Word: adaptational
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...narrator continues her watching, unable to become more than peripherally involved with the world of survival. Emily takes care of her, for the older woman is unable to forage for food, unable to adapt to the callousness of the struggle. From being herself a child needing protection. Emily has become a protector, assuming an adult's responsibility to take care of others. But only the narrator can provide a backdrop to Emily's growth, for she alone can see a continuum, the "hinterland which had formed" the girl. Somehow, miraculously, the narrator is able to see through the walls...
...never clear what holocaust has preceded the time the memoirs recall. The old order is rapidly disintegrating, young children as well as adults must adapt to a world of food shortages and wandering gangs, of fear and confusion. There are no guides for behavior. The struggle is only to survive: old moral structures are anachronistic, love is accidental. The memories are those of an elderly woman who is caught in the new world, unsure of her ability to adapt. Because she can remember the past, she sees her present objectively, aware of its insanity yet unable to pass judgement because...
...CONVINCED that it was impossible to adapt West's novel into an effective movie. What would have been required was a little more daring, a little more imagination on Schlesinger's part. He might have forsaken the gaudy, lush colors with which he chose to evoke Hollywood for something simpler, more barren, might even have filmed it in black and white, thereby allowing his excellent cast to draw their weird, surrcal characters against a stark background instead of having them clash confusingly with their environment. He would have done well to have completely eliminated Tod and had more confidence...
...feared being separated from their families. But I will say that most of the soldiers in the Saigon regime chose to surrender to the PRG, rather than flee as refugees. Half of the armed forces in the South are still in Vietnam with their families and will try to adapt to a communist way of life...
Jauchem's idea for adapting The Point for the stage was conceived at a time when rock musicals were enjoying a heyday. But it has taken almost four years to materialize, and during that time characters like the saccharine, boyish Oblio have left the stage and gone the way of Godspell. And even if rock operas were not bygones. The Point offers little that's original in the way of either choreography or music--two areas where the story might have been able to benefit from live production. The mime is for the most part strictly traditional and basic; there...