Anyone Read the Book?
I have it but I havent read it yet, anyone read it?
share
No...didn't know there was a book.
"OOO...I'M GON' TELL MAMA!"
MovieChat Forums > Don't Bother to Knock Discussion > Anyone Read the Book?
Who wrote it? Please tell us. And is the name of the book similar to the name of the film?
Thank you.
"I'm right where I wanna be....."
Mischief by Charlotte Armstrong
shareoH, a million times Thank You!
Could you tell us some other things, like is it a good book, better than the movie, does the movie do justice to the book, how much does the writing of the movie respect the writing of the book, how did you like them both .....?
Please tell us.
"I'm right where I wanna be....."
WARNING: Book and movie spoliers ahead -
'Mischief' by Charlotte Armstrong is a light-weight bit of pulp fiction which keeps you turning the pages and includes some enjoyable cliff-hangers. However, it gives no hint of why Nell acts the way she does, in fact Nell is a far less sympathetic in the book. (She even uses the 'n' word which was quite a shock.) It implies that Nell murdered her parents by setting fire to the house and at one point she threatens to make a false accusation of attempted rape against Jed unless he stays with her.
I'd say the screenplay, for all its flaws, improves the plot and adds verisimilitude to Armstrong's characters. The screenwriter made Lyn Lesley a singer in the hotel, effectively integrating her into the plot much better than in the book. He also invented the backstory of Nell's lost love, Philip the pilot and her troubled relationship with her parents. I think a lot of credit should go to Marilyn Monroe as well for her emotional and nuanced portrayal of Nell - she makes you care about the character much more than the original writer did.
Thank you so much for the great insight, I really appreciate it and now I appreciate the script of the film even more. And you're so right about Marilyn. She would have had a great film career as a dramatic actress as well as a comedic one if things and/or her choices were just a little different....
"Empire Records, open 'til midnight".
Interesting background. This film has a lot of back door twists what with
the second exit from child's room and all that. And what's with how people
were always getting bumped into at odd times. First at the bar in beginning
Widmark get a nudge then later the child's mother gets a bump and she says
"Sorry". Maybe intent is to show both characters are essentially just passive
people who get banged around no fault of their own only to have more serious
matters suggested.
Monroe certainly photographic as hell esp with Widmark in early kissing scenes
closeups. There's the wrist cutting and institutions for texture. But boy
those so well framed shots. When MM came down the elevator and the old
style grating was in front of her it was as if she were behind bars again.
All the misunderstandings and paranoid escalation among the staff. How very
Cold War. Overhearing neighbors, prying, memories of WW II, rubbernecking
crowd. It was as if they needed to tie into the old days even then as an
alternative to the larger issue of communism.
Police were certainly portrayed as kind souls. No weapons or cuffs. Humane
behavior all around thanks to our heroic pilot.
One last bit about the closeups MM and Widmark. There's been a lot of play
about Elvis's 75 with attendant b/w shots of him in the 50s. Esp thinking
of ones taken where he's kissing the girl in stairwell - tongues sticking out.
Well MM has the same kind of strikingly strong face. Both have a similar
bone structure. I was amazed at that. Faces made for the 2D world of the
camera, still or motion. Even more so in b/w.
Glad FOX had this one on with no commercials. Rarely shown MM film and does
deserve so much more comment.
According to MM bio in Wikipedia it isn't hard to see how easily she could draw
upon her childhood experiences about pretending, mental instability, personal identity, need for a man, etc. Wiki says:
Her early roles were minor, but her performances in The Asphalt Jungle and All About Eve (both 1950) were well received.
So she was already getting some attention. As to Knock, MM considered it some
of best dramatic acting tho got weak reviews. All thru 1952 America became
more aware of her. 1953 put her across with first cover of Playboy and Gentlemen Prefer Blondes.
Unfortunate life but as so often happens talent emerges. Wealth can produce a
Bogart or less wealth a Monroe. Coin isn't the issue.
Still I work with what an artist said in the 70s that "Suffering was for the 60s!".
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I have. Don't bother. It's one of the few times the movie was better. Nell has way more character development and there's far more suspense in the movie. Like The Woman In Black you're better off with the movie.
Jami J. Russell
http://www.jamisings.com/