Thursday, July 28, 2011 at 8:03PM Will We Get a 'Mr. Vertigo' From Terry Gilliam?
When it comes to Terry Gilliam, nothing is certain until it is done. So goes his luck at any and every production he's tried and either has or hasn't successfully completed. The most apparent failure was with The Man Who Killed Don Quixote which was "financed, shooting, shut down, re-conceived, cast, ultimately not financed" and the most triumphant near miss was recently seen in The Imaginarium of Doctor Parnassus, where Johnny Depp, Colin Farrell and Jude Law stepped up to help complete the film when Heath Ledger suddenly died. That last one must have really hurt everyone on the production team.
"Novelist Paul Auster has seen his work on screen through a variety of processes... several films, but few direct novel adaptations. That could be in part due to the fact that his books aren’t quite straight fiction, but rather a blend of genre tropes, existential curiosity and magical realism. Not the easiest adaptations. Those elements also make up a good part of the ingredient list for Terry Gilliam‘s scripts, however, and so it makes sense that he is now writing a script based on Mr. Auster’s novel Mr. Vertigo."
At a recent Q&A session, Terry Gilliam has made it know about the Auster novel:
I got a book. It's called 'Mr.Vertigo' by Paul Auster. And I'm actually working on a script of it at the moment. Doesn’t mean it will be a film; but I’m working on a script.
Now we can all speculate about the project and so on, but I think we'd all rather leave Gilliam to his writing thoughts and await the next bit of news from him directly or hopefully from a press release. Wishful thinking at this point, I know.
Here's a quick synopsis of Paul Auster's novel 'Mr.Vertigo':
It will come as no surprise to the gifted Auster’s (“Moon Palace”; “The Music of Chance”) many fans that walking on air, the implausible premise of his marvelously whimsical seventh novel, is treated with convincing gravity. Walt Rawley recounts his life: an orphan born in 1924 with “the gift,” he was seized by his master, Mr. Yehudi, a Hungarian Jew who taught him to levitate. Yehudi takes the boy from St. Louis to his own Kansas menage, which consists of Mother Sioux and Aesop, a young black genius. (Also influencing Walt’s life is classy, henna-headed Marion Witherspoon, a seductive mom figure from Wichita.) After harsh training, Walt tours with his mentor as “the Wonder Boy,” aka Mr. Vertigo. Crammed into this road saga is the potent Americana of myth: the 1920s carnival circuit, Lindbergh’s solo, the motorcar, the ethnic mix, the Ku Klux Klan and the Mob, baseball and Kansas, “land of Oz.” Diverse mishaps descend, but eventually Walt glides into old age and writing. The characters speak a lusty lingo peppered with vintage slang, while a postmodern authorial irony tugs their innocence askew. The prose grows particularly electric when demystifying “loft and locomotion.” Implicit is an analogy between levitation and the construct of fiction: both require fierce discipline to maintain a fleeting illusion.
Source: /Film
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