Review by Choice Review
The third volume of William Faulkner's screenwriting drawn from the Brodsky Collection and published by the University Press of Mississippi. The De Gaulle Story (1984), Battle Cry (1985), and a volume of four screenplays (announced for 1988) reveal that Faulkner was a conscientious screenwriter but never took his Hollywood work as seriously as his fiction. The editors are especially concerned with Country Lawyer, since it ``represents one of the few instances in which Faulkner sought to adapt and extend his Yoknapatawpha material to the purpose of Hollywood.'' Brodsky and Hamblin briefly discuss Faulkner as a screen adaptor of other writers' work, but there is no acknowledgment of the ``treatment'' form that forced Faulkner to write in a pared-down, truncated style: ``All the men are examining the horse, a mild sensation. The driver is boasting about it. The girl looks a little alarmed at the horse's spirit, etc.'' Of keen interest to Faulkner specialists, this volume could have included for students of film some attention to the demands of screenwriting.-C.E. Rollyson Jr., Bernard M. Baruch College, CUNY
Copyright American Library Association, used with permission.
Review by Publisher's Weekly Review
In the 1940s Warner Brothers commissioned William Faulkner to write three story outlines that would eventually be expanded into screenplays by others. Now published for the first time, the three narratives show not only the adaptable creativity of the Nobel laureate, but also his ability to translate his Yoknapatawpha material to the Hollywood milieu. Readers of Faulkner's fiction will recognize the genealogy and interracial friendships of the Southern families in ``Country Lawyer,'' and the central female character in ``The Damned Don't Cry'' foreshadows Temple Drake, the celebrated protagonist of Requiem for a Nun. The third story, ``The Life and Death of a Bomber,'' reflects Faulkner's commitment to participatory patriotism during World War II. These stories' greatest significance is the insight they provide into Faulkner's fictive design and complex plots. (May 30) (c) Copyright PWxyz, LLC. All rights reserved
(c) Copyright PWxyz, LLC. All rights reserved
Review by School Library Journal Review
YA This slim collection of three previously unpublished narratives gives new insights into Faulkner's writings and the construction of a screenplay. ``The Country Lawyer'' has the complexity and dimensions of a movie, a television mini-series, or even a family saga novel. There is a strong sense of character and a well sustained plot with a Romeo and Juliet theme. The other narratives do not fare as well. ``The Life and Death of a Bomber,'' written in 1943 as a war propaganda effort, is poorly plotted, with little sense of character and two weakly connected sections, but Faulkner's comments show how a writer works. ``The Damned Don't Cry,'' written in 1942, seems maudlin by current standards. It deals with a poor girl from the wrong side of town who becomes a fallen woman as a result of her alcoholic parents, her love for a rich boy, a criminal brother, an illegitimate son, and a murder trial. At the end of the 16-page draft she is redeemed by the love of another man. While the strict format does not allow for the development of Faulkner's famous style, it does show his storytelling capability. This book will be of interest to those wanting more stories by Faulkner and will show readers how a narrative serves as the skeleton for a screenplay. Carolyn Praytor Boyd, Episcopal High School, Bellaire (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.