Books vs Movies: Into the Wild

What if leaving everything behind could help you discover your truest self? This thought-provoking question lies at the heart of Jon Krakauer's "Into the Wild" and its 2007 film adaptation directed by Sean Penn. In the latest episode of my podcast, I, Lluvia, an actress and passionate book lover from New York City, take you on a journey from page to screen, dissecting the compelling story of Christopher McCandless. As someone deeply engaged in both the literary and cinematic worlds, I bring a unique perspective to this analysis, examining the similarities and differences between the book and the movie.

 Christopher McCandless's journey is a fascinating tale of self-discovery and extreme lifestyle choices. The story begins with Chris's decision to abandon material possessions and family to embrace the rugged Alaskan wilderness. This episode peels back the layers of his life, scrutinizing the film's portrayal of McCandless's relationships and assessing how creative liberties, such as altering the depiction of his parents' relationship and the location where he lost his car, affect the story's integrity. One key aspect is Sean Penn's dedication to honoring the McCandless family's perspective, revealing the complexities involved in transforming a true story into a cinematic experience.

The film adaptation of "Into the Wild" introduces additional characters and scenes to provide more backstory for Chris McCandless, which, while understandable given the limited information available about his life, may have slowed down the narrative. Characters like Tracy, Rainey, and Jan are examined, alongside the film's depiction of Chris's family dynamics and their potential impact on his lifestyle choices. The inclusion of real-life figure Jim Gallian playing himself adds a layer of authenticity to the film, but the voice overs by Chris and his sister Corinne, while providing context, may have bogged down the story.

The evolving theories about Chris's tragic death form another crucial part of the episode. Initially, both the film and the book attributed his death to confusion between two similar plants, leading him to consume a poisonous one. However, in the 2015 updated version of the book, Jon Krakauer revised his theory, suggesting that Chris actually died from starvation. Further research led Krakauer to propose that a toxic mold on the seeds was responsible, though this was met with skepticism from the scientific community. Eventually, Krakauer's final conclusion pointed to a toxic amino acid in the wild potato seeds that prevented Chris's body from processing food properly, a theory that gained more acceptance among scientists.

As a "book polyamorist," I often read multiple books at a time, which is how I discovered "Into the Wild" through the PopSugar reading challenge. My journey into Chris's world was deeply personal and reflective, mirroring the struggles and aspirations of a young man searching for meaning. This episode explores the publication history of the book, Chris's inspirations from authors like Jack London and Tolstoy, and his transformation into Alexander Supertramp.

One significant difference between the book and the film is the portrayal of Chris's parents. The film suggests they were college sweethearts, contrary to the reality of a significant age gap and his mother's initial role as his father's employee. Additionally, the location where Chris lost his car was changed from California to Arizona. These changes, while minor, highlight the creative liberties taken to enhance the narrative's emotional impact.

Sean Penn's dedication to securing the family's approval before bringing this story to the screen adds another layer of complexity. The film's depiction of Chris's relationships with pivotal characters like Wayne and Ron Franz is analyzed, revealing how their interactions with Chris were adapted for the screen. The film's portrayal of Chris's final moments, including the note he wrote before his death, differs from the book, reflecting the evolving understanding of his tragic end.

The episode also delves into the broader implications of Chris's story. The scientific revelations about his death underscore the importance of rigorous scientific validation. The initial misunderstandings about plant toxicity and the subsequent discoveries about toxic amino acids in wild potato seeds add depth to Chris's story, transforming it from a cautionary tale into a nuanced exploration of human resilience and vulnerability.

As we wrap up the episode, I provide a teaser for our next discussion, focusing on the heartwarming tale of "Ollie's Odyssey" and its adaptation, "Lost Ollie." This journey from page to screen is one you won't want to miss, offering insights into how stories evolve and adapt across different media.

In conclusion, this episode of the podcast offers a comprehensive analysis of "Into the Wild" by Jon Krakauer and its 2007 film adaptation.

Play Review: Durang/Durang by Christopher Durang

Six short plays for one evening of performance:

Mrs. Sorken - a middle-aged suburban matron is scheduled to give a lecture on the meaning of theatre, but has lost her notes. Relying on memory, her comments are dotty, but definitely endearing. (1 woman)

For Whom the Southern Belle Tolls - In this parody of The Glass Menagerie, the fading Southern belle, Amanda, tried to prepare her hypersensitive, hypochondriacal son, Lawrence, for "the feminine caller". Terrified of people, Lawrence plays with his collection of glass cocktail stirrers. Ginny, the feminine caller, is hard of hearing and overbearingly friendly. Brother Tom wants to go to the movies, where he keeps meeting sailors who need to be put up in his room. Amanda tries to face everything with "charm and vivacity", but sometimes she just wants to hit somebody. (2 men, 2 women)

A Stye of the Eye - In this parody of Sam Shepherd's A Lie of the Mind, cowboy Jake is a rage-oholic who has probably killed his wife, Beth (played by a male). Ma, his feisty, no-nonsense mother with a bad memory, thinks Beth "deserved" it and wishes her own husband were dead (he already is). Jake, also schizoid, becomes his own "good brother Frankie" and goes to find Beth's family. Beth shows up, not dead, but damaged, and talking gibberish. Jake's sister, Mae, also shows up, in love with her brother. No problems are solved, but a great deal of "meaning" is in the air. (3 men, 4 women)

Nina in the Morning - is a style piece a la Edward Gorey. A tuxedoed narrator presents Nina, a preposterously narcissistic wealthy woman, attended by her butler, a silent maid, and her three children. The interwoven time-frame juxtaposes scenes from Nina's past behaviors with the present morning when she can't seem to get the butler to bring her a cruller.

Wanda's Visit - Jim and Marsha have been married for thirteen years and are feeling a little bored and unhappy. Wanda, Jim's old girlfriend, shows up for a visit and becomes the guest from hell. Out one night for dinner, all hell breaks loose in the restaurant as a waiter tries to cope on his first day with the confused threesome. (2-3 men, 2-3 women, flexible casting)

Business Lunch at the Russian Tea Room - Chris, a writer, has a business meeting at the Russian Tea Room with a new Hollywood hotshot, Melissa. At the Tea Room, Melissa pitches insane ideas Chris who can't wait to just leave this meeting. Once home, he tried so hard to write up the idea of a priest and a rabbi who fall in love (and other complications) that they appear to him to help him through. (3 men, 3 women)

I thought the plays were okay. They are silly and outdated. The pro is that these would be very easy to stage and produce. The con is that they are no longer relevant and hard to sell to a modern audience.

Books vs. Movies: The Dig

Can you imagine unearthing a treasure trove from a bygone era right in your backyard? That's precisely the thrilling premise of "The Dig" by John Preston, which re-imagines the real-life discovery at Sutton Hoo. Join me, Lluvia, as I dissect both the book and its 2021 film adaptation starring Carey Mulligan and Ralph Fiennes. This episode dives deep into the heart of the Sutton Hoo excavation, exploring the historical context and real-life controversies. I also tackle the contentious casting choices, particularly my disappointment with Carey Mulligan's portrayal of Edith Pretty, a role that should have showcased an older actress. My critique extends to Mulligan's history of appropriating roles meant for Latina actresses, emphasizing the dire need for better representation in Hollywood.

The book "The Dig" by John Preston was first published in 2007 and is a historical fiction retelling of the events surrounding the Sutton Hoo archaeological find in 1939. This excavation unearthed one of the most significant Anglo-Saxon treasures in England. Edith Pretty, a widowed farmer, hires Basil Brown, an amateur archaeologist, to investigate the mysterious mounds on her property, leading to a series of dramatic discoveries and legal battles over ownership of the artifacts.

In contrast, the 2021 film adaptation of "The Dig," starring Carey Mulligan and Ralph Fiennes, adds its unique elements to the story. Notably, the film includes scenes absent from the book, such as Robert's poignant conversation with his mother about her mortality and a dramatic plane crash near Edith's property. These additions serve to heighten the emotional stakes and create a more engaging narrative for the audience.

However, one of the most significant points of discussion in this episode is the casting of Carey Mulligan as Edith Pretty. In the book, Edith is depicted as a woman in her fifties, whose age and health issues play a crucial role in the story. Mulligan, being in her thirties at the time of filming, does not align with this portrayal, leading to a critique of ageism in Hollywood. This casting choice is particularly frustrating as it overlooks the opportunity for an older actress to take on a substantial role.

Furthermore, Mulligan's history of taking roles meant for Latina actresses is also addressed. Representation in Hollywood remains a critical issue, and the casting of white actors in roles meant for people of color only exacerbates the problem. The importance of providing opportunities for underrepresented groups cannot be overstated, and this critique underscores the need for more thoughtful casting decisions in the industry.

Moving on, the film adaptation of "The Dig" also differs from the book in its portrayal of certain characters and events. For instance, the character of Stuart Piggott is depicted as a closeted gay man in the film, a detail not explicitly mentioned in the book. This creative liberty adds a layer of complexity to the character's relationship with his wife, Peggy, and highlights the social constraints of the time.

Additionally, the film focuses more narrowly on the events at Sutton Hoo, whereas the book includes scenes outside of this setting, such as Edith's trips to London. These differences in scope and focus between the two mediums provide a richer understanding of the historical context and the characters involved.

The episode also delves into the legal battle over the ownership of the archaeological treasures found at Sutton Hoo. In the book, this battle is a significant plot point, highlighting the tension between personal property rights and national heritage. The film, however, simplifies this aspect, with the British Museum's claim to the artifacts being less contentious.

In conclusion, while both the book and the film offer unique perspectives on the Sutton Hoo excavation, neither medium is deemed superior. The film is noted for its more engaging narrative, thanks to the added emotional scenes and dramatic events. However, the book provides a broader context and more detailed character development.

Join the conversation as I navigate the complexities and nuances of adapting historical fiction for the silver screen. Whether you prefer the book or the film, "The Dig" offers a fascinating glimpse into a significant historical event and raises important questions about representation and storytelling in Hollywood.