When a book has won the Booker Prize and the film that it spawned has taken Oscars, the casual reviewer may possibly be tempted to conclude that every thing has already been said on its topic. Having just revisited the film immediately after quite a few years of absence, I decided to re-read the book. I do not keep in mind how lots of occasions I have read it now: let's call it quite a few. I have observed the film at least six times.
Initially let it be mentioned that the film, The English Patient, claims only to be based on Michael Ondaatje's book. It is a film from the book, not of the book. The distinction is essential mainly because, despite the film's admirable try to recreate the complexity of portion of the novel, the book normally went substantially additional.
In the book we have characters who have been scarred by war, by a war that none of them particularly wanted to fight. I suppose there are occasional wars where some of the participants want to be active. But right here Caravaggio just wanted to stay a thief and thus preserve his thumbs. And who would take more than thieving if he is drafted to fight? Maybe Hana's father genuinely did intend to see out the conflict and restart his previous life. Probably the English Patient, himself, did genuinely want to be English. I doubt it. Or maybe the notion, that of nationality, offered war, was mere irrelevance. It was sides that individuals counted.
He undoubtedly had substantially to hide, but from whom? What does it matter what side you claim to be on when it is only ever the innocent who fall victim? This last point is essential to the feelings of Kip, the character who only just makes it into the film.
For in the book this Sikh sapper, this bomb disposal specialist, who dangers his own life to safeguard other people, is a complex anti-colonial thinker. He has a sense of justice that transcends victory, primarily when that victory is won at tremendous cost in the lives of those who did not fight.
Initially let it be mentioned that the film, The English Patient, claims only to be based on Michael Ondaatje's book. It is a film from the book, not of the book. The distinction is essential mainly because, despite the film's admirable try to recreate the complexity of portion of the novel, the book normally went substantially additional.
In the book we have characters who have been scarred by war, by a war that none of them particularly wanted to fight. I suppose there are occasional wars where some of the participants want to be active. But right here Caravaggio just wanted to stay a thief and thus preserve his thumbs. And who would take more than thieving if he is drafted to fight? Maybe Hana's father genuinely did intend to see out the conflict and restart his previous life. Probably the English Patient, himself, did genuinely want to be English. I doubt it. Or maybe the notion, that of nationality, offered war, was mere irrelevance. It was sides that individuals counted.
He undoubtedly had substantially to hide, but from whom? What does it matter what side you claim to be on when it is only ever the innocent who fall victim? This last point is essential to the feelings of Kip, the character who only just makes it into the film.
For in the book this Sikh sapper, this bomb disposal specialist, who dangers his own life to safeguard other people, is a complex anti-colonial thinker. He has a sense of justice that transcends victory, primarily when that victory is won at tremendous cost in the lives of those who did not fight.
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