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Adaptation
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Cage, Streep
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By Dave DePino
There are a lot of things going on in writer Charlie Kaufman and director Spike Jonze's follow-up to their oddball hit, "Being John Malkovich." It is as difficult to dissect or try to critique their new work as it was - apparently, excruciatingly painful - for the writer (Kaufman) to adapt a rather uneventful book. His assignment was to write a screenplay of New Yorker writer and novelist, Susan Orlean's, non-fiction bestseller "The Orchid Thief."
Kaufman's writer's block became such a monster in his psyche that he figured he would somehow have to include it, his artistic block, and himself, Charlie(Nicholas Cage), into the telling of the novel's story. If not, the story might never get on the screen. So, what we're really watching here is a story about a neurotic man who is writing a story about a woman who wrote a story about a man and managed to get it published as a piece of non-fiction, which became a best seller and is now in the process of being made into a movie. And to further confuse his own efforts, Kaufman also includes a fictitious twin brother for himself, Donald (Cage again), who becomes successful as a screenwriter of formula dribble, making Charlie feel even more artistically impotent. Now does that really sound any more complicated or bizarre than the horrible thought of anyone of us actually being stuffed into John Malkovich's brain? Not really.
The novel's plot in brief: "The Orchid Thief" deals with a man, John Laroche (Chris Cooper), who lives in the Florida Everglades. An eccentric to be sure, this man is best described by Orlean herself as "the most moral, amoral man I've ever met." Laroche, a grizzly, stringy haired, toothless, but, surprisingly attractive man, is in the business of underground cloning of extraordinary, endangered species of orchids for impassioned collectors, bored rich people, and smugglers who are more than willing to pay for rare blooms. Untouchable by the law, because he partners with Seminole Indians who have special rights in the region (think Native Americans and casinos), Laroche does pretty well for himself. He also seems to have a genuine, contagious passion for his work and a gentle love for his favorites of god's flora.
Meanwhile, in the surreal account, as told in the film, Orlean (Meryl Streep) sets out and zeros in on one particular bloom that begins to become an infatuation for her. Or is Laroche the fascination? Or is it the feverish passion that comes with the territory? Or is it all just in Charlie's mind?
Again on that unreal plain, Charlie must actually meet this novelist to help him with his adaptation. He can't bring himself to do so, however, twin Donald can. At this point, the film spins into a realm of semi-controlled chaos and split-level realities that then take the most unexpected roller coaster ride into absurdities, sex, drugs, murder and rock 'n' roll.
Curiously, as daring and convoluted as this story becomes, it remains quite understandable. You may not like the tale's spastic style, but you will not be left in the dark. The nonlinear presentation just seems to fit here. The dialogue on all the different and interchangeable levels flows realistically. It is mandatory here that both writer and director be on the same page or this might seem like just an artsy hodgepodge. Kaufman and Jonze are truly a team with peculiarly enticing aesthetics. KK Barrett's production design is less claustrophobic than "Malkovich" was, and it gives this film more area in which to breathe.
Principal to the selling of this rendered adaptation is a marvelous cast beginning with Cage as the Kaufman brothers. Each of Cage's characters, Charlie and Donald, are fully realized and three-dimensionally individual. In the scenes they have together, it is difficult to believe that the dramatic consistency is all achieved by camera tricks (kudos to Lance Acord, cinematographer and Eric Zumbrunnen, editor). As recipients of Golden Globe Awards for their supporting work, Streep and Cooper are terrific. Streep just keeps reminding us why we love her so much and why she is one of, if not the best, actor who ever stepped in front of a camera. She has no problem convincing us that this stable, successful, big-city writer could give in to the allure of an Everglade adventure. Cooper's larger-than-life Laroche bites with dual edges as keeper of the blooms and lusty participant in life. Placing Laroche a bit on the shady side, he never allows his character to become sinister.
Like "Being John Malkovich," "Adaptation" is one of those either/or films: either you like it or you don't. I didn't like the former, but found the latter enjoyable. I can't help but wonder which way Ms. Orlean's tastes went.
As a video suggestion, and keeping with the subject of writers, I would like to recommend writer/director Richard Kwietniowski's 1997, "Love and Death on Long Island." A very gentle film, this mildly dark comedy, has little to do with death, but deals with British author Giles De'Ath (get it?) who is a prim and proper, elderly writer who also, like Ms Orlean in "Adaptation," succombs to an adventure. De'Ath's (John Hurt) adventure has all to do with his innocently lustful infatuation with a young, film star (Jason Priestley) whom he accidentally sees on screen. Not quite into the Everglades, De'Ath's obsession leads to the boredom of a tiny neighborhood on Long Island, New York. Hurt turns in a splendidly crafted performance as a fish out of water, but cleverly avoids the obvious pitfalls of the genre. Priestley does a nice job of having good-natured fun playing a teen heartthrob very much like himself. The character actors playing the town's folk and their reaction to the visiting writer are an added delight to the film.
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