Word: fitzgeralded
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...fading. Take a look at some of the most recent films: The Last Detail, Cinderella Liberty, Thieves Like Us. The Way We Were, and of course, The Exorcist and The Great Gatsby were all originally novels. And nobody seems to question the transformation. After all, popularizing F. Scott Fitzgerald's portrayal of the decadent twenties isn't exactly literary sacrilege. But more often than not, transplanting prose into celluloid betrays the novel...
...Estelle Oldham wed someone else. Faulkner waited. After ten years her marriage broke up, and Faulkner proposed. Their lifelong union was outwardly placid, Faulkner the proper country squire, Estelle his lady. But their mutual drinking produced nightmarish battles as dramatic though less destructive than those between Scott and Zelda Fitzgerald...
...Unlike Fitzgerald, Faulkner never replayed these struggles in his writing. In fact, precious few of the thousands of personal details Blotner offers shed any new light on Faulkner's novels. That is not the point Blotner wants to make, but it is an extraordinary discovery. And it is most tantalizingly true of the years between 1928 and 1936. But those years mark a time of creative intensity unparalleled in American letters, when Faulkner turned out Sartoris, The Sound and the Fury, As I Lay Dying, Light in August and Absalom, Absalom...
...almost became a major star in Rosemary's Baby. But after marrying Conductor Andre Previn, she opted for domestic life in England with the couple's twin sons and their adopted Vietnamese daughter. Quiet, sparrow-thin and doe-eyed, Mia hardly seems a candidate to play Fitzgerald's teasing, haughty heroine. Yet in Theoni Aldredge's exquisite period costumes, she is at the very least the most beautiful thing in the picture...
...movie's opulence, one guest said that it is "very slow in getting started, ran awfully long, and the characters were about impossible to get into at all." Part of the problem apparently is the pace. Both Coppola's script and Clayton's direction treat Fitzgerald reverentially, giving each scene almost equal emphasis. Another problem, surprising in a Coppola script, is wooden dialogue. Several viewers complain that the actors cannot speak long stretches of straight Fitzgerald prose convincingly. Unfortunately, the chief victims seem to be Redford and Farrow...