When he woke in the woods in the dark and the cold of the night he’d reach out to touch the child sleeping behind him. Nights dark beyond darkness and the days more gray each one than what had gone before. Like the onset of some cold glaucoma dimming away the world.
So begins Cormac McCarthy’s bleak, Pulitzer Prize winning novel, The Road, soon to be a major motion picture. The veteran American author, whose prose is often compared to the likes of Faulkner, Melville and Joyce, has been a household name in the literary world for a number of years but is just starting to move into the mainstream spotlight thanks to some recent and upcoming page to screen adaptations.
It’s been a surprisingly busy past couple years for the mysterious author. The observant moviegoer might recognize McCarthy’s name from last year’s No Country For Old Men, the Coen Brothers’ Academy Award winning film adaptation of the author’s 2005 novel of the same name. Though the film was very much in the Coen tradition the story, complex dialogue and underlying message/critique of violence in society was all McCarthy.
NCFOM was not the first film to take on McCarthy’s literature, nor will it be the last. Billy Bob Thornton directed a not-so-well-received screen adaptation of McCarthy’s most critically acclaimed novel and National Book Award winning, All the Pretty Horses, in 2000. An adaptation of McCarthy’s second novel, Outer Dark, is supposedly in production according to Imdb.com. Next fall fans of the author will get to see The Road, the author’s latest novel, come to life on the big screen and there’s also a proposed and possibly worrisome film adaptation of McCarthy’s most brutal but arguably his finest work,Blood Meridian: Or the Evening Redness in the West, slated for a tentative 2009 release.
Those familiar with McCarthy’s varied canon–starting with his Tennessee Appalachian period, followed by a move to the Southwest where he would take on the Western genre–will know that NCFOM and The Road, the author’s last two novels, were the most celluloid friendly. They lacked the author’s usual dense and sometimes cumbersome flow and were both dealt with a current or not so far off time period.
The Coen’s take on NCFOM was respectful of McCarthy’s original text while also adding a bit of the filmmakers’ signature sense of style, use of quirky supporting characters and sly dark humor. The Road, McCarthy’s haunting post-apocalyptic thriller just finished production and has the potential to be yet another successful film thanks to a unique, lesser-known director and a perfectly assembled cast of strong character actors.
The post-apocalyptic film has morphed into its own genre over the years with horror films ranging from 28 Days Later to this year’s I am Legend, not to mention past sci-fi staples such as the Mad Max trilogy and James Cameron’s Terminator 2: Judgment Day, which used the threat of nuclear proliferation as its canvas. Where McCarthy’s The Road differed from the more extreme stories mentioned above is in its chilling sense of realism and constant reminder of hopelessness, page after page.
The New York Times recently ran a story about the filming of The Road and the difficulties of recreating a desolate American landscape in today’s world (the crew settled on Pennsylvania and the Lake Erie region for it’s crumbled America backdrop). The film was directed by the rising Aussie filmmaker, John Hillcoat, whose gritty take on the Western set down under in 2005s The Proposition, just so happened to be one of the closest film portrayals of the brutal violence depicted in McCarthy’s Blood Meridian. With The Road, Hillcoat directs Viggo Mortensen and newcomer child actor Kodi Smit-McPhee as a father and son walking a mysterious unnamed road through a desolate and crumbled post-disaster America.
Joining Mortensen is Charlize Theron as the Wife (who in the novel is only mentioned in back story), Robert Duvall,The Proposition’s Guy Pearce, Michael K. Williams aka Omar from HBO’s late series The Wire and possibly one of the best character actors working today, Garret Dillahunt, who had a small but memorable role as a slow-witted deputy in NCFOM. Aussie musician Nick Cave, who scripted and scored The Proposition, is also hard at work on the soundtrack for the film.
While normally a story as dark as The Road might turn moviegoers away, the post-NCFOM Oscar sweep and the fact that Oprah picked McCarthy’s novel in her book club two years ago gives the film version of the book the potential to be one of 2008s best films.
Then there’s Blood Meridian, quite possibly the white whale of film adaptations. Little is known about this project other than the fact that the film’s scribe is William Monahan, a rising name who won an Oscar two years ago for The Departed, and the person helming the director’s chair is veteran Ridley Scott. While both talents backing this film are notable and have the filmmaking chops (Scott has proved time and again that he has a knack for onscreen violence) there is a greater underlying question of whether or not Blood Meridian should make the leap from page to screen.
It is rarely the case that films best the books that they’re based on. That goes without saying. With Blood Meridian many believe the story is simply too densely written and overly violent (even for today’s standards) to come alive on the big screen. Others argue that if done well it has the potential to be one of the best and most historically accurate portrayals of the “real” Wild West ever seen on film.
For those unfamiliar with the story McCarthy tells the stomach turning tale of the Glanton gang, a group of weathered, blood-thirsty soldiers just out of the Mexican-American War in the mid 19th century who are contracted to travel through northern Mexico collecting the scalps for a price. Led by a larger than life character known as the Judge (if you thought Javier Bardem was creepy as Anton Chigurh in NCFOM read about the Judge to see what true heartless evil really is) the gang of misfits roam the desert landscape leaving a sanguinary trail of destruction behind them.
While the violence in the book is often unimaginable it serves as a reminder of the horrors our American forefathers unleashed on the North American natives and of the blood that built this country. To justly recreate the sort of mayhem McCarthy weaves in Blood Meridian it’s safe to say a film adaptation of this tale has the potential to be one of the most violent films ever made, making Mel Gibson’s biblical lesson in torture seem tame in comparison. To give you a taste of the madness McCarthy unleashes on his readers during one early scene the gang stumbles upon a tree riddled with the corpses of infants and children. This brings up another dire question about the making of this film: is there an audience for such brutal, in-your-face violence? Should a story like this, no matter how historically relevant, be brought to life for the movie going audience? If so, how do you stage a scene like the one just mentioned?
John Hillcoat’s The Proposition took the concept of Western film iconography and turned it upside down with its portrayal of Australia’s brutal, blood-soaked past. The film was, again, a reminder that the chapters in history aren’t always pretty. Ridley Scott has too dabbled in violent historical fiction with Gladiator and Kingdom of Heaven, but unlike Hillcoat’s more subtle and refined style, Scott seems stuck in the big budget Hollywood spectacle mindset, which is exactly what Blood Meridian the film should avoid.
McCarthy fansites and message boards have been flooded with dream casts/directors for Blood Meridian with many saying the only true filmmakers to tackle the project would be the late John Huston or Stanley Kubrick or someone like Terrence Malick, all of which could bring to life such an epic story. Many worry that Scott will destroy the project’s potential by opting for a movie star filled cast with the likes of someone like Russell Crowe. Perhaps the film adaptation just wasn’t meant to be.
For fans of Cormac McCarthy the recent production news and photographs from the set of The Road is a breath of fresh air since the project seems to be in good hands and will most likely be worthy adaptation. It’s hard to say how many more books McCarthy has in him as he–he just turned 74 this year–but hopefully his new foray into the mainstream eye might encourage curious minds to check out this literary master’s collection of tomes. His work is difficult to read and sometimes stomach but his style and comprehension of the English language is unprecedented.