There once was a novel called Flughunde: written by Marcel Beyer in German, published in Germany in 1995. John Brownjohn — I feel so sorry for someone saddled with that name all his life — translated it into English, and The Karnau Tapes was published in the UK in 1997.
Almost twenty years later, German cartoonist Ulli Lust adapted Flughunde into comics form — it was published in 2013 as by Beyer and Lust. And, finally, in 2017, the comics version of Flughunde was reunited with the Brownjohn English translation — somewhat adapted by Nika Knight to work as comics — and published under a third title, Voices in the Dark .
(By the way, Flughunde means “Flying Foxes,” for an important thematic element of the story — it’s a literary-novel title, and this is a literary “graphic novel.” I have no idea why none of the English translations were willing to translate the title.)
That’s what this is,...
Almost twenty years later, German cartoonist Ulli Lust adapted Flughunde into comics form — it was published in 2013 as by Beyer and Lust. And, finally, in 2017, the comics version of Flughunde was reunited with the Brownjohn English translation — somewhat adapted by Nika Knight to work as comics — and published under a third title, Voices in the Dark .
(By the way, Flughunde means “Flying Foxes,” for an important thematic element of the story — it’s a literary-novel title, and this is a literary “graphic novel.” I have no idea why none of the English translations were willing to translate the title.)
That’s what this is,...
- 4/29/2018
- by Andrew Wheeler
- Comicmix.com
Tess
Written by Gérard Brach, Roman Polanski, and John Brownjohn
Directed by Roman Polanski
France/UK, 1979
Roman Polanski revealed an exceptional eye for gripping visual design in his earliest films. In those works, like Knife in the Water, Cul-de-sac, Repulsion, Rosemary’s Baby and, somewhat later, The Tenant, most of this pictorial construction was derivative of themes, and subsequent depictions of, confinement, claustrophobic paranoia, and severely taut antagonism. In terms of visual and narrative scope, Chinatown opened things up somewhat, but it was with Tess, his 1979 adaptation of Thomas Hardy’s “Tess of the d’Urbervilles,” that Polanski significantly broadened his canvas to encompass the sweeping tale of the Victorian era loves and conflicts of this eponymous peasant girl.
Polanski speaks to this distinction during an interview in the newly released Criterion Collection Blu-ray/DVD of Tess. In discussing the film for the French TV program Cine regards, the director...
Written by Gérard Brach, Roman Polanski, and John Brownjohn
Directed by Roman Polanski
France/UK, 1979
Roman Polanski revealed an exceptional eye for gripping visual design in his earliest films. In those works, like Knife in the Water, Cul-de-sac, Repulsion, Rosemary’s Baby and, somewhat later, The Tenant, most of this pictorial construction was derivative of themes, and subsequent depictions of, confinement, claustrophobic paranoia, and severely taut antagonism. In terms of visual and narrative scope, Chinatown opened things up somewhat, but it was with Tess, his 1979 adaptation of Thomas Hardy’s “Tess of the d’Urbervilles,” that Polanski significantly broadened his canvas to encompass the sweeping tale of the Victorian era loves and conflicts of this eponymous peasant girl.
Polanski speaks to this distinction during an interview in the newly released Criterion Collection Blu-ray/DVD of Tess. In discussing the film for the French TV program Cine regards, the director...
- 2/28/2014
- by Jeremy Carr
- SoundOnSight
The Ninth Gate (1999) Starring: Johnny Depp, Frank Langella, Lena Olin Director: Roman Polanski Writer: Arturo Perez-Reverte (Novel); John Brownjohn, Enrique Urbizu, Roman Polanski Studio: Artisan Entertainment Rated: R The Ninth Gate is a strange little puzzle of a film, and that may turn some viewers off, but it would be to their great loss. Based on the novel El Club Dumas by Arturo Perez-Reverte, The Ninth Gate follows the exploits of ra…...
- 2/27/2012
- Horrorbid
This film was originally reviewed Sept. 15 at the Toronto Film Festival. It opens in Los Angeles today.
Roman Polanski's back in North America, at least in the form of his latest film, ''Bitter Moon.'' A love story set on a luxury cruise ship plying the high seas under the dark of the moon, the film is ultimately about the cruelty that lovers can inflict on each other after their relationship has reached its peak.
On this seemingly tranquil voyage, a young British couple, Nigel and Fiona (Hugh Grant, Kristin Scott-Thomas) are celebrating their seven years of marriage with a second honeymoon. They encounter a disarmingly captivating Continental pair: Oscar, a wheelchair-bound writer (Peter Coyote), and Mimi, a fun-bound dancer (Emmanuelle Seigner).
Oscar inveigles Nigel to listen to his story, a process that doesn't take much arm-twisting since the story is about Oscar and Mimi's torrid sexual relationship, and the diffident Nigel is clearly smitten with the sensuous Mimi.
Oscar's is a tale of meeting cute, initial passion and many of the other standard but entrancing ingredients of everyday romance, but it's also torqued with desperate sexual excess and ennui.
Told in flashback via Oscar's overripe, acidly dry descriptions, ''Bitter Moon'' is a wicked tale of sensuality, perverse humor and emotional abuse, all smeared together in a base element of psychological need. It's catalyzed by Polanski's standard doses of poison: Sharp knives, hot girls, subversive humor and dark cruelty.
The scenario, by Polanski, Gerard Brach and John Brownjohn, is scathingly funny and sharp-edged but intermittantly stumbles hard on its own audacity.
Often it's so brash that it's unintentionally hilarious. Still, this nervy amusement is very well-made and delectably provocative. Polanski's crisp and twisted direction unravels one kinky film.
As the wormy writer, Coyote is a terrific, devilish provocateur, while Seigner's erotic performance as his wife the dancer brings to the forefront the desperation of her sexual needs. The mousy, sexually spent English couple, Grant and Scott-Thomas, are well-cast and reveal their stiff inner mettle.
Technical contributions are well-realized, in particular cinematographer Tonino Delli Colli's shimmeringly sensuous compositions.
(c)The Hollywood Reporter...
Roman Polanski's back in North America, at least in the form of his latest film, ''Bitter Moon.'' A love story set on a luxury cruise ship plying the high seas under the dark of the moon, the film is ultimately about the cruelty that lovers can inflict on each other after their relationship has reached its peak.
On this seemingly tranquil voyage, a young British couple, Nigel and Fiona (Hugh Grant, Kristin Scott-Thomas) are celebrating their seven years of marriage with a second honeymoon. They encounter a disarmingly captivating Continental pair: Oscar, a wheelchair-bound writer (Peter Coyote), and Mimi, a fun-bound dancer (Emmanuelle Seigner).
Oscar inveigles Nigel to listen to his story, a process that doesn't take much arm-twisting since the story is about Oscar and Mimi's torrid sexual relationship, and the diffident Nigel is clearly smitten with the sensuous Mimi.
Oscar's is a tale of meeting cute, initial passion and many of the other standard but entrancing ingredients of everyday romance, but it's also torqued with desperate sexual excess and ennui.
Told in flashback via Oscar's overripe, acidly dry descriptions, ''Bitter Moon'' is a wicked tale of sensuality, perverse humor and emotional abuse, all smeared together in a base element of psychological need. It's catalyzed by Polanski's standard doses of poison: Sharp knives, hot girls, subversive humor and dark cruelty.
The scenario, by Polanski, Gerard Brach and John Brownjohn, is scathingly funny and sharp-edged but intermittantly stumbles hard on its own audacity.
Often it's so brash that it's unintentionally hilarious. Still, this nervy amusement is very well-made and delectably provocative. Polanski's crisp and twisted direction unravels one kinky film.
As the wormy writer, Coyote is a terrific, devilish provocateur, while Seigner's erotic performance as his wife the dancer brings to the forefront the desperation of her sexual needs. The mousy, sexually spent English couple, Grant and Scott-Thomas, are well-cast and reveal their stiff inner mettle.
Technical contributions are well-realized, in particular cinematographer Tonino Delli Colli's shimmeringly sensuous compositions.
(c)The Hollywood Reporter...
- 3/17/1994
- The Hollywood Reporter - Movie News
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