The Year Of Wonders

Dang. Saw the title and thought you were reviewing the film version of the book “Year of Wonders” by Geraldine Brookes which I’ve heard is being developed. It’s a real gem of a book, based on the true story of an English village which quarantined itself during the plague, and if you ever come across the script, please shout out!

JJ says:

Oh my GOD, does that sound saccharine and awful. YEEEEEEEAAAACH. Dear HEAVENS.

I can immediatly think of multiple ways that could be so much better. Have the father and daughter go on a world tour to try and FORGET the mother’s death, but everywhere they go they’re reminded of her, like she’s haunting them. Or her death shocks them into realizing how superficial and self absorbed they’ve been so they join a humanitarian aid group and go the world’s WORST places, and help save people, after they couldn’t save mom.

ANYTHING. Please. Just not those wretched, faux-catharsis scenes every five minutes and this self-absorbed third world as therapy plot (underscored, no doubt, by heavily reverbed Rachel Portman-like strings and piano).

Didn’t make it past page 10. It’s hard to see how any reader made it past that all important first ten. Because there’s zero hook and no suggestion if the wonderful travel-log (I assume) that’s to come. Nice moments in Lou’s VO every now and then, but ultimately by cliche-ometer was steaming and rattling like psychotic kettle.

It’s just so damn… melodramatic. That whole death scene is the work of a writer with absolutely no conception of subtlety and no idea how the medium works. A sombre silence can be so much more powerful than this oscar-craving soap opera we’re presented with.

And these words right here don’t come from the blissfully ignorant mouth of a cynic. Since receiving a short sharp shock around two months ago, by life is very much paralleling what’s happening in the opening ten and with the exact same family member. Thankfully (and that word at this point seems so utterly understated) it’s more the former stage than the finality of that latter stage of the opening ten.

But I didn’t really share much of Lou’s sentiment. Yes, there are some people you’d like to distance from, but ultimately you welcome the ‘grief network’ as shoulders to cry on.

And back to the script itself. Talk about bludgeoning of theme and image. Lou may as well held a ticker-tape parade as she delivered her opening line. And the Indianna Jones map pan seemed like a desperate visual device to mount the opening V.O. than a genuine, natural establishing of image.

I guess what I object to here is really the cliche of it all. You say in your review that it comes from the writer’s life scrapbook, but ultimately I got the opposite impression. Like the writer had cobbled together every lifetime movie ever watched and then decided to tack on just a little more sachrine sentiment. When Lou delivers her ‘Mother dead’ line, I just about threw up my porridge…. And I haven’t even eaten any. Now that’s bad.

And judging by the excerptyou posted in your review, which was frankly as nausiating as writing gets, I have no desire to venture any further. In contrast to a script a little further down thi months listing, this writer clear has almost NO concept of subtext and more importantly a seemingly non-existant gag-reflex.

And if that’s the case I have a more than adequate suggestion for a career change. May entail long nights and knee guards, but ultimately it’s in their best interest, cause unless they learn less is more and that a spoonful of sugar doesn’t actual make the medicine go down, but instead causes it too stick like bile in the throat, then all there future offerings will require a gag-bag taped to the title page.

But what do I know. It sold after all :)

JJ Says:

No, in this case, I think vitriol is wholly justified. : )

Okay I’m not one to give up on something completely. Artful expression in any form deserves a proper chance and only a fool forms opinion on mere percentage of the overall facts.

Hell I felt obligated to watch Epic Movie to live up to this mantra!….. !!…….. !

But MANNNNNNN this just gets worse. Now maybe my situation is corrupting my objectivity here, but really…Is page 11 FOR REAL?

I imagine a producer for Lifetime read this and said ‘Sorry. Little too sugary’ As he stifled his vomit into a Burito.

Seriously I’ve not read a script this bad for a while and I think Carson, your otherwise great rating, may have been too lenient here.

IT’s so strange to read a page and feel a GENUINE numb nausea in my throat. May have been psycho-sematic, but I genuinely felt the slightest of gags. For those afraid to venture further. Get this for an exchange-

————————————————-

LOU
They’re all fighting about what they want
- not what she wanted.

Brad is struck by the poise of the comment. The clarity.

BRAD
Do you know what she wanted?

And turning towards him. The eyes of a child -

LOU
So many things, uncle Brad. She wanted
so many things…

Brad pulls her towards him -

BRAD
Oh, God, sweetie, I know. I know. Just
let it go. It’s okay to let it all go…

———————————————–
……..uhh what? Is this guy serious. I’ve rarely read anything this melodramatic and I’ve rarely refused to go on. But seriously I have to stop cause I’m GENUINELY worried I’m pages away from vomiting over my keyboard and frankly I’m not prepared to rinse through the keys again since the ‘The Bucket List’ incident (which actually I liked on the whole).

Steer clear. Or read for yourself, but keep an empty Vat to hand.

PS. I have no idea how to do that whole text format thing :)

Haha. Harbinger, tell us how you really feel.

This is exactly how I felt when I attempted to read that trash, UNTITLED BILL CARTER PROJECT.

I don’t understand why someone would want to go spend money at a theater and be depressed for 2 hours. I mean people always have their quips about the films Hollywood is churning out, but at least most of them are FUN.

Writers and filmmakers are supposed to do one of three things when they create story/film.

Make the audience think.

Make the audience feel.

Or entertain the audience.

I assume this is and Bill Carter are attempts to make people feel, but the #1 thing you need in a movie to make an audience member feel is to have 100% TOTAL EMPATHY with the main character. If you insult the audience by making them think that they aren’t emotionally compatible with the main character, it’s a lost cause.

As Harbinger said before. Subtly works best with melodrama because it causes the audience member to picture their own reactions to situations. But when you have a definite image, like the death scene in this script, it f***s their mind up because it most likely isn’t the way they would react to the situation. And now you have alienated an audience member making them feel guilty or total disconnect at the situation.

Thank you class and be sure to bring your script treatments to tommorow’s class….

Oh wait. I’m not in school right now. Oops. Haha.

Yup… possibly. Except in my froth-mouthed rabid state I stalked the writer to his IMDB page. Clicked on the first movie link I came to. Something about Touch.

And I quote…

[I]Just watch carefully her dramatic performance here and admire how she really, really saved even the lamest melodramatic moments.[/I]

Next reviewer

[I]“Touched” is a corny, predictable and extremely melodramatic story [/I]

Admittedly it gets a little positive after that, but I’m guessing they’re cast and crew.

See, Carson, JJ, Kingston, we’re not just a load of mental, cynical kooks. This is actually a bit of a consensus.

………erm…………Stop me when this gets obsessive, won’t you? :)

PS. On the plus side, just started “The Beaver” and so far it’s a dream read. Truly exceptional.

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