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My critique comes to a somewhat similar conclusion, but without so much grey poupon smugness, I hope.

Of course Duncan Shepherd's reviews will invariably cut the mustard with some, presumably due to the laughably pretentious nature of Duncan's over the top critical narrative (reading Shepherd's stereotypical opinions is reminiscent of watching Peter O'Toole's Anton Ego food critic character in Ratatouille). Hey, as long as you saw the film we're discussing I won't take issue with the linking of your favorite critic's opinions.

FTR, it appears that I place a higher value on the source literature being appreciated as a separate and distinct form of cultural expression than Mr. Shepherd. He sees a novel as merely a vessel in which to hold the more valued film-going experience. Well, Duncan is paid for his film criticism so I guess a little bias is reasonable, but how we approach the two mediums might provide a better understanding of why things work better in novels than they do in film at times.

It would appear that Mr. Shepherd considers Cormac McCarthy's book further removed from reality than the film by the very nature of it's action taking place in the mind of the reader, and I would agree. However, I also consider all novels as more contemplative and controllable by design. Books allow the reader to absorb an author's intent at the readers own pace. This provides novels with a distinct advantage over film in some respects, but more importantly it also reinforces the need for film adaptations to be constructed on a different blueprint than the source literature.

Ciao,
AuPh


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