Mon February 20, 2012
Screen Time: 3 Books That Should Be Movies
Originally published on Tue June 12, 2012 8:09 am
J.D. Salinger famously refused to sell the film rights to The Catcher in the Rye, saying it was "unactable." It's true the subtleties of such great novels can get lost in translation. But I thought I'd take a look at three of my favorite novels that have never made it to the multiplex in wide release. Each of these will transport you to another time and another place.
MELISSA BLOCK, HOST:
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Hollywood is forever going back to the well of books for movie ideas. In theaters right now, you can watch "The Hunger Games," "The Best Exotic Marigold Hotel," and most improbably, "What To Expect When You're Expecting" based on the best-selling pregnancy advice book.
Author Tessa Harris says if it's books Hollywood wants, there are still plenty of gems out there waiting to be discovered. She has this essay for our series Three Books.
TESSA HARRIS: J.D. Salinger famously refused to sell the film rights to "The Catcher in the Rye" saying it was un-actable. And it's true. The subtleties of such great novels can get lost in translation. So I thought I'd take a look at three of my favorite books that have not yet made it to the multiplex but which all transport you to another time and another place.
My first choice for a movie makeover would be Michelle Paver's "Wolf Brother." It's one of those children's books that transcends the genre and has been equally lauded by adults. Set in the era of early man and with a subtle hint of magic thrown in, the first book in her "Chronicles of Ancient Darkness" series introduces us to Torak. Young and fatherless, he befriends a wolf cub and, you guessed it, the cub speaks English. Together, they go on an epic journey that takes them through dense forests and over desolate, frozen landscapes. 20th Century Fox has bought the entire rights to the series, but the project has been on ice for several years. Let's hope it thaws out soon.
Of course, great film adaptations don't have to involve sweeping vistas and a cast of thousands. Novels that evoke the urban landscape can be equally cinematic. Take Caleb Carr's "The Alienist," for example, set in 19th and early 20th century New York. The camera would surely love to follow the progress of reporter John Moore and Dr. Laszlo Kreizler as they, together with a secret forensic team, investigate a string of gruesome serial murders.
We'd accompany them into the squalid immigrant districts filled with tenements and narrow staircases. Just think of the great chase scenes down all those dark alleyways in the poorest neighborhoods of the Lower East Side. Contrast this with the ostentatious wealth of Fifth Avenue mansions inhabited by the likes of the real-life banker J.P. Morgan, and you have a surefire Hollywood blockbuster.
From 19th century America, we travel to Renaissance Italy and the city of Ferrara, the setting for Sarah Dunant's "Sacred Hearts." How the camera could feast on that divine architecture hovering seductively over the lush landscape surrounding this northern Italian gem. It would make a stunning backdrop to the gripping tale of a 16-year-old novice who enters a convent against her will, leaving the man she loves behind. Dunant's masterful prose recreates a cruel and rigid world, and there are many moments of high drama: religious visions, fasting, self-flagellation and even a stigmatic nun.
Ultimately, however, "Sacred Hearts" is a story of the triumph of the human spirit, where love wins the day. Yet, while I admit I'd pay money to see any of these great novels on screen, some authors would probably prefer to stay at home. After all, the greatest multiplex in the universe is inside your mind, and the only ticket you need is a good, well-written novel.
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BLOCK: Tessa Harris is the author of "The Anatomist's Apprentice," which was originally written as a screenplay. You can comment on this essay at nprbooks.org.
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AUDIE CORNISH, HOST:
You're listening to ALL THINGS CONSIDERED from NPR News. Transcript provided by NPR, Copyright NPR.