When a book has won the Booker Prize and the film that it spawned has taken Oscars, the casual reviewer could be tempted to conclude that every little thing has already been said on its subject. Having just revisited the film after several years of absence, I decided to re-study the book. I don't recall how many instances I have study it now: let's call it numerous. I have noticed the film at least six times.
Initial let it be mentioned that the film, The English Patient, claims only to be based on Michael Ondaatje's book. It is a film from the book, not of the book. The distinction is critical since, despite the film's admirable try to recreate the complexity of component of the novel, the book usually went significantly further.
In the book we have characters who have been scarred by war, by a war that none of them especially wanted to fight. I suppose there are occasional wars where some of the participants want to be active. But right here Caravaggio just wanted to remain a thief and therefore keep his thumbs. And who would take over thieving if he is drafted to fight? Perhaps Hana's father genuinely did intend to see out the conflict and restart his prior life. Perhaps the English Patient, himself, did genuinely want to be English. I doubt it. Or maybe the idea, that of nationality, offered war, was mere irrelevance. It was sides that folks counted.
He unquestionably had much to hide, but from whom? What does it matter what side you claim to be on when it is only ever the innocent who fall victim? This final point is essential to the feelings of Kip, the character who only just makes it into the film.
For in the book this Sikh sapper, this bomb disposal specialist, who risks his own life to shield other individuals, is a complex anti-colonial thinker. He has a sense of justice that transcends victory, particularly when that victory is won at tremendous cost in the lives of those who did not fight.
Initial let it be mentioned that the film, The English Patient, claims only to be based on Michael Ondaatje's book. It is a film from the book, not of the book. The distinction is critical since, despite the film's admirable try to recreate the complexity of component of the novel, the book usually went significantly further.
In the book we have characters who have been scarred by war, by a war that none of them especially wanted to fight. I suppose there are occasional wars where some of the participants want to be active. But right here Caravaggio just wanted to remain a thief and therefore keep his thumbs. And who would take over thieving if he is drafted to fight? Perhaps Hana's father genuinely did intend to see out the conflict and restart his prior life. Perhaps the English Patient, himself, did genuinely want to be English. I doubt it. Or maybe the idea, that of nationality, offered war, was mere irrelevance. It was sides that folks counted.
He unquestionably had much to hide, but from whom? What does it matter what side you claim to be on when it is only ever the innocent who fall victim? This final point is essential to the feelings of Kip, the character who only just makes it into the film.
For in the book this Sikh sapper, this bomb disposal specialist, who risks his own life to shield other individuals, is a complex anti-colonial thinker. He has a sense of justice that transcends victory, particularly when that victory is won at tremendous cost in the lives of those who did not fight.
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