In which I fangirl
I’m sure y’all know how it feels when your favorite book has been turned into a movie. There’s joy, hope, and trepidation in this. The joy? “Oh my goodness, my favorite book is going to be a MOVIE!!!!” The hope? Self-explainatory. The trepidation? “If they get this part wrong…”
And then there’s the time where you see the movie. There are two types of movies based off books. The bad ones, and the good ones. The good ones are almost perfect, fulfilling everything you hoped. And the bad ones? Well, let’s just say they get everything wrong and go ahead and give an example of a horrible movie based off an awesome book.
Walt Disney’s The Black Cauldron
This movie? Horrible! The book? Amazing! Some movies just don’t live up to their potential.
But, on the good movie scale… Well, here’s the movie I’m most likely going to fangirl about, and the reason I’m writing this post.
This movie is beautiful. The book was beautiful. I sobbed while reading the book, and while watching the movie.
The actors and actresses were wonderful. This may be the best movie I’ve seen based off the book in a long time.
Actually, it is the best movie I’ve seen based off a book in a long time.
If you haven’t read the book…
YOU POOR PERSON. I will have to give you some of the book….
If that doesn’t make you want to read the book… that’s just sad.
You want to read the book now, right???
It’s wonderful. Beautiful. Sad.
And it’s worth a read!!!!!
So go on my friends…. Read this wonderful book.
Then go watch the movie.
Your somewhat errant blogger,
The extraordinary #1 New York Times bestseller that is now a major motion picture, Markus Zusak’s unforgettable story is about the ability of books to feed the soul.
It is 1939. Nazi Germany. The country is holding its breath. Death has never been busier, and will become busier still.
Liesel Meminger is a foster girl living outside of Munich, who scratches out a meager existence for herself by stealing when she encounters something she can’t resist–books. With the help of her accordion-playing foster father, she learns to read and shares her stolen books with her neighbors during bombing raids as well as with the Jewish man hidden in her basement.
In superbly crafted writing that burns with intensity, award-winning author Markus Zusak, author of I Am the Messenger, has given us one of the most enduring stories of our time.
Skillfully pared down from Markus Zusak’s celebrated young adult novel, The Book Thief presents a somewhat sanitized glimpse of Nazi Germany and the war from the uniquely innocent view of an adolescent girl. At first the perspective seems to be from the narrator, a bored, yet amused voice we learn is Death, presumably taking a brief holiday to comment on the experience of young Liesel (Sophie Nélisse) and the evolving disruptions around her. After Liesel is separated from her brother and mother in sharp and unsettling fashion, she lands at the home of protective, penurious foster parents Hans and Rosa Hubermann (Geoffrey Rush and Emily Watson) in a small village somewhere in the picturesque German countryside. When she’s teased at school for being illiterate, the kindly Hans makes a fun project of teaching her to read. Rosa is a persnickety presence for both of them, but it’s mainly a façade as the couple embrace Liesel tighter even as the situation around them grows more dire. At a Nazi book burning a horrified Liesel surreptitiously snatches a random volume from the flames. The wife of the local Bürgermeister is the only one who notices, and she compassionately allows Liesel to visit her dead son’s library, where she soon earns the movie’s title moniker. Liesel’s newfound love of literature begins informing her actions as more is revealed about the Hubermanns and the toll of wartime village life becomes more desperate. Liesel makes two friends who are vague romantic draws–her thoughtful, rebellious neighbor Rudy, and Max, the Jewish son of a man to whom Hans owes his life. The Hubermanns risk everything by hiding Max, a shining light of idealized nobility for Liesel. The Book Thief is lackadaisical and episodic, with an affecting spirit brought to life by all the performances and the exceptional period detail. Rush is superb as a lovable, complicated man, as is Watson, whose stern manner is only a mask. Nélisse steals the show, along with many hearts, by portraying Liesel as a malleable force whose passivity develops into nascent intensity as she grows up with the horrible changes unfolding around her. Death has a place, and not just as a commentator. But the villainy of Nazism and shadow of the Holocaust evades center stage as an overriding focus of this moving story. Less a tearjerker than a tear-tugger, The Book Thief steals heartfelt emotion, though it will mostly be gladly given. The first-rate score is by John Williams, taking a break from Steven Spielberg’s production ensemble for the first time in a long while.
The reason behind the blog post title…
(Okay, now this blog post is actually finished…)
NOTE: The book does have some cussing, so if your parents have rules against books with cussing, don’t read it.
(Okay, NOW the post is over)