Theatre Adaptations Genre Mini-List Discussion + Suggestions

An ongoing survey of the Criterion Forum membership to create lists of the best films of each decade and genre.
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Joined: Sun Oct 31, 2010 4:36 pm
Location: CA

Re: Theatre Adaptations Genre Mini-List Discussion + Suggest

#76 Post by sinemadelisikiz » Fri Aug 05, 2016 1:15 am

1. Who’s Afraid of Virginia Woolf?
2. The Cranes are Flying
3. Make Way for Tomorrow
4. Dial M for Murder
5. City Girl
6. Holiday
7. Detective Story
8. The Crucified Lovers
9. Baby Doll
10. Waterloo Bridge
11. The Matchmaker
12. The Moon is Blue
13. Killer Joe
14. His Girl Friday
15. Stage Door
16. The Magician (Bergman)
17. Pandora’s Box
18. The Girls
19. Sabrina (Wilder)
20. The Shop Around the Corner

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bottled spider
Joined: Thu Nov 26, 2009 2:59 am

Re: Theatre Adaptations Genre Mini-List Discussion + Suggest

#77 Post by bottled spider » Tue Nov 01, 2016 11:29 am

The Birthday Party (Friedkin, 1968). Also applicable to the 24 hrs project. For my taste, a more successful adaptation than Donner's The Caretaker (The Guest). Friedkin just seems to have had an instinct for how a movie can be confined mostly to one room and still be cinematic, against Donner's sometimes superficial and counterproductive opening of the play. And he has a good sense of colour. Since Pinter is slow paced and frustrates the normal expectations and satisfactions of dialogue and plot, a little visual pleasure is welcome relief ("sugaring the pill").

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A man stayed-put
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Re: Theatre Adaptations Genre Mini-List Discussion + Suggest

#78 Post by A man stayed-put » Fri Feb 17, 2017 5:23 am

Detective Story.
This forum comes through again with a great recommendation (particularly Domino’s championing of it). Gripping and expertly played by a wonderful ensemble (despite living legend status Douglas still feels underrated, he's fantastic here) I found myself forgiving it a few plot points that stretch credulity. Although I am interested if the major twist, if it can be called that, almost spoiled the film for anyone else? It’s such a huge coincidence none of the characters seem to buy it either.

Random observations (vague spoilers)-
The deep focus photography, through doors and windows works beautifully to open the film up and there’s an interesting tripling effect going on for much of the film- floors of the station, planes of vision, alignment of actors in the frame (one sequence with three concurrent phone calls stands out).
Between this and Ace in the Hole, Douglas must have had a special clause in his contract in 51 that dictated he exit his pictures face first.
Lee Grant is superb in this, her debut. She'd only make three more pictures in the 50's. Fuck HUAC.
There's a great bit of foreshadowing around the half hour mark when McLeod casually removes his gun from his holster and pockets it when going to speak to 'Charlie'.

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Red Screamer
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Re: Theatre Adaptations Genre Mini-List Discussion + Suggestions

#79 Post by Red Screamer » Fri Jan 25, 2019 4:15 pm

Angels in America (Mike Nichols, 2003)
Uneven, often brilliant. I don’t know if any staging could do justice to the word-drunk poetics and mixed surrealism on Kushner’s page (I'd only ever read it before this), but it’s too good of a play not to get somewhere with this kind of cast. Shenkman, Kirk, and Wright are perfect; Pacino is great and unpredictable, overacting and understated at the same time, never even touching the beats you’d expect him to; Streep is great in exactly the way you think she’d be, and isn’t any less moving for it (though I'm with knives, the multiple characters gimmick would work better on stage); Mary Louise Parker nails an impossible character but her regular scene partner, Patrick Wilson—miscast as Joe, too superficial—is a dud.

The sentimental music sucks, the visual effects never find the right balance of tacky and visionary, and, worst of all, Thompson’s angel completely misfires and the production’s entire conception of her is so confused that her flat-footed performance probably couldn’t be helped. But the heart of the play, at least without a believable Joe, is in the sparring between Belize/Roy and Prior/Louis and when it goes there (as well as the dizzying Cocteau dream sequence) it soars. Worth seeing, but I'd recommend reading the play first.

Not I (Samuel Beckett & Anthony Page, 1973)
Not much to say about this hypnotizing film of Beckett's short play except watch it.

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