Those things worked in the original because they shocked us... which
(assuming Lurie's not making an homage) means that they should be
replaced...
--
- - - - - - - -
YOUR taste at work...
http://www.moviepig.com
Apparently the rape is still included. What Lurie did is to make
Marsden a screenwriter
in the American South.
Mark L. Falconer
http://www.youtube.com/terrymcca
http://www.poetry-arts-confidential.blogspot.com
Think of BAD LIEUTENANT: PORT OF CALL NEW ORLEANS
as something resembling THE MISSOURI BREAKS--with Cage
instead of Brando.
Well, I hate to mince positions, but... I think the discriminant's
gonna be whether the rape's still anal. The rape itself was somewhat
key to the plot, but using the servant's entrance was pure frisson...
Lurie has made his mark (for me) with intelligent films whose
emotional punch stems from tensions of principle. So, no, I don't
know what he's doing here in the first place ...but I sure *hope* he's
not emulating Peckinpah. (Marsden may be a fine actor, but, with that
face, we may never know...)
If only to support the side of the angels, I'll take that bet ...at
least to the extent that my future expectations of Lurie would then
require severe downward revision. Was the novel set in 'Deliverance'
country? Regardless, although Peckinpah's movie got its thrills from
watching Hoffman's matchstick persona go under the heel of raw human
nature, there was also his character's noble rite of passage (...all
Sam, afaik). And -- despite our recall of SD as a violence icon -- if
Lurie doesn't retain, and maybe augment, that sort of visceral
philosophizing, then I'll be disappointed.
COOGAN'S BLUFF doesn't qualify, so I guess they haven't... at least
not without all the sophisticates eventually going prostrate before
the hick homespun saint...