Bloom

Just saw it at the Seattle International Film Festival. I haven't read Ulysses (but I will). My wife read it 40 years ago. We both liked Bloom very much. Molly Bloom was great, as was all the acting. This is not a film for car chase buffs, but if you feel like a pleasant day in Dublin, and are not put off by sexual references, it's just the thing. We did not find it difficult to comprehend and the accent is quite intelligible.

There is a voice-over track which gives one a good feel for Joyce's language. It's great fun to watch the characters drift in and out of fantasies and memories. I don't at all think that one needs to have read Ulysses to have this film be enjoyable.

It's tempting to describe this film by listing all the things it is not. The earlier black and white version, by Joseph Strick in the Summer of Love 1967, starring Milo O'Shea, was too steamy for Ireland and Glasgow, where it was banned, but it was quite sedate and circumspect even by the mores of the time. There has been an excellent serial on BBC Radio, where good use was made of echo/reverb and stereo in depicting the various voices of guilt, regret, lust, fantasy, stream-of-consciousness. In a sense, Michael Winterbottom got closer to the show-off spirit of Joyce in 'Cock and Bull Story', but this production is its own movie. It certainly gets back to the 'cut and paste' feel of the book, and looks every bit as lubricious and smelly as it aught to. Dublin looks dark and damp as it is on the written page, albeit with a touch of filmier romance. The scenes of pure mad fantasy, on the other hand, are either under hardedged sit-com lighting or bathed in a 'Ridley Scott' fog. Most of the dialogue is slightly stagey - or it has the kind of distanced feel associated with post-synching, but only once does this mannerism jarr, when Dedalus (Hugh O'Connor) is spouting his opinions on life and art; so 'rehearsed' and declamatory that it could almost be seen as a deliberate nod to Joyce's category-jumping. Stephen Rea has just the kind of hang-dog look of regret, guilt and ineptitude you can imagine in Leopold Bloom; Angelina Ball as Molly is permanently redolent of warm bed. A neat trick with the structure was to begin with Molly's soliloquy,but otherwise, the overall framework follows the book; if we had been deprived of That Ending, who knows, riots could have broken out. As it is, the acceptance of human folly and the celebration of cerebral grandiosity in vile bodies forms a happy cloud round the exit. One to see again. CLIFF HANLEY

Some of Leo Bloom may as well be in Gaelic, I simply can't divine what he's saying. I'm looking at this on a DVD with only Spanish subtitles. Ulysses is difficult enough reading. Having to try and divine the all important voice-over without captions is crazy. But I notice many artsy fartsy British Isles stuff comes to the US without subtitles. The idea is there's such a small market in the states for such DVDs that spending money on subtitles just whittles the already small profit, smaller.

The film has inspired me to go back and tackle the book again. I haven't read a line of it in 40 years. At a minimum I won't leave the book until I've read the entire Molly Bloom soliloquy. Its what Ulysses journeyed home to hear.

If they made1001 movie versions of _Ulysses_, none would be as beautifully and compellingly cinematic as the book itself. This is only the second version, as far as I know. But I enjoyed watching it. I suspect it was an effort to expose the book to the Good People of Ireland (Flann O' Brien) in preparation for the big centennial Bloomsday party--so they would know what they were celebrating, and so that the hapless tourists who wondered into Dublin on that day to experience the famous Irish hospitality, etc., might know what these people were celebrating as well. He used to be on the ten-pound note, Joyce, before the Irish switched to Euros.

I don't know if this movie would make any sense at all to people who haven't read the book itself. I have read the book itself, more than once, and some parts of it more even than that.

This version appears to have been written by Gerty MacDowell, after she grew up and got a job at the Dublin Chamber of Commerce, in 2003 (it takes some of us longer to grow up than others--and it seems to have taken her 99 years). I am looking forward to the next 999 versions. Joyce is reported to have said that he meant to keep academics busy for the next 300 years. God only knows how many years he wanted to keep film makers busy (it is a fact that he once tried to open a movie theater in Dublin Himself).

Stephen Rheas' Bloom is nicely Chaplinesque, as is just about everything else in the movie, including the music. All told, _Bloom_ is a nice exercise in nostalgia for a Joyce and a turn-of-the-twentieth-century Ireland that never existed--nostalgia is like that. Nice is nice, but this movie, it goes without saying, is nowhere near as great as _Ulysses_ is a book. Most of the characters and dialogue, as best as I can remember, comes from the book itself--but you can't capture much of that in two hours. But, then, there is ... Love's Old Sweet song.

A total disappointment. I thought the Strick 1967 version was bad; compared to this, that version seems like "Citizen Kane." Where to begin?? The direction is far too facile & literal--much of the film is done in voiceovers, and in some scenes every literal reference finds its way on film. The filming of the "Circe" episode is the most wince-inducing, because we see as "real" what is for the most part dream/hallucination-induced. In addition, the actors are all wrong. Stephen Rea was brilliant in "Crying Game"; however, pushing 60, he's too old for the 38-year-old Leopold Bloom. The guy playing Stephen Dedalus seems like an adolescent and far too giddy for a guy who neither bathes nor has fond memories of his mother's death (never mind his trauma over having a Brit shoot up his domicile). The actress playing Molly __seems__ too young and is too physically fit. (In the book, everyone refers to her as being fat). The only enjoyable parts of the movie had nothing to do with the film production BUT everything to do with Joyce's writing. Read the book! Bob