stewart stern Tagged Articles at Cinematical

Todd Field's adaptation of the novel Little Children by Tom Perrotta posed a lot of problems as he tried to cram the entire novel into a feature film ... so he rewrote it, literally. He hated the ending, and made some major changes, collaborating with Perrotta, who also shares a screenwriting credit on the film. They both worked together to make significant changes in order to adapt the book for into a film.

This isn't the first adaptation for either. Field wrote and directed Oscar-nominated In The Bedroom , which was based on an Andre Dubus short story. However, Dubus died two years before the film came out, which made it impossible for Field to colloborate with him. Perrotta's novel Election was adapted into a movie written by director Alexander Payne and Jim Taylor. Perrotta didn't work on that script, however, since it was the first one of his novels to be optioned, and the movie development went into high gear and was in theaters only a few months after the book came out.

I have a lot of admiration for screenwriters. They are the unsung heroes of the film business; without their stories, no film would ever be made. Being a writer is hard, anxious and often lonely work. You stare at the blank screen. It waits to be filled, it must be filled, and so you start to write, praying that the end result is worth the effort you give to it. I've started and not finished countless screenplays whose stories just wouldn't go anywhere, written and completed eight full drafts of an absolutely dreadful romantic comedy and, through various writing groups I've belonged to over the years, read a lot of developing screenplays that will, thankfully, never see the light of day. I'm such a geek, in fact, that I often read the scripts for films I love, over and over again, just to feel rhythm of the words on the page, and to get a sense for how those words translated into the finished film on the screen.

As so often happens, Anne Thompson at The Hollywood Reporter has written an astute piece on screenwriting that is so obvious it seems it should be carved into granite above the entrance to every studio in Hollywood: Great writing makes for great movies. The film with which Thompson explores this hypothesis is Stranger Than Fiction, which debuted at Toronto (sadly, I missed it there), and she makes her point about great writing by enumerating how many big stars wanted to be in the film based on the script alone. Some truly great films have come out of a script that speaks its truth to actors so purely and loudly that they simply must see the film get made. They'll work for scale, drop other projects, shuffle their schedules around, all for the sake of that golden opportunity to be in a film so good that it demands to be made, whatever the sacrifice. When critics and cinephiles bemoan the dismal quality of so many films sludging their way out of Hollywood, very often what we are really bemoaning is the lack of originality in storytelling, the lack of passion in penning that story, and mostly, the lack of truth that seems to permeate so many films.

Over at the Guardian yesterday, they reported that "lost" footage of iconic actor Marlon Brando screen testing for Rebel Without a Cause way back in 1947 has been found, and it's got lots of folks excited to imagine what Brando would have brough to the lead role of the classic film. The five-minute screen test, included as an extra on the DVD release of Brando's A Streetcar Named Desire, shows a young Brando "railing against his parents" and "finding a gun and lighting out for a new life with his girl. Today The Guardian's Xan Brooks speculated on what Rebel Without a Cause might have been like with Brando in the role that made James Dean famous eight years later. Davis opines that a Rebel with Brando in the role of Jim Stark would have been inferior to the film made by Nicholas Ray with Dean in the lead role - an assertion I happen to agree with.

What neither Guardian piece addresses, though, is that the screen test Brando made in 1947 had practically nothing to do with the Rebel Without A Cause we're all familiar with. After I read the article in the Guardian, I emailed Stewart Stern (pictured), who wrote the screenplay for Rebel Without a Cause.  I interviewed Stern extensively last year, and we talked a lot about Dean, Rebel, and what Brando thought of Dean. I knew Stern didn't write his screenplay in 1947, so I asked him if he knew anything about this Brando screen test. As he recalls it after all these years, Stern believes it went this way: