In April, millions of tiny flowers spread over the blackjack hills and vast prairies in the Osage territory of Oklahoma. Killers of the Flower Moon: the Osage murders and the birth of the FBI, David Grann, Doubleday 2016
With some books, it’s clear how it could be turned into a film or TV-series. Some seem to be written for that transition, this one doesn’t. And yet: guess which story is turned into a film.
This could be a deep-digging, terrifying and beautiful look at the wild west in the USA and the horrible treatment of native people; there’s so much happening that you might wonder how it could have all happened in just a couple of years. That also means that plenty of those details are going to be cut out: this film isn’t going to be six hours long, of course.
Because in the beginning it’s simple: Osage people are killed by white people because of their riches. Corruption and racism reign the small towns, including the law enforcement. How is crime solved when the victims are viewed as less than human? The murders are blatant, the villains are almost cartoon-y evil, and the incompetence is staggering.
It all makes for a very detailed western – the birth of the FBI is really the least interesting part of the entire story. It’s – besides the spotlight on corruption and racism – a demonstration of journalism and research: the author just kept on digging and flourished by other people’s needs to document their lives.
Truth is stranger than fiction, indeed.
Today will be different.Today Will Be Different, Maria Semple, Little, Brown & Company 2016
Maria Semple did it before: the frazzle, the alien character in a grand, wealthy world. This time it’s not a side-character, but the main. And that gets a bit exhausting after a while.
Because what’s happening, really? Our protagonist tries to be better, for at least one day. It doesn’t work the way she wants to, but only part of that is because of reasons outside of her control.
Unlike with Bernadette (I’m just going to continue comparing here) – there is no direction here, no pay-off, not even a crooked compass. It’s Ducks with better punctuation, but with even less consideration for the person we have to feel something more than annoyance for. There are crumbs of motivation behind her behaviour, but never enough to create even a biscotti from. Instead, you just don’t care about any of the people involved.
Maybe this is Semple’s thing. Maybe I’m not finely-enough-tuned to a traumatised person’s inner-workings, maybe it was the wrong book at the wrong time.
And just like the author of Today Will Be Different I’ll let the reader decide.
This is a bit like The Favourite, except it’s simultaneously milder and meaner. Less laughs, whimsy and absurdity than that film; more cold-blooded actions.
I don’t think that the character of Lady MacBeth desires any kind of introduction: she leaves a path of destruction as one does. This time, the lady is just a brat with little background and motivation, and absolutely no remorse.
That’s a relief, to be honest. She wants to, she does so, and we move on. The missing background isn’t bothersome, the motivation is clear as nothing more than ‘because I want to’. It also makes the film solely about her: other characters are almost extras, and it provided a watching experience that’s different.
Will it stay with me? Maybe. Was it something new I needed? Yes. I immediately checked which other films A71 Entertainment provides, which I’d definitely call a compliment.
I really didn’t expect to like this so much: just another American teen movie about a girl that’s struggling through growing up. Yes, we all did or do, boohoo. Honestly, I was expecting so little that I picked it so I could watch it with one eye on the screen and the other my book/phone/tablet.
Instead, I got a film that hit so close to home that it made me squirm. Good gravy, I was a brat. Good god, and not even an original one, look at Nadine go. Gosh darn, at least she has some solid excuse for this behaviour.
Because she does, partly – and it’s not just ‘puberty’, but I don’t want to spoil things. Hailee Steinfeld pleasantly surprised me again, all characters involved deserved their spot and managed not to be complete stereotypes: I’m still flabbergasted, I think.
So, maybe, only watch this without remembering how I admit to being almost a carbon copy to this main character. Or cut me some slack: you were probably a teen some time during your life as well.
Introduction to Sketch was held in Prebble Hall, a building Professor McIntosch called “Ballister’s dirtiest secret” during our first class.
The turn around on this novel is incredibly impressive. It took me three – four chapters to change my mind about abandoning it, it’s incredibly ugly and depressive and scary and I think I’m even angry after(/about?) finishing it. It’s also one of those books you just want to press upon everyone just to see if they had the same experience, if it can touch different people in the same way.
Its ugli- and darkness might be its winning element, it creating a story that dumps you outside of daily life and makes you wonder how you can ever participate again. It isn’t ugly like a Gillian Flynn-creation, no murder here. It’s the way in which women are even less shown in fiction: dark and bitter and scared and a myriad of bad decisions while being bottomless wells of imagination and creativity.
This book isn’t to be summarised; it would fall incredibly short while at the same time preparing you for something it isn’t. To me, it was confrontational about daring to create and to create all – not just the cute stuff. About family and friendship and identity in an USA that made never have felt more filthy.
It’s a blast, it’s a terror. Read it so we can discuss.
The Animators, Kayla Rae Whitaker, Random House 2016
13 x 60 min.
It’s no secret that I enjoy family epics, be they written or on screen. It’s a way in which writers (and actors) can show how much they now about character-creation, and if done well, can shove plot and world-building to the background. In the case of Queen Sugar, that isn’t done exactly – the cinematography of this show alone is making it worthwhile to watch.
In the beginning everything is clear. Three siblings come together because of a family emergency and disagree with each other on everything. Something happens, and they’re stuck together longer than desired. It’s the acting of everyone involved – down to the young boy – that makes you actively root for them to find each other again, and get what they desire.
Queen Sugar plays out in and around Louisiana, shown in such luscious colours that the few times in and around Los Angeles feel flat and fake. It’s clear that this state is another world, and some siblings fit in better than others.
It’s of little importance if they siblings learn that they work best when together and if they get what they want in the end (although I’ve learned that there’s four seasons, so who knows what will still happen?). Solely the looking and listening might be enough for you to enough this first season – which does fine on its own.
Queen Sugar, OWN 2016
Kate Battista was gardening out back when she heard the telephone ring in the kitchen.
What a gross disappointment, ew. Sometimes a book just doesn’t fit you right from the start. In this retelling of Shakespeare’s The Taming of the Shrew it starts with the introduction of characters that are quite impossible to love or even like.
This is followed by the plot (quite logical), a situation which main character balks at for approximately five chapters before completely giving into it without any clear motivation. If this novel set out to depress about how some women don’t have any outlook on life and what they want to do with it, it succeeds.
Something extra to grind my gears is that – after it has been shown that this guy she needs to help out might not be so ugly and annoying after all – there’s a demonstration of verbal abuse and aggression. And Kate just … takes it.
Combine this with an epilogue that is about as plausible as the Harry Potter’s one and it leaves a lot to be desired. Ten Things I Hate About You did this much more entertainingly.
Vinegar Girl, Anne Tyler, Hogarth 2016
This is a story that begins with a barbecue,” said Clementine.
I think I don’t have to summarise this story if I’d tell you that this author is the one behind Big Little Lies as well and that she definitely carved out a spot for herself in the ‘What’s Really Happening Behind the Doors of Seemingly Happy Families’-niche. A niche I very much enjoy, so no negative comments there.
The negative comments here are solely plot related. When my thoughts turn to “this is filler, just give me the twist/clue”, the story is going on just a tad too long. If all that build-up leads to not that much, you need a stronger conclusion. Maybe that’s just the burden of reading so much that surprise is hard to find.
Because there’s nothing otherwise wrong with this story: it doesn’t pretend to provide something more than it offers. It’s entertaining, it fits the bill, it’s escapism.
And it might make you want to visit Sydney.
Truly Madly Guilty, Liane Moriarty, Flatiron Books 2016
162 minuten van mijn leven die ik nooit meer terug zal krijgen. Was het zo erg? Ach, niet helemaal, maar wel genoeg om er spijt van te hebben.
De tijd moet vast gebruikt worden om vast te leggen dat de relatie tussen vader en dochter niet normaal zijn. Vader is een vreemde vogel met grappen die lang niet altijd grappig zijn, dochter is een zakenvrouw. Waarom ze echter een licht-sociaal-onhandige vrouw is – buiten zo’n vader om – wordt niet uitgelegd. Zij mag sowieso de motivatie en inspiratie zijn van vader, maar krijgt zelf niet veel verder de ruimte dan ‘denkt alleen aan werk’.
Oké, misschien is dat omdat het zijn film is, misschien zoek ik balans waar die niet is. Maar ook Winfried (de film legt het wel uit) laat weinig zien waardoor de kijker sympathie voor hem kan voelen, of op z’n minst begrijpen waarom hij op deze manier door het leven gaat. Nu is hij weinig meer dan de clown die hij uithangt, en clowns worden snel vervelend.
Ik hoop dat die arme Ines de controle over haar leven weer terug heeft gekregen.
Toni Erdmann, Missing Link Films 2016
Leuke films maken die Fransen toch (soms). Is het de taal die de film gelijk een opgewekter, vrolijker gevoel geeft, of is het de Franse levensinstelling die hun (komische) films zo toegankelijk maakt?
Een film over halfzusjes en -broertjes die besluiten maar zelfstandig te gaan wonen omdat hun ouders er zo’n zooitje van maken en ze genoeg hebben van huis te wisselen elke drie dagen – het zou makkelijk sneu kunnen worden. Of in het geval van de Amerikanen: vol met superirritante, te bijdehante en wijze kinderen.
Niet elk familielid krijgt een gelijke hoeveelheid aandacht, daar zijn het er gewoon te veel voor, maar de balans tussen ouders en kinderen en kinderen onderling is nergens irritant. Aanstichter Bastien is ook de verteller van het verhaal en mag dan ook wat meer plotlijntjes van andere broers en zussen. De ouders komen helemaal licht uit de verf, maar zij zijn dan ook niet degene die met dit lumineuze idee zijn op komen dagen.
Het is een film met een Pippi Langkous-gevoel. Dat de kinderen Frans zijn, maakt dat zelfstandige alleen maar geloofwaardiger.
C’est quoi cette famille?, Netflix 2016