Monday Musings: Hype and Re-reads

I tend to be wary of things that are - for lack of a better phrase - flash cult phenomena.  Gaining, from whatever random source, the kind of momentum that catapults them from virtually unknown into the hands of overeager fans who shove the books, t.v. show, or movies not so much in the faces of their friends or readers as straight up their noses in an attempt to ram their enthusiasm straight into your brain.

Not every book, show, or movie is meant for every person.  Profound, no? Twilight comes to mind as an example of the fact that secular, fiction books can cause a vast divide between those who love a certain piece of writing and those who find it repulsive.  And yes, I am on speaking terms with both Twi-hards and whatever you'd call a person who thinks the series to be a waste of time.  (I, personally, call them "readers who care about good writing" - but that's just my take on it.  And may now no longer be on speaking terms with the former.)

Of late - when a book or book series gains this kind of following - the odds are good that Hollywood producers (who seem to be hard up for original scripts these days) will pounce on the opportunity presented by an already existing fanbase and make a movie.  (Or more than one, if they can manage it.)

Here I come to my second profound thought.  The book is always better than the movie.  (Unless the movie came first, in which case it MAY have a shot at being better.  There's almost always an exception to the rule.)  If I hear enthusiastic reviews about a movie that's based on a book - my order of interest usually lies first in the book, and then, if the book was a worthwhile experience, possibly in the movie.

So here are two books that have been made into much-touted, yet-to-be-seen-by-me movies.

The Girl With the Dragon Tattoo - by Stieg Larsson
Book critics and reviewers can't seem to say enough in praise of Stieg Larsson's mystery/drama/thriller.  They call it "fast-paced" and "entertaining".  Online booksellers show reader feedback as fairly consistently in the 4-or-more-stars range.

I remember picking up this book at the library on a whim.  It was on the new releases shelf and the cover art drew me in.  I took it home and I vaguely remember reading my way through it - but my response to the book was that the story was decidedly lack-luster.  Still, I don't like leaving a book half-read, so I doggedly read my way through it, and then returned it. Some time later, I started hearing more and more about the book.  How fantastic it was, what an excellent story, how dramatic . . . And of course the praise for the Swedish film based on the book.  Then Daniel Craig - now-famous for his turn at playing James Bond - was cast in the Hollywood remake and the publicity on the internet became even more prevalent.

I found myself wondering as I saw glowing review after glowing review - did I miss something when I read this book?  Was I perhaps not in the right state of mind to grasp how amazing of a story it told?  So back to the library I went.  Having re-read the book - I have to say - I still don't see the massive entertainment value in this book that others clearly do.

Stieg Larsson does tell a good story. His writing style is detailed without bogging down the pace of the story, and translates well from Swedish.  And who doesn't like a good mystery being solved by a charming journalist-turned-amateur-PI and a quirky, punky woman who is far more capable and intelligent than she appears.

However - the book is full of darkness.  And not the kind of darkness I'm good at handling.  Larsson begins each section of the story with an appalling statistic about the sexual harassment, abuse, rape or predation experienced by a frighteningly high number of Swedish women.  To me, it appears that one of his themes in the book is to bring the public a better awareness of this by depicting how one of his characters is subjected to this kind of treatment, and how she deals with it.

The scenes are disturbing and stood out in my mind more than the mystery that needed solving. I must give kudos to Larsson for his unflinching descriptions and his well-woven story - but having read this book twice now, I doubt I'll come back to it.  And I'm concerned - based on what I have heard - that part of the what makes the movies noteworthy is the shock value of the fact that the film-makers got from those scenes.  While the book may make a point - the movies definitely class it as entertainment - and I personally don't find any entertainment in those scenes.

If you are looking for a good one-time read, a thriller of sorts, then this MAY be the book for you.  However if you are the kind of reader who finds themselves strongly empathizing with and bonding to a character - I wouldn't recommend this book as an entertaining read.

The Invention of Hugo Cabret - by Brian Selznick
The Invention of Hugo Cabret is the book that gave birth to the movie Hugo.  I say this not to be-little the book by implying that it stands in the shadow of the movie.  Brian Selznick, illustrator and author, created quite the masterpiece.

The story follows  a young boy - the title character, Hugo. Although orphaned, Hugo has fond memories of his father, who nurtured his love of clockwork and gears.   Now living alone in the walls of a railway station, Hugo keeps the station's clocks running accurately and keeps to himself.  Until - as must happen in any story - one small moment starts in motion a great deal of change in his life.  I won't say more, because the simplicity of this story is part of its charm, and much more of the plot would give too much of the story away, but believe me when I say that it is worth taking this literary journey.

If you've ever held this book, you'll have noted that it is hefty.  It can be classed as a children's book, as its main character is a young boy, and the writing style is simple and clean - easy for a child to follow.  It can be called historical fiction, as it deals with the birth of films in Paris and was inspired by and features historical figures. It can be considered steampunk - in some ways - for its apparent obsession with fantastical machines that are all at once: useful, whimsical, mysterious, and magical.

The structure of the book itself is remarkable.  Selznick weaves the story half in words and half in un-captioned, full-page images that move the story forward frame by frame - very much like a film.  It seems to me that this must be how he envisioned the story in his mind's eye - and in that, it is uniquely suited to be transitioned into film.  I can't say how well the book survived that transition, as I haven't yet seen it, but I fully intend to.

I strongly recommend this book to . . . anyone, really.  It is not long, it is not hard to read.  And I think that it  is a truly beautiful blending of words and art - as well as an excellent tribute to the artists, writers, and film-makers that have shaped our present.