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Fandom & adaptations

So who’s seen Ender’s Game?

Is it any good as a movie?

Unrelated question: which, if any, parts of the feel & experience of the book does it get right?

It’s funny, isn’t it, that those are unrelated questions? And movie reviews can only answer the second question when it’s obvious that the reviewer is a fan. e.g. for The Hobbit: an Unexpected Journey (3-part Hobbit: WTF?), go straight to Anthony Lane’s review. It summarizes very neatly to “I loved it — but I’m a fanatic” (which is also, word-for-word, my own review of Terminator: Salvation).

I haven’t seen a fan’s review of Ender’s Game. (No, I haven’t searched at Hatrack River, why do you ask?) I knew I was in the wrong place at Entertainment Weekly upon reading, “The problem is, these initiation and training scenes go on forever.” I’m not a Card fanatic, but I’m pretty confident that anyone who considers Battle Room a problem hasn’t the slightest idea what Ender’s Game fandom is about.

P.S. Ben Kingsley as Mazer Rackham is, in theory, an unadulterated stroke of genius. Please tell me that, unlike Russell Crowe as Javert, it also works in practice.

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Movies & innovation – and _Diamond Age_ racting

One of the great parts of being a speculative fiction fan is watching reality catch up to and surpass one’s favorite authors’ imaginations — or just never take a step in that direction at all. As I’ve written before, I live in dread of the genetic-discrimination world of Gattaca, which I now fear may be here before today’s children are dead (though I’m still hoping it won’t be before I am dead).

On the other hand, I’m chomping at the bit for movie acting to become independent of the actors’ own physical attributes, as in The Diamond Age. Avatar was a great leap forward, but so was Final Fantasy: The Spirits Within, because that was the first time CGI tried to render human faces and skin in a way that might fool the audience, even for half-second intervals. (Remember how amazing that one-second teaser of a single eye blinking was at the time?) Avatar was not ambitious on that particular score: only the non-human characters are rendered.

But some day we’ll see a movie where all the actors are wearing suits like Andy Serkis‘s (LOTR and Planet of the Apes!), and I can barely wait, because then we’ll finally be able to have movie stars whose ability to use their faces matters more than their facial features. (My favorite part about this in The Diamond Age is the little bit about Miranda studying how to ract a character with “cat eyes,” since she in real life has “bunny eyes,” which are used differently.)

This is how my husband convinced me to see Les Misérables. I didn’t expect it to be impressive musically as compared to any stage production, and indeed I was pretty much not impressed on that score. But letting the actors sing on-camera and mixing in the orchestra afterwards is a new attempt. The actors were clearly and justifiably over the moon about the chance. So I went along promising to have an open mind in trying to evaluate whether this presages the future of movie musicals.

And does it? Well, of course, I haven’t a clue. Quite irrespective of impressiveness, Les Miserables is always overwhelming, and thus hard to evaluate. Yes, the sung sequences are obviously more immediate than in Singin’ in the Rain. But movies, movie stars, moviemaking, and movie audiences — to say nothing of acting styles — are so different now from then that it seems arbitrary to compare how the songs were recorded between the two.

What new innovations are you watching for (happily or no)?

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Another mashup, of a sort

I think it would have been even better if they had used music from LotR, but I still got a good chuckle out of this:

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Swing dancing in the Jungle Book

It’s nothing new, but this clip from the Jungle Book might brighten your day a bit:

If you’re interested in film or music history, you’ll also enjoy this brief clip describing the recording of this song.

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