific Anne Heche) and family for their own protection. Almost imperceptibly his sense of identity slips away from him. Questioning his own confused loyalties, unable to trust anybody else because he himself is an imposter, Donnie loses his way in a murky and treacherous no-man's land. The film is directed by Mike Newell, who also headed up Four Weddings and a Funeral and the gritty, true crime melodrama Dance with a Stranger. --Jim Emerson

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Some called it a snooze-fest, while others tearfully clutched their Kleenex. In any case, Clint Eastwood was an unusual and (as it turned out) perceptive choice to direct and costar in this lush adaptation of Robert James Waller's phenomenally bestselling novel. Meryl Streep costars as Francesca, the lonely Iowa farmer's wife who is instantly attracted to Robert (Eastwood), the photographer from National Geographic who is in the area to photograph the bridges along Iowa's rural roadways. The two fall in love while Francesca's husband and children are away at a county fair, but the story's passion and lasting appeal derive from their decision to part forever after just a few brief days of intimate connection. Superbly acted with an emphasis on quiet, graceful moments of tender revelation, the film builds to a crescendo of powerful and conflicting emotions. Like David Lean's Brief Encounter (to which it bears marked similarities), The Bridges of Madison County is destined to become one of the classic movie love stories. --Jeff Shannon

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The exceptionally fine cast--Susan Sarandon, Tommy Lee Jones, J.T. Walsh, Mary-Louise Parker, Anthony Edwards, William H. Macy, Anthony LaPaglia, Ossie Davis, and Brad Renfro--goes a long way toward making The Client one of the more solidly enjoyable screen adaptations of a John Grisham southern gothic legal thriller. Teen-hearthrob Renfro is a natural, playing a kid whose life is in jeopardy after he witnesses the death of a Mob lawyer. Susan Sarandon is the attorney who decides to look after the boy; nobody can match her when it comes to playing strong and protective maternal figures (Thelma and Louise, Lorenzo's Oil, Dead Man Walking). Sarandon won her fourth Oscar nomination as best actress for this role, before finally winning the following year for Dead Man Walking. Author Grisham was so impressed with former window dresser/fashion designer/screenwriter-turned-director Joel Schumacher's work on this movie that he later asked him to direct A Time to Kill. --Jim Emerson

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Based on the acclaimed book by neurologist Oliver Sacks, director Penny Marshall's hit 1990 drama stars Robin Williams as Dr. Malcolm Sayer. Sayer is a neurologist who discovers that the drug L-Dopa can be used to "unlock" patients in a mental hospital from the mysterious sleeping sickness that has left them utterly immobilized. Leonard (Robert De Niro) is one such patient who awakens after being in a comatose state for 30 years, leaving Sayer to guide Leonard in adjusting to the world around him. Penelope Ann Miller costars as the daughter of another patient, with whom Leonard falls tenuously in love. Earning Oscar nominations for best picture, actor, and screenplay, this moving fact-based drama was a hit with critics and audiences alike. --Jeff Shannon

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The opening and closing moments of Robert (Forrest Gump) Zemeckis's Contact astonish viewers with the sort of breathtaking conceptual imagery one hardly ever sees in movies these day--each is an expression of the heroine's lifelong quest (both spiritual and scientific) to explore the meaning of human existence through contact with extraterrestrial life. The movie begins by soaring far out into space, then returns dizzyingly to earth until all the stars in the heavens condense into the sparkle in one little girl's eye. It ends with that same girl as an adult (Jodie Foster)--her search having taken her to places beyond her imagination--turning her gaze inward and seeing the universe in a handful of sand. Contact traces the journey between those two visual epiphanies. Based on Carl Sagan's novel, Contact is exceptionally thoughtful and provocative for a big-budget Hollywood science fiction picture, with elements that recall everything from 2001 to The Right Stuff. Foster's solid performance (and some really incredible alien hardware) keep viewers interested, even when the story skips and meanders, or when the halo around the golden locks of rising-star-of-a-different-kind Matthew McConaughey (as the pure-Hollywood-hokum love interest) reaches Milky Way-level wattage. Ambitious, ambiguous, pretentious, unpredictable--Contact is all of these things and more. Much of it remains open to speculation and interpretation, but whatever conclusions one eventually draws, Contact deserves recognition as a rare piece of big-budget studio filmmaking on a personal scale. --Jim Emerson

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Adapted from the beloved novel by Walter Farley, this 1979 family classic was hailed by no less than hard-to-please critic Pauline Kael, who wrote that "it may be the greatest children's movie ever made." A visual feast from start to finish, the timeless tale of The Black Stallion plays out on almost mythic terms. A young boy survives a shipwreck and is stranded on a deserted island with a graceful black stallion, with whom the boy develops an almost empathic friendship. After being rescued and returning home, the two make a winning team as jockey and lightning-fast racehorse under the tutelage of a passionate trainer, played by Mickey Rooney in an Oscar-nominated role. From its serenely hypnotic island sequence to the breathtaking race scenes, this delightful film is guaranteed to enthrall any viewer, regardless of age. The Black Stallion is a genuine masterpiece of family entertainment. --Jeff Shannon

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It helps to have one of history's greatest scoops as your factual inspiration, but journalism thrillers just don't get any better than All the President's Men. Dustin Hoffman and Robert Redford are perfectly matched as (respectively) Washington Post reporters Carl Bernstein and Bob Woodward, whose investigation into the Watergate scandal set the stage for President Richard Nixon's eventual resignation. Their bestselling exposé was brilliantly adapted by screenwriter William Goldman, and director Alan Pakula crafted the film into one of the most intelligent and involving of the 1970s paranoid thrillers. Featuring Jason Robards in his Oscar-winning role as Washington Post editor Ben Bradlee, All the President's Men is the film against which all other journalism movies must be measured. --Jeff Shannon

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