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You cared about the characters in that film, and you wanted to see how things ended up - because, unlike Adaptation, the movie allowed you to lose yourself in the cinematic experience as opposed to making you self-conscious and feel complicit in the act of watching an artificial creation adapted, more-or-less, from a real-life book.Īdaptation shreds the wall between truth and fiction. I was anticipating its own moves even before the script called your attention to it - the level of self-referentialism almost forbids you from making any other kind of attachment to the movie but a purely intellectual one.īeing John Malkovich, the last film by the Spike Jonze/Charlie Kaufman duo, was also a colossal mindfuck, but it was one of a different sort: its discursions on the nature of identity had a depth and feeling to them that this movie didn't. I just didn't care about what I was seeing, because I was too busy deconstructing its own self-deconstruction. But that's its problem as well - I was so enraptured by the movie-within-and-above-the-movie that I was seeing that I was unable to connect on any emotional level with the characters within the movie. It is, on one level, a delicious mobius strip. This is a terrific concept for a movie - a movie that both attacks and consciously adheres to the conventions of Hollywood filmmaking, showing why certain stories are both unadaptable to narrative filmmaking yet adapting this one just the same, decrying the inability of a movie to convey cinematically the sheer beauty of an orchid while nevertheless finding a way to celebrate it. There is much to admire about Adaptation - the inventiveness of the script, the performances, and just the sheer technical achievement of getting two Nicholas Cages into the same frame. I can't say this enough: This movie is about an adult male dressed in pink jammies.ĪDMIRATION: Saw Adaptation last night at the new Bridge "cinema de lux" theatre in University City - which, in and of itself, merits comment at some point, but not now. He certainly has nothing of the great Charlie Chaplin's weightless grace, he has none of Douglas Fairbanks's acrobatic wit, he's not even as compelling a physical presence as Val Kilmer in "Batman." He just looks stupid. Who could look at this and not think, eBenigni grotesquely overestimates his charm as a movie illusionist. Oscar Winner? Are you understanding this? It's not a puppet. It's not a puppet! Do you hear what I'm saying, Mr.
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So, we didn't have to live through the whole thing."Īlso, the Washington Post has finally gotten its crack at the wooden puppet, noting, among other things:Īs an idea, Benigni's puppet is certainly the most insanely ill-conceived movie conceit in years.
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"Now, we were waiting on (3-year-old) Breleigh, and, fortunately 10 minutes later, she had had enough. "Halfway through, (13-year-old) Brittany had had enough," Brett recounted. This was one "Favre Family Night" that didn't live up to expectations. He didn't get any argument from his wife, Deanna, and their young daughters, Brittany and Breleigh. But when Packers QB Brett Favre disses Roberto Benigni's Pinocchio, I'm obligated to report it:įavre could not tell a lie - he wanted to boo and hiss at the newly released live-action remake of the animated Disney classic "Pinocchio."