The Green Mile - I read this AGES ago!

In a rare case of me actually having read a book before seeing the film, I saw The Green Mile a few weeks back.  I know this is a film that was made quite a lot of years ago, and I doubt I ever would have watched it had it not turned up on one of the IMDB's top lists during one of my semi-regular attempts to complete the entire list.  But there it was, a thorn in my IMDB completionist side.  It was time to watch.

Made almost 20 years ago, Tom Hanks looks considerably more youthful as our main protagonist - death row prison guard Paul Edgecomb.  Edgecomb's philosophy is simple: society has deemed the men under his watch to die for their crimes, his job is simply to make the entire process as hassle free and painless as possible.  That means understanding, compassion and avoiding confrontation.  Into this environment is brought the man mountain John Coffey (Michael Duncan), convicted of a double murder of two small girls and destined to die.  Edgecomb's initial fears of dealing with Coffey are soon put to one side, as Coffey is found to not only be a gentle giant, but a man of seemingly supernatural abilities apparently unable to have committed the crimes for which he is guilty.

It hardly requires a degree in narrative analysis to understand that John Coffey represents Jesus Christ.  Being condemned to death for a crime he did not commit, possessing of miraculous powers of healing, living in a society that holds deep structural prejudices against him and - of course - holding the initials JC, things are more overt than the allusions for Paul Newman's character in Cool Hand Luke.  It's a simple story that's rather powerful, says something about the history of 20th century America and very much worth the commitment to enjoy.

For a story that is set on death row, it is surprisingly neutral on the morality of the punishment.  Though of course the death of John Coffey is undoubtedly a tragic event, his death is paralleled with the death of Christ.  Since Christian doctrine celebrates the death of Jesus as a moment in which humanity is saved, it is unclear whether ultimately even Coffey's death is considered a sin.  We have the death of fellow inmate Delacroix that hints at the horrors of the death penalty, but even this horror is perpetrated by sadistic guard Percy Wetmore rather than at the system itself.  In fact Delacroix's journey to death on the Green Mile is portrayed as a noble act, that in accepting his fate gracefully he achieves some kind of repentance.  Perhaps the point is to simply make us think about these issues, which the film undoubtedly does.  One to go back into the annals of film and catch up on.

1984 - Made in 1984

My interested in Michael Radford's 1984 was raised recently when it was revealed to me that Mr Radford's kid attends my girlfriend's school.  Having recently introduced her to his wonderful 2004 version of The Merchant of Venice (Al Pacino plays Shylock no less) the school had him come along and give a talk to the kids about his career.  We never got anything like that when I was in school - I can tell you for free.

I'm no expert on literature, but I think 1984 is one of the great works of fiction.  Structurally and narratively is it as good as anything I've ever read.  Its discussion of the use of language, education and social stratification as a way of controlling a population was a grim nightmare when it was written, however in the modern age the people of North Korea really do live in such a world.  Orwell's vision of telescreens that would allow a totalitarian state to continuously keep tabs on a population isn't beyond comparison to a modern snooper's charter.  The language from 1984 has seeped into the everyday idiom - phrases like "Thought Police", "Big Brother", "Room 101" and "Doublethink" need no explanation.

Anyway - it's my favourite book.

A film adaptation would always be troublesome since so much of 1984 happens in the internal monologue of our main character Winston Smith.  We experience the world from his point of view. Since film-making from a first person viewpoint is almost impossible, and over-use of internal monologue tedious, Radford (who wrote the screenplay) does an excellent job of world-building without resorting to it.  A number of flashback scenes that go to Smith's childhood, mentioned briefly in the book, are expanded upon here to build the nightmare world of Orwell's envisioning.

John Hurt plays Smith, and he does it with a painful strain that conveys everything we know about the character from Orwell's words.  In one of his last ever roles, Richard Burton plays the enigmatic O'Brien, who Smith initially believes to be an operative of the underground movement, but soon reveals himself to be an apparatchik of the state.  His performance is calm and methodical, his character is equally happy sitting discussing politics as he his administering torture.

Having been worried that this adaptation wouldn't be able to do justice to my favourite novel, I came away from watching it fully happy with what I had seen.