3 Answers2025-07-06
I remember reading 'The Aeneid' and being struck by the intensity of Book 5. The Trojans, led by Aeneas, are sailing towards Italy when they get caught in a storm and are forced to land in Sicily. There, they honor the anniversary of Aeneas's father, Anchises, with funeral games. The competitions are fierce—there's a ship race, foot race, boxing match, and archery contest, each filled with drama and heroics. During the games, the Trojan women, tired of wandering, set fire to the ships. Aeneas prays to Jupiter, who sends rain to save most of the fleet. Aeneas then leaves the weaker Trojans behind in Sicily and sets sail again, but Venus convinces Neptune to ensure safe passage. The book ends with the tragic death of Palinurus, the helmsman, who falls overboard and is lost at sea. The mix of celebration, betrayal, and loss makes this book unforgettable.
12 Answers2026-07-29
Failures. There was a 1985 film The Warrior and the Princess or something like that? It’s been so long since I saw this film that I have not been able to remember the name of it. It was made on a low budget, badly dubbed, and focused on a muscleman hero who I believe was called Ajax in the film. These sort of B-movies are a sort of graveyard of Iliad-inspired failures. As cultural artifacts they are fascinating because they reveal that this story has been in the commercial psyche all along and has just been waiting to be exploited. Watching these films today shows how failed they were at attempting to bring the Iliad to the screen. Without the poetry, complex characters and tragedy of the original, all that is left is a simple revenge movie set in leather skirts. They serve as a contrast to the truly failed attempts at making these sorts of films that actually tried to make something of the material.
8 Answers2025-06-25
Oh man, I would LOVE to see a scene by scene take of how the first act of this book would be set up by a screenwriter. As it stands, the first act of the book is spent really detailing out the world before the bombs go off, but a film would likely have to compact that down to explosions in media res with much quiet character establishment being lost. Typically, in an adaptation, the quiet setup of the book is the first thing to get chopped. It would be very possible to combine Josh and Robin into one character, cut the whole trip to the cabin with the survivalist and then have a more direct journey to the valley. All things that are necessary evils to the story, but really change up the rhythm of the thing.
11 Answers2025-06-24
A better use of time pondering a film adaptation of David Lipsky’s fences than actually reading the rest of Lipsky’s work and the authors he draws upon. Read The Pale King for more agonizing beautiful focus on boredom. Read George Saunders for great satire and great humanity. Read A Naked Singularity by David NapirPolikoff for another long and miserable book about a failing system. The question of the film adaptation is a red herring. The book exists. It’s on a shelf somewhere. Read it directly rather than waiting for someone to reduce it to a simple movie experience. The climb is the point.
11 Answers2025-07-08
Has anyone noticed the element of “nostos” or “homecoming” in films? Like in the “Odyssey” where all the characters search for home in different ways. Searchers is a western about an old veteran searching for his niece, but in the end he cannot return home. Finding Nemo is a story about a father searching for his son all over the ocean. It’s a nostos story for kids too.
The ‘Iliad’ is about ‘kleos’ or glory. Films such as ‘Platoon’ and ‘Full Metal Jacket’ look at the ‘glory’ of war through the eyes of young men searching for it, hoping to find it or to even survive. So rather than watch all of the movies about the actual Trojan War, you can look at films that are thematic cousins to ‘The Iliad’. The setting of Troy is not really that important in the poems of Homer. The specific stories he wrote about expressed a deeper human experience than just a couple of specific wars.
8 Answers2025-05-15
Stories about ancient heroes are often told as either character studies or as plot-driven epics. I think both are valuable and in the market today you can get your fill of either kind of story. The character studies make the ancient figures feel like people you know, with a complex interior life and many motivations. The plot-driven epics capture the sweep, scale and politics that made these stories the template for much fantasy. Some times I want to read a heart-wrenching, tragic love story about Patroclus, and other times I want to read about a siege, with great siege engines and huge battles. Thankfully there is plenty of both on the market.
7 Answers2025-11-10
It’s a little known TV film. Perhaps that’s because it’s by the other Brontë sister. It’s been so long since I saw it that I can only recall the style, lots of woolly jumpers, lots of grey skies, lots of wooden panelled rooms. But it looked very realistic to me. The one romance in the film is so low-key that it almost gets forgotten. I know that wouldn’t be the case in most adaptations, but I suppose it is accurate to the novel. It is more a story of how to survive in a world of work and how to remain true to oneself. A faithful adaptation, but without any real drive from the director to make it any better than that.
6 Answers2025-08-26
This 1964 Russian Gamlet is a very remarkable film, it is a black-and-white movie and that is its greatest feature. It strips the film of so much pageantry and one can see only the faces of the human actors, their eyes full of fear and doubt. The black-and-white is so monochrome that it seems to be of another century. The translation by Boris Pasternak into Russian is of a poetic quality. The film is fidelity in terms of texture and mood rather than language. I would have no problem watching it with the sound off and it would still be clear as to the core of the story of betrayal and madness. This is a powerful example of ‘faithfulness’ and, no, it is not conveying the iambic pentameter of the original, it is simply conveying the feelings of the weight of the crown that King Lear has placed upon his head, the cold hard stone he is sitting upon and his tortured indecision.
9 Answers2025-06-24
This is really fascinating. So many great points about how it’s unfilmable, but then people said that about ‘Life of Pi’ and ‘Cloud Atlas’ too. Difficult books are often the best source material for films, because they challenge the filmmaker to find new ways to represent them. The internal monologue of the novel would be the biggest challenge to represent on film, possibly by using shifting color palettes and distorted sound to represent the protagonist’s memory, or even using surreal flashbacks. It would take a really visionary director to make this work, though. Someone like Lynne Ramsay, who is so good at representing subjective, traumatic interiority would be my first choice. The impossibility of it all is probably what makes it so attractive.
8 Answers2026-07-27
No adaptation has been made yet, but I have one wild idea for an animated film. Rather than going with a typical Disney adaptation, I would want it to be a little more artistic, like a Studio Ghibli film or a Cartoon Saloon film (such as The Song of the Sea). The bizarre physicality of the circus could be portrayed beautifully in an animated film and the completely realized magic would be less to feel fake than in live-action. The muted colors of the film with splashes of red would be stunning. Rather than trying to get the emotions of the characters right in live-action and failing, the emotions of the quiet heart of the story would likely shine through much more in an animated adaptation. It’s a long shot, but if there are any animators out there, then this would be the perfect magic to bring to life.