Charlie Kaufman is a screenwriter who I have always considered egotistical, yet one film showed me how addictively clever and intelligently humorous the man can be. His ability to craft highly original and often deconstructed narratives is an admirable talent, but something of an acquired taste. The most famous of his critically acclaimed screenplays was Being John Malkovich, which did nothing except infuriate me. I then saw Eternal Sunshine of the Spotless Mind, a film I absolutely loathed from start to finish. Thankfully, a friend bought me the DVD of Adaptation, something I unexpectedly began to admire only minutes into my initial viewing. Famous music-video director Spike Jonze (who also directed Being John Malkovich) reunited with Kaufman once again for Adaptation; the result was an invigorating blow to the senses.
Adaptation is an exceptionally personal film for Kaufman, since it was written as "therapy" due to his own struggle of dealing with writer's block. While attempting to adapt a best-selling novel ("The Orchid Thief") Kaufman encounters the inability to find a relationship with the convoluted material which seems to echo his own troubled feelings. Little does Kaufman realise that the familiarity with the eccentric material is what is blinding him from being able to adapt it. From here, Kaufman begins to indulge in his self-loathing, cynical and neurotic nature. It is only as Kaufman begins to doubt his craftsmanship that he becomes considerably more aware of his surroundings, and how he as with every human- relies on something, let it be memories, people or inanimate objects.
In this half-biopic, fictionalised account of Kaufman's struggle, he essentially argues that we are all pretentious to a certain degree. This is an idea which I disagree with, as notions of grandeur and pretension block the ability to comprehend, something which is shown in the film, resulting in the concept being contradictory. Nonetheless, everything in the film is scrutinized beyond recognition, showing just how intricate each person's life truly is. Edited in a scrambled, jolty manner and ridden with back-and-fourth cutting, Adaptation is by no means a generic, clichéd example of modern, American cinema.
Befuddling storytelling, and crammed with enough ideas for an entire series of films, it is tricky business not being able to admire the film from a writer's standpoint. Nicholas Cage performs in multiple roles (once again, see it to believe it) and executes a noteworthy performance, which maintains a sensitive level of honesty and dissatisfaction. Chris Cooper captures the wild eccentricities of his wacky character and further proves his versatility at being cast in mentally demanding roles. In fact, it is his finest performance to-date and the acting highlight of the picture. Meryl Streep is the embodiment of loneliness, spiritual awakening and reliance on others.
Sometimes dreadfully confusing, but always fascinating, Adaptation is a triumph of wisdom, originality and sharp wit. If like me, you are not a fan of Kaufman or Jonze, at least give this understandably questionable outing a chance. You might just be surprised at what you find. Recommended viewing for those who question life's endless happenings, such viewers will be in for a treat.
Adaptation is an exceptionally personal film for Kaufman, since it was written as "therapy" due to his own struggle of dealing with writer's block. While attempting to adapt a best-selling novel ("The Orchid Thief") Kaufman encounters the inability to find a relationship with the convoluted material which seems to echo his own troubled feelings. Little does Kaufman realise that the familiarity with the eccentric material is what is blinding him from being able to adapt it. From here, Kaufman begins to indulge in his self-loathing, cynical and neurotic nature. It is only as Kaufman begins to doubt his craftsmanship that he becomes considerably more aware of his surroundings, and how he as with every human- relies on something, let it be memories, people or inanimate objects.
In this half-biopic, fictionalised account of Kaufman's struggle, he essentially argues that we are all pretentious to a certain degree. This is an idea which I disagree with, as notions of grandeur and pretension block the ability to comprehend, something which is shown in the film, resulting in the concept being contradictory. Nonetheless, everything in the film is scrutinized beyond recognition, showing just how intricate each person's life truly is. Edited in a scrambled, jolty manner and ridden with back-and-fourth cutting, Adaptation is by no means a generic, clichéd example of modern, American cinema.
Befuddling storytelling, and crammed with enough ideas for an entire series of films, it is tricky business not being able to admire the film from a writer's standpoint. Nicholas Cage performs in multiple roles (once again, see it to believe it) and executes a noteworthy performance, which maintains a sensitive level of honesty and dissatisfaction. Chris Cooper captures the wild eccentricities of his wacky character and further proves his versatility at being cast in mentally demanding roles. In fact, it is his finest performance to-date and the acting highlight of the picture. Meryl Streep is the embodiment of loneliness, spiritual awakening and reliance on others.
Sometimes dreadfully confusing, but always fascinating, Adaptation is a triumph of wisdom, originality and sharp wit. If like me, you are not a fan of Kaufman or Jonze, at least give this understandably questionable outing a chance. You might just be surprised at what you find. Recommended viewing for those who question life's endless happenings, such viewers will be in for a treat.