There have been a few un-complimentary reviews for this limited but fine, offbeat film. Most tend to come from book readers who often, unfairly, compare a 'Screenplay' with a 'Novel' (or in this case a Novella) expecting it will be the same as the book. It's rarely possible to transfer a book directly to the screen (although I admit it's good when it happens)
I applaud any film makers who take on subject matter as challenging as the great Herman Melville's, near prophetic story, of "Bartelby the Scriverner". On one level this story can be seen as simple, on another, a character study of immense depth. I've only had the opportunity to see this work once, many years ago. It still haunts me as if it were just weeks ago. It's most unfortunate this film is rarely screened.
From this first time teaming of independent feature film makers, Producer: Rodney Carr-Smith (akf: 'Lolly Madonna War' '73) and Director: Anthony Friedman (ex TV film editor:'The Fugitive') comes this thoughtful adaptation of Melville's study of personal disintegration and loss of identity.
While this movie may have been better as an hour long TV show, these two filmmakers also co-wrote the screenplay, choosing to update the era from the 1800's to a 1970's workplace. This decision I felt offered benefits...it brought the story closer to that interaction destroyer, the Computer - along with the coldness of the modern office cubicle. It also didn't bother me that they transposed the original Wall Street setting to London. Such decisions would obviously have been made for several valid reasons, among them, budget and the difficulty of getting such a non-commercial project off the ground.
Performers don't come much better than Oscar winner Paul Scofield ('The Train' 65, 'Man for all Seasons' 66) His portrayal of Bartelby's sympathetic employer is superb. As much as he tries to help Bartelby, he is challenged to the utmost of emotional distraction. Scofield seems to have been drawn to this role, as he's known for having passed up parts in bigger productions. John McEnery's Bartelby is also well measured and convincing.
The Cinematography is the work of Ian Wilson ~ who gave such a good look to the Award winning small budget film: "The Crying Game". He then went on to give us the Eye Poppingly beautiful "Emma" ~ Here, he and Director Friedman offer the viewer a well designed dose of claustrophobic involvement. The Art Direction of Simon Holland also adds to the feeling of personal separation. Holland, later helped create high class atmospherics for such striking films as "Greystoke" in '84 and "The Emerald Forest" '85. The Music of Roger Webb, while sparse, adds small elements of excitement where possible.
I think many will have felt a little like Bartelby at some stage in life, and been very glad to rise above it. The original writing of Melville --was he a visionary or just highly tuned to the human condition?-- has been given a neat treatment in this film version. And while the Director Anthony Friedman won a 'Special Mention Award' for Bartelby at the San Sebastian International Film Festival, his film won't please everyone...but many could still find it compelling. KenR.
I applaud any film makers who take on subject matter as challenging as the great Herman Melville's, near prophetic story, of "Bartelby the Scriverner". On one level this story can be seen as simple, on another, a character study of immense depth. I've only had the opportunity to see this work once, many years ago. It still haunts me as if it were just weeks ago. It's most unfortunate this film is rarely screened.
From this first time teaming of independent feature film makers, Producer: Rodney Carr-Smith (akf: 'Lolly Madonna War' '73) and Director: Anthony Friedman (ex TV film editor:'The Fugitive') comes this thoughtful adaptation of Melville's study of personal disintegration and loss of identity.
While this movie may have been better as an hour long TV show, these two filmmakers also co-wrote the screenplay, choosing to update the era from the 1800's to a 1970's workplace. This decision I felt offered benefits...it brought the story closer to that interaction destroyer, the Computer - along with the coldness of the modern office cubicle. It also didn't bother me that they transposed the original Wall Street setting to London. Such decisions would obviously have been made for several valid reasons, among them, budget and the difficulty of getting such a non-commercial project off the ground.
Performers don't come much better than Oscar winner Paul Scofield ('The Train' 65, 'Man for all Seasons' 66) His portrayal of Bartelby's sympathetic employer is superb. As much as he tries to help Bartelby, he is challenged to the utmost of emotional distraction. Scofield seems to have been drawn to this role, as he's known for having passed up parts in bigger productions. John McEnery's Bartelby is also well measured and convincing.
The Cinematography is the work of Ian Wilson ~ who gave such a good look to the Award winning small budget film: "The Crying Game". He then went on to give us the Eye Poppingly beautiful "Emma" ~ Here, he and Director Friedman offer the viewer a well designed dose of claustrophobic involvement. The Art Direction of Simon Holland also adds to the feeling of personal separation. Holland, later helped create high class atmospherics for such striking films as "Greystoke" in '84 and "The Emerald Forest" '85. The Music of Roger Webb, while sparse, adds small elements of excitement where possible.
I think many will have felt a little like Bartelby at some stage in life, and been very glad to rise above it. The original writing of Melville --was he a visionary or just highly tuned to the human condition?-- has been given a neat treatment in this film version. And while the Director Anthony Friedman won a 'Special Mention Award' for Bartelby at the San Sebastian International Film Festival, his film won't please everyone...but many could still find it compelling. KenR.