Des souris et des hommes

Often a movie is associated with its actors or its director. I would associate this film more with Horton Foote the brilliant scriptwriter, who sculpted the script from a great book by a formidable author, John Steinbeck.

When I read Steinbeck's book I was in awe of the author's powerful strokes of simplicity. Adapting the book into a screenplay can be formidable. Foote did it earlier with Harper Lee's novel "To kill a Mockingbird". He did it again in Beresford's "Tender Mercies". Some of the flashes of brilliance in the script are the opening sequence of the woman running scared into the camera, the opening and closing images of light falling on the dark insides of a train car, the empty bus ride that Steinbeck did not present. Director Gary Sinise and Foote made the adaptation of the novel on screen look easier by adding details just as scriptwriter Robert Bolt and director David Lean did the opposite by compressing the details with Pasternak's "Doctor Zhivago". Both "Dr Zhivago" and "Of Mice and Men" are great examples of adapting literary works for the screen.

This is not to discount the contribution of Gary Sinise. Director Sinise and Actor Sinise were admirable. The former brought out the finest in the latter. This is Sinise's finest performance.

Malkovich is a talented actor--he commands attention. Whether a more restrained performance was called for or not is debatable.

Equally stunning is the film's music by Mark Isham--the man who grabbed my attention in "Never Cry Wolf", "Mrs Soffel" and "A Midnight Clear". Sinise was wise using the music effectively when required and not overdoing it to evoke pathos. The music doesn't sooth you, it nudges you to reflect on life.

The film is a great essay on loneliness. Most importantly, it is a great example of how a literary work ought to be adapted without changing the author's vision. Remarkably, the film added more to Steinbeck's work with the train ride and the bus ride. That's Foote!

First off, the acting in this movie is incredible. It's funny how someone as intellectual and bright as Malkovich can pull his role off so well. Gary Sinese was great too, effectively portraying George.

But if you really get into the book, the movie doesn't follow it too faithfully. Curely's wife is portrayed to be flirty, and a "tart," when in the book, she was just as lonely as everyone else on the ranch. She wasn't looking for sex, she was looking for companionship. The screenwriter didn't interpret the book quite as well as I had hoped.

Now I'm just nitpicking, but when when Lennie pulls the stunt by faking the puppy, it's just not like him. Lennie is not clever at all, and wouldn't think to do that.

But all in all, great movie, definitely great for comparing to the book in a lit. class or anywhere.

8/10

This is a masterful and faithful portrayal of Steinbeck's classic novel. The screenplay brings to life the tragic yet uplifting story of loyalty and the kind of bond that can grow between men that we are often reluctant to acknowledge, much less show.

Aside from the story, the cast is what really makes this film. I have always held a soft spot for Gary Sinise after his role in Forrest Gump, wherein his character portrayed another facet of the bonding between men made brothers by cruel circumstance, yet can grow and flourish as the years and other circumstances come to pass. Here, as Lenny's friend and protector against a world that baffles and confuses him, he shows the kind of rough-edged tenderness and affection that both endears us to his plight, and fills us with the dread of what we know must come between the men. John Malkovich shows his depth as an actor by bringing to life the dull-witted but pure-hearted Lenny, in a way that will tug at your heartstrings. I found myself both laughing (in a sad way) at Lenny's ineptness in dealing with a world clearly more confusing than his limited wits can manage, and crying over his being targeted for taunting and abuse by cruel and crude men, and ultimately done in by his brute strength when it was lacking the direction and temper given by his friend George.

A pleasant surprise was Ray Walston as the aged but gentle and good-hearted ranch hand Candy, who has no one in life to love but his old sheepdog, who, like him, he knows, must ultimately be "put down" because of age and the wear and tear that a life of hard labor has worn down. The scene of his finally surrendering his faithful canine companion to be euthanized by a gunshot to the back of the head by another well-meaning field hand is very heartbreaking. Having grown up with the "Uncle Martin" of "My Favorite Martian" Walston, seeing his adept performance in a dramatic role gave me a new appreciation for his versatility as a character actor.

Those who watch this film should allow plenty of time alone to view it straight through with no interruptions. Swallow your pride and keep a box of tissues handy, and some time afterwards for quiet contemplation and "recovery".

Warning, I'm a Steinbeck purist.

I loved this film. I even arm-twisted my two pre-teen/teenaged daughters to go with me. For the closing scene I left my chair, went to the back and cried, even though I knew what was coming.

The acting, the sets/props, the cinematography were all outstanding, sometimes brilliant. The only problem was the script--Curley's wife was softened, made into a victim instead of Steinbeck's brilliantly conceived and rendered cruel, cynical female villain. All that work, the craft, sweat and tears it took for him to create her, mutilated for the sake of profit.

But this is nothing new. Every stage and screen interpretation of OMM has done the same thing. Why? Money, of course. Women make up the majority of moviegoers (and an even larger majority of movie-going decision-making). What producer has the courage to offend a predominately female audience?

Well, American BEAUTY didn't do so badly.

It is well known that Elaine Steinbeck lobbied John to allow the Curley's wife character to be softened. She was trained in theater. She wanted the stage and film versions to be a "success."

Well, just once I'd like to see Curley's wife depicted just as John created her. Especially the scene where she barges in to Crooks' room and calls him "N****" repeatedly and threatens him with lynching.

It's cultural self-deception to pretend that women can't be just as nasty as men. Are all you producers cowards or what?

(Kudos to Ken Wales and Jane Seymour for going the distance with EAST OF EDEN!)

I simply rented this movie to get a head start in my english class. I heard we are reading this book, so I rented the movie to have the edge over my classmates who know nothing of it yet. "HA HA HA" I thought now I will be smarter.

However, going into the film thinking this was going to be a dull boring movie was not what happened. This is a great movie from beginning to powerful end and I would recommend it to anyone who is willing to give drama movies a chance.

Gary Sinise directed John Stienbecks novel perfectly. The story is about two men, one not so bright, and their search for work in the depression. Simple but wonderful.

7.6 out of ten as an average seems too low for all the good comments about this movie.

A Must See 9/10