So clearly, this UHD easily tops the old Blu-ray. Flesh tones are a tad warm, but they are meant to be.īlack level is deep and holds good shadow detail and improves the frame depth, giving an urgency to the image, while the white scale really shines, the exploding light bulbs, the flashes of lightning and the sparks of electricity add hugely to the highlights. The WCG and HDR give a significant boost to the colouring, you can feel the heat of the Louisiana summer, greens are lush, red pops and blue is crisp. One day you spin near perfection the next you find the intern has been put in charge of the DNR button.ĭetail, for the most part, is keen and sharp, close-ups of faces reveal deep skin texture, from pores, hairs and sweat dripping down foreheads, while clothing has clear weaves, the grime in the cells (peeling paintwork, crumbling brickwork, rough iron bars) is evident, while outside the soil and vegetation of the land is clear and bright. ![]() Sometimes this job can be so frustrating. Little wonder it was nominated for and won several awards. Nothing feels forced and all the action feels earned, and, as a consequence, the pacing belies its runtime – never rushed, exploring all aspects to its satisfactory conclusion. Indeed, the film, whilst it has supernatural elements and an air of mystique, is at its core, a character study of right and wrong, conscience against action, justice, but above all mercy. Writer/director Darabont, aside from re-ordering the story, pretty much lifts the narrative from the page and places it on to the screen such that the film's interwoven elements and pacing flow like a book meaning there is time to explore the character motivations which gives actions consequence and meaning, and therefore the ultimate fates have an emotional punch that is deserved. Whilst there are a number of others, all equally as fine in their roles, it is these four, and their interaction with the narrative around which the story unfolds. ![]() Of the characters in The Green Mile there are four that stand out as being typically King in their make up the evil good guy, here that is Percy Wetmore, played by Doug Hutchison, a vicious bully whose opening lines and scene perfectly portrays the smarmy, snide weasel of the characterisation the evil evil guy, here that is 'Wild Bill' Wharton, played by Sam Rockwell, a deranged and thoroughly nasty piece of work that deserves everything he gets the good good guy, here that is Paul Edgecomb, played by Tom Hanks, you don’t need to say anything about the character, Hanks is always the good guy and perfectly encapsulates this paragon of virtue and finally the misunderstood guy, here that is John Coffey, played wonderfully by Michael Clarke Duncan, as the gifted giant around whom the story eventually revolves. They have become perhaps the most well received adaptations, not just by the cinema going public but by the author himself. He took slightly shorter, perhaps (at the time) lesser-known novellas and pretty much adapted them from page to screen barely changing a thing. The filmic output from these novels has been less than stellar, with the best normally being extensively adapted, much to the chagrin of King, himself.įrank Darabont, however, decided to do things a little differently. ![]() ![]() It is these characters we follow that make the books so enthralling. King’s books are literary giants, packed full of believable, nuanced characters with traits and mannerisms that bring them alive, and depending on their application we love or hate them. Indeed, the annals of cinematic failure are littered with such misjudged examples, even among tonight’s featured writer, Stephen King. The translation process runs the risk that something might go missing. Slavishly following a book’s narrative when adapting for the big screen doesn’t generally work given the different ways audiences consume the story in the two divergent media.
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