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As I Lay Dying [Import]

 R (Restricted)   DVD

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Product Details

  • Format: NTSC, Import
  • Language: English
  • Aspect Ratio: 1.85:1
  • Number of discs: 1
  • MPAA Rating: R
  • Studio: Millennium
  • Release Date: Nov. 5 2013
  • ASIN: B00EYPJHDI

Product Description

Directed by Oscar-nominated James Franco from a screenplay by James Franco and Matt Rager, AS I LAY DYING is adapted from the 1930 classic American novel by William Faulkner. The story chronicles the Bundren family as they traverse the Mississippi countryside to bring the body of their deceased mother Addie to her hometown for burial. Addie's husband Anse and their children, Cash, Darl, Jewel, Dewey Dell, and the youngest one Vardaman, leave the farm on a carriage with her coffin - each affected by Addie's death in a profound and different way. Their road trip to Jefferson, some forty miles away, is disrupted by every antagonistic force of nature or man: flooded rivers, injury and accident, a raging barn fire, and not least of all -- each individual character s personal turmoil and inner commotion which at times threaten the fabric of the family more than any outside force.

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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 2.8 out of 5 stars  92 reviews
28 of 30 people found the following review helpful
3.0 out of 5 stars Valiant attempt at clarifying an opaque book Oct. 22 2013
By Doug Hungarter - Published on Amazon.com
Verified Purchase
James Franco has made a valiant attempt at clarifying an opaque novel. However, there is a reason this story has not been adapted to film in the past: Faulkner's South belongs in print.

The movie tries a little too hard, over-utilizing split screen shots to convey the novel's multiple narrator roles. It made me feel like I was watching an olde-tymey version of 24. The extreme close-up monologues were intense and haunting, staying true to the Faulkner's voice, if not adding clarity to the storyline. The film is beautifully shot and well-acted, but felt as much like homework as my initial high school reading of this book (I enjoyed the re-read much more when I was all growsed up).

Overall, "As I Lay Dying" is a solid (if slightly off-the-mark) homage to a great literary work.
8 of 8 people found the following review helpful
5.0 out of 5 stars A Good One. Nov. 8 2013
By Chedda'Cheeze - Published on Amazon.com
Verified Purchase
Cinematography, actors, being a fan of period drama, camera lens work, story-telling are all reasons why I'd recommend this movie. If you're a fan of Faulkner literature or a serious laureate you might be inclined to see some more specific things that I'm leaving out but when talking about movies I'd highly recommend this on because in today's and yesteryear's film society this is a comparative gem which I thoroughly enjoyed.
5 of 5 people found the following review helpful
5.0 out of 5 stars suprisingly excellent Nov. 6 2013
By Kevin - Published on Amazon.com
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in my opinion, this was a surprisingly excellent adaptation of the novel.

franco delivers the worst acting performance of the cast, but it certainly isn't a bad performance and the rest of the cast are excellent in their roles. the film uses some art house devices to capture the unique nature of the novel, which may be off-putting to some, but franco's directorial methods are not overly heavy-handed or obtuse.

truthfully, if you have not read as i lay dying (or have an interest in southern gothic/lit fiction) than this film is probably not for you. if you are "in" to this kind of literature and are intrigued by an art house interpretation of one of the greatest english language novels, then it is definitely worth the price of the rental.
7 of 8 people found the following review helpful
4.0 out of 5 stars Pleasantly surprised Nov. 19 2013
By jbiv771 - Published on Amazon.com
Format:DVD
Let me preface this review by stating that I have never read Faulkner's novel. I also am not the biggest James Franco fan. However, I do love classic novels and 127 Hours is a favorite of mine so it wasn't a stretch for me to give up two hours of my time to give the movie a chance. I imagine this movie will only attract fans who for the most part know what they are getting themselves into so keeping that in mind, this movie is not for everyone. If you are sitting around on a Saturday night and your wife says, "Ooh this looks interesting. I love James Franco," you are better off passing. If however you are of the "indie" film ilk and/or an avid reader of famous novels you should consider lending this movie your time. Franco does well as director of the film and the acting is top notch. The plot of the movie is just short of tragic and certainly not uplifting so don't expect any sunshine. All of Faulkner's characters are flawed and everyone in the film loses more than just their mother "Addie." The movie begins with the matriarch of the family passing and continues with the family embarking on an oddesy to bury her. The movie can be a little slow and overly artistic, but it is not enough to condemn Franco's direction. My only complaint is that Franco employs too many split-screen shots ala Danny Boyle (the director of 127 hours). All in all I enjoyed the film enough to recommend it to anyone willing to give it a shot.
7 of 8 people found the following review helpful
5.0 out of 5 stars Franco's Profound Translation of Faulkner's As I Lay Dying Nov. 17 2013
By Drew Odom - Published on Amazon.com
Format:DVD|Verified Purchase
James Franco's As I Lay Dying inevitably differs from Faulkner's. In the novel, the Bundren home and farm lie on a hill, hard to reach, where Doc Peabody has to be hauled up by a rope. Cash limps from an earlier fall, but his leg at the end is not amputated. Jewel is a whole head taller than the others.

An important section in the novel, Darl being transported to Jackson by train, is left out of the film. Except for Anse's and perhaps Jewel's, the faces in the movie belong too much to our time and not the `twenties in Mississippi. Some of the clothing is too contemporary as well. In the film, Dewey Dell is too much a girl of our own day, more a woman, and much too beautiful. The landscape is too unvaried; the novel moves from Mississippi hill country toward (without actually entering into) the delta.

Such variations could be expanded. But they do not matter. If you want to read Faulkner, read him. Franco's movie is not a substitute for that nor does it mean to be. It is a work of translation. I think one has to see the film in and for itself, though I do not know how someone who has not read the novel might respond to it. In a sense, it is a work of the grandest plagiarism, since so much of the language is Faulkner's, shifted about, cut hugely, altered, and, at times, even changed, beginning as the novelist's language and then becoming Franco's. Toward the end of the movie, Darl speaks words that are found in the novel in Addie's monologue. But the film requires its own place and dress and faces. What I have just noted, and the differences could proliferate, does not matter because the movie is a different sort of experience, bound to a different sort of watchfulness.

For example, the scene of the crossing of the flooded river, though in detail not Faulkner's scene, is brilliant, moving, astonishing to see. So, too, is the whole sequence when Darl sets fire to Gillespie's barn. Addie was extraordinary, her look, her speech, her placement in the frame. The language of the book is often powerfully visualized. In that translation, too, the novel is turned into film, albeit a different, and distinct, work of art.

If Faulkner's novel has an ontological depth the film lacks, so be it. Faulkner was obsessed with a religious sense of the person in the absence of any belief he could muster in God or anything like a god. Darl's anguish is, to make use of another fancy word, existential. (There is no mention in the movie of his having fought in France, an intriguing omission.) Darl confronts the world in his and its absence. He is words, words, words as Jewel is deeds, doing, action, impulse. I will not go on. Faulkner remains an artist of an historical moment when the fundamental, the oldest questions remained not only worth asking, but demanding to be asked. Perhaps that is still so for some. I'd like to think so, but the film seems to be more bound to a sense of an absurd fatality, the journey itself therefore intensified because of the way it ends, in disaster. The end in the novel is disastrous, too, but only for some, not for all. Cash is changed, after all, and his new complexity is not nothing. The sensibilities of novel and film, therefore, are different. One might say they adhere to different beliefs, to different ways of seeing the world, views that often intersect, as in translation, but which cannot be the same. The two works, book and film, the two artists, Faulkner and Franco, exist, through Franco's intervention, in a dialogue with one another. This is the essence of translation, its necessary, inevitable transpositions.

Franco's use of the split screen cannot give a sense of interiority of Faulkner's monologues, of course, but it can offer instead the doubleness, even better the plurality of perspective that is the film's obsession, even to the moment (wonderful) when the muddy river itself is twice seen. This "doubling" is necessarily more restrictive than Faulkner's use of multiple narrations. Film in some ways is always more limited, imaginatively limited, than literature. That is, it is so if it is seen as a substitute art. Bresson, of course, would have none of that. Theater was one thing; "cinematography," by which he meant a film, is another. The split screen, then, eliminates over and over again the possibility of a single and therefore stable vision.

It is this instability that strikes me as part of Franco's vision. Look at how much time he spends on people's looking, just looking or staring and, occasionally, seeing. No one sees what anyone else sees. That is Faulknerian enough, of course. Narrative in Faulkner is almost always at least doubly bound. But we are often, in his As I Lay Dying, always, within a character. It is a matter of plurality rather than of doubling. In the movie, not even in the voiceovers, are you in them, in the characters. The split screen is distancing. You are always outside, listening in, as the language spoken combines and clashes with what is seen. It is a wholly different way of viewing the world, in short. What is fine about the film for me, then, is how much of Faulkner's "poetry" remains within it even though it is transposed. Faulkner's novel might be in part about the anguish of meaning; Franco's is more about its impossibility. That is much too glibly said. But I hope it might intimate some of what I see.

The movie is undoubtedly the finest translation of a Faulkner novel to film. The few others are worthless or ludicrous. Franco's film on Hart Crance, The Broken Tower, may be the best movie ever made about a poet. His As I Lay Dying, seen for itself, in its subtle greens and browns and yellows, in its recurrently stunning and provocative vision, is one of the best re-imaginings of a novel into film. It is also one of the few genuinely serious movies directed by an American that I have seen during the last few years, as original and accomplished as Kelly Reichardt's work, for example.
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