I don’t know why but last weekend I was thinking about Raymond Chandler, Ernest Hemingway, William Faulkner, F. Scott Fitzgerald, and Alfred Hitchcock. Not necessarily in that order. As I’ve written before, I don’t know why I think the things I do, but I do and that is enough to make me think, and then think that I’d rather not want to think about it.
It all started with me re-reading The Curious Case of Benjamin Button which got me thinking about how a movie and a book can be so different. A movie and a 600 page novel, an epic, the proverbial tome may differ because who could get all that detail into a movie people would be willing to sit through, except perhaps Gone With the Wind, but that has its own problems. But with Ben, or BB as I like to call him, that’s a short story, and still Eric Roth managed to write a 2-1/2 hour movie based on a tale that took me a fifth of that time to read, with a bathroom break thrown in. How did he do that! The answer is, he didn’t. Roth and story writing partner Robin Swicord wrote a different story with a title and a character of the same name. It’s a good movie. It’s a good short story. They just aren’t the same. And that’s been going on pretty much since we’ve had movies.
William Faulkner’s 1944 treatment of Hemingway’s To Have and Have Not does the same thing. A character or two are mentioned in both book and movie, and those plus the title are the total of what remains of the story the movie was based on. Now the 1950 adaption, “The Breaking Point,” by screenwriter Ranald MacDougall is much closer to the Hemingway classic. It’s on a different ocean and there’s an extra couple of characters, but it’s recognizable as being a story based on. But does that make it better than the 1944 classic or just different?
You can’t say that Faulkner, who was no slouch in the book writing department, was flexing his writing muscles, because he quite faithfully followed Chandler’s The Big Sleep, changing only what needed changed to make the movie acceptable to those who moderated the 1946 version of the production code (and to make it acceptable to those who wanted to see Bogart and Bacall become Bogart and Bacall). Perhaps that is why when Chandler took to the task of writing the screenplay to Patricia Highsmith’s Strangers on a Train, he stayed as close as he could to the original story. Oh wait, you’re going to say, they aren’t close at all. You might even say in the movie, the strangers are on an entirely different track than the one the train chugs along on in the psychologically thrilling novel. The “Strangers” presented by Alfred Hitchcock that we see is not the version Chandler wrote. That script ran afoul of the censors (and to a large extent, of Alfred) and was almost entirely rewritten by Czenzi Ormomde.
When Chandler and co-screenwriter Billy Wilder adapted James M. Cain’s Double Indemnity, they took much liberty with the original story, changing names and timelines, and most radically, they added a new character, the insurance investigator, which created a completely different story.
“Double Indemnity” and “Strangers on a Train,” a double dose of two books, two movies, four stories, none of them bad but none of them based on any other. So maybe when you have great writers adapting great works of writing, you will get great results, just not always recognizable as the story they are based on.
Now let’s talk about what Leon Uris and Dalton Trumbo did with “The Exodus.”

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Speaking of things that describe, we’ve been so busy lately so busy making up rules about pronouns to effectively represent people, that we’ve missed it completely that when it comes to things. When writing, or speaking or even texting (although I hesitate to include text message characters as representative of the English language), and reference is made to two objects introduced in the same sentence, in subsequent reference to one or both (or even more!) our current batch of pronouns is woefully inadequate. And we end up writing things like, “As in them, the things that need describing, not the things that are described.” We need a good shorthand way to refer to thing one and thing two through the duration of the missive.
If I tell you to picture in your mind classic gray sweatpants, you know exactly what I mean. The picture in your mind is unambiguous. And you no doubt can fill in the rest of the catalog with several tops (long, short, and sans sleeves) and short versions of those pants. But what’s the stuff they are made of? We can describe it, but can we name it? Gray sweatsuit material is just too long. It’s usually cotton but to say, “it’s too warm today for long pants, I think I’ll exercise in my cotton shorts,” sounds like I’m headed to the gym in my underwear. Athletic wear is confused with athleisure which is just spandex you wear in the outside. Technically that gray stuff is a sort of flannel but if I say I plan to jog in my gray flannel suit, people will expect to see someone running down the street more formally attired than I’m comfortable running in. Nope, we need a new word for gray sweatsuit material and that’s that.

Did you on June 29 Earth completed a full rotation on its axis 1.59 milliseconds ahead of schedule? Time flies! We talked about that last week at 
What’s the most significant day in your life? Did we answer that question last week at 



Did you stop by ROAMcare last week to read the meaning of life in five words. It’s worth the 3 minutes it takes to read the other 495 at
Stay in your lane
Old enough to drink
Brand Disloyalty
Did you stop by ROAMcare last week to read our take on “Special are those who plant trees knowing that they shall never sit in their shade,” the counterpoint to my post here last week? If you missed it, you can check it out now at 
If you haven’t had a chance to visit 
If you haven’t had a chance to visit
If you find yourself at the neighborhood dive, local watering hole, or anywhere where karaoke is sung, unless you have a singing contract from a major record studio or 100% of the audience is drunk, including bartenders and the guy who sits outside the door trying to remember where he parked earlier in the evening, don’t be the first one up to sing. This will spread much happiness particularly to those wanting to sing but not wanting to be the first one up and them with an audible sigh of relief.