Though he is best known for his horror stories, it is his more traditional stories which have been best adapted to the film screen. From the classic "The Shawshank Redemption" to the heartwrenching (if slightly overlong) "The Green Mile," to "Stand By Me," to "The Running Man," Kings non-horror narratives have always proven good reads and have been adapted into films that have all had different levels of box office success, but which have all proven entertaining in their own right.
The latest King book to be adapted to the screen is "Hearts in Atlantis," the story of a widow, Elizabeth Garfield (Hope Davis) and her son, Bobby (Anton Yelchin), whose lives are changed when a mysterious stranger moves into their house to rent an upstairs apartment in Connecticut in 1960. The stranger, Ted Brautigan, is played by Anthony Hopkins.
In his eleventh year, Bobby is disappointed when his mother does not buy him the bicycle he asked for for his birthday. Instead, she gives him an adult library card. His mother claims that she does not have the money, that her late husband left her debt-ridden. Yet, the mother has a closet full of new (and obviously expensive) dresses.
Bobby, who plays with Carol (Mika Boorem) and Sully (Will Rotthaar), befriends Ted. Ted offers Bobby a job that will pay him the princely sum of one dollar per week. He is to read the paper to Ted--who claims that his eyesight is failing--and also, he is to look out for the "low men" who are searching for Ted. The kids spend their summer at a local park and deal with neighborhood bullies.
Ted, who occasionally goes into catatonic states, is psychic and he helps Bobby realize that Bobby has a similar ability. Bobby grows quite attached to Ted, who not only becomes a sort of surrogate father to Bobby, but who also allows Bobby to learn much about his past and his future.
The movie, adapted to the screen by legendary screenwriter William Goldman ("Butch Cassidy and the Sundance Kid") and directed by Scott Hicks ("Snow Falling on Cedars), had the potential to be a classic (and based on the reaction from the older audience in attendance, it will likely be a huge hit.) Languidly paced (though not overlong), the film reaches an interesting (if not unsurprising climax) and then has a final heartwrenching coda.
Why did it not reach the lofty heights to which it aspired? Many will want to blame Hicks direction and some will argue that Yelchin's performance was a bit wooden. I do not agree with those criticisms. Hicks did the best he could with the material and I was surprised that he did not overdirect this film (like he did "Snow Falling on Cedars.) The acting was solid. Yelchin played the part of naive kid discovering the world around him well and the talented Boorem has a wonderful screen presence.
The reason that this film, which while solid, cannot ultimately be considered a smashing success, lies directly at the feet of Goldman. Without spoiling the film, Goldman's inability to explain the sudden, dramatic, and ultimately implausible fundamental change in the character of one of the film's protagonists nearly ruins the film. He builds up a layered portrait of the character throughout the film and then, in a few poorly-written scenes, expects the audience to believe that this person has overnight changed 180 degrees in their behavior and actions. Fortunately, this attempt to end the film neatly does not ruin it. The coda is touching enough, and the rest of the film is strong enough (with a few magical moments), to make it worth recommending, with the caveat that many of you will be tremendously let down by the film's resolution.
"Hearts in Atlantis" reminds me a bit of last year's "The Contender" in that, it too came so close that you rooted for the film to pay off, even when it ultimately could not. It is better than most films out today, but too flawed to be the Oscar contender that so many will want it to be.
The latest King book to be adapted to the screen is "Hearts in Atlantis," the story of a widow, Elizabeth Garfield (Hope Davis) and her son, Bobby (Anton Yelchin), whose lives are changed when a mysterious stranger moves into their house to rent an upstairs apartment in Connecticut in 1960. The stranger, Ted Brautigan, is played by Anthony Hopkins.
In his eleventh year, Bobby is disappointed when his mother does not buy him the bicycle he asked for for his birthday. Instead, she gives him an adult library card. His mother claims that she does not have the money, that her late husband left her debt-ridden. Yet, the mother has a closet full of new (and obviously expensive) dresses.
Bobby, who plays with Carol (Mika Boorem) and Sully (Will Rotthaar), befriends Ted. Ted offers Bobby a job that will pay him the princely sum of one dollar per week. He is to read the paper to Ted--who claims that his eyesight is failing--and also, he is to look out for the "low men" who are searching for Ted. The kids spend their summer at a local park and deal with neighborhood bullies.
Ted, who occasionally goes into catatonic states, is psychic and he helps Bobby realize that Bobby has a similar ability. Bobby grows quite attached to Ted, who not only becomes a sort of surrogate father to Bobby, but who also allows Bobby to learn much about his past and his future.
The movie, adapted to the screen by legendary screenwriter William Goldman ("Butch Cassidy and the Sundance Kid") and directed by Scott Hicks ("Snow Falling on Cedars), had the potential to be a classic (and based on the reaction from the older audience in attendance, it will likely be a huge hit.) Languidly paced (though not overlong), the film reaches an interesting (if not unsurprising climax) and then has a final heartwrenching coda.
Why did it not reach the lofty heights to which it aspired? Many will want to blame Hicks direction and some will argue that Yelchin's performance was a bit wooden. I do not agree with those criticisms. Hicks did the best he could with the material and I was surprised that he did not overdirect this film (like he did "Snow Falling on Cedars.) The acting was solid. Yelchin played the part of naive kid discovering the world around him well and the talented Boorem has a wonderful screen presence.
The reason that this film, which while solid, cannot ultimately be considered a smashing success, lies directly at the feet of Goldman. Without spoiling the film, Goldman's inability to explain the sudden, dramatic, and ultimately implausible fundamental change in the character of one of the film's protagonists nearly ruins the film. He builds up a layered portrait of the character throughout the film and then, in a few poorly-written scenes, expects the audience to believe that this person has overnight changed 180 degrees in their behavior and actions. Fortunately, this attempt to end the film neatly does not ruin it. The coda is touching enough, and the rest of the film is strong enough (with a few magical moments), to make it worth recommending, with the caveat that many of you will be tremendously let down by the film's resolution.
"Hearts in Atlantis" reminds me a bit of last year's "The Contender" in that, it too came so close that you rooted for the film to pay off, even when it ultimately could not. It is better than most films out today, but too flawed to be the Oscar contender that so many will want it to be.
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