more stars than in the heavens

not in our stars, but in ourselves

Oof.

fainting girl

I think that’s quite enough foreign film for one week, don’t you?  Okay, so I’m a philistine, but I am exhausted.  Hope you’ve all enjoyed the reviews, and hope you all enjoy the films if/when you see them as well.

For today, at least, I am going to take a bit of a break from movie-watching and -writing, but I will leave you all with this.  As I’ve mentioned, I have big problems with the two existing film versions of Lolita.  If they were just films in their own right, I wouldn’t mind much one way or another; but because they are inadequate adaptations of my favorite book by my favorite author, it almost offends me that the two movies miss so much of the point.  If any director ever makes a third attempt, I hope s/he succeeds in capturing the ecstatic poetry of H.H.’s first sighting of Lo:

I was still walking behind Mrs. Haze through the dining room when, beyond it, there came a sudden burst of greenery – “the piazza,” sang out my leader, and then, without the least warning, a blue sea-wave swelled under my heart and, from a mat in a pool of sun, half-naked, kneeling, turning about on her knees, there was my Riviera love peering at me over dark glasses.

It was the same child – the same frail, honey-hued shoulders, the same silky supple bare back, the same chestnut head of hair.  A polka-dotted black kerchief tied around her chest hid from my aging ape eyes, but not from the gaze of young memory, the juvenile breasts I had fondled one immortal day.  And, as if I were the fairy-tale nurse of some little princess (lost, kidnaped, discovered in gypsy rags through which her nakedness smiled at the king and his hounds), I recognized the tiny dark-brown mole on her side.  With awe and delight (the king crying for joy, the trumpets blaring, the nurse drunk) I saw again her lovely indrawn abdomen where my southbound mouth had briefly paused; and those puerile hips on which I had kissed the crenulated imprint left by the band of her shorts – that last mad immortal day behind the “Roches Roses.” The twenty-five years I had lived since then, tapered to a palpitating point, and vanished.

I find it most difficult to express with adequate force that flash, that shiver, that impact of passionate recognition.  In the course of the sun-shot moment that my glance slithered over the kneeling child (her eyes blinking over those stern dark spectacles – the little Herr Doktor who was to cure me of all my aches) while I passed by her in my adult disguise (a great big handsome hunk of movieland manhood), the vacuum of my soul managed to suck in every detail of her bright beauty, and these I checked against the features of my dead bride.  A little later, of course, she, this nouvelle, this Lolita, my Lolita, was to eclipse completely her prototype.  All I want to stress is that my discovery of her was a fatal consequence of that “princedom by the sea” in my tortured past.  Everything beween the two events was but a series of gropings and blunders, and false rudiments of joy  Everything they shared made one of them.

I have no illusions, however.  My judges will regard all this as a piece of mummery on the part of a madman with a gross liking for the fruit vert.  Au fond, ça m’est bien égal.  All I know is that while the Haze woman and I went down the steps into the breathless garden, my knees were like reflections of knees in rippling water, and my lips were like sand, and —

“That was my Lo,” she said, “and these are my lilies.”

“Yes,” I said, “yes.  They are beautiful, beautiful, beautiful!”

You can see it and you can feel it, yes?  Surely there must be some clever director who can ensure that cinema audiences experience that very same frisson.  For the record, Hum spends a lot of the book playing and toying with his readers, but I think he’s being entirely sincere here.  Still a creep, but a sincere creep.

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This entry was posted on April 12, 2013 by and tagged , , , , .
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