More views of - or before - Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)
In the hush-hush days of Hollywood, it is well past the point of no return before what has somehow happened comes to light. Through some staggering implausibility, the screenplay that has been developed in one studio is, word for word, identical with that worked on by another*, and they each had gone into production with it.
When the studio heads eventually come to believe (which is not easy for them to do) that this is truly not the result of espionage or collusion, and that litigating the matter will not get them nowhere, they accept the situation for whatever cosmic quirk it is. They agree different names for each film, and that they will battle it out at the box office, relying on the distinction brought to the screenplay of their producers, directors, stars, directors of photography, film editors, wardrobe, make-up, hair, set-design...
When the films are released, though, what amazes them most is that no one includes both films in their reviews, let alone praising one over the other : seemingly, no one has noticed.
From then on, as other studios watched in surprise, Hollywood learnt a lesson, realizing that they had been giving cinema-goers and critics too much credit. They have never looked back.
* Many will not be unaware that one is, of course, also indebted here to Jorge Luis Borges, for his story (in essay form) that re-creates the writings of Miguel de Cervantes, 'Pierre Menard, Author of the Quixote’ (‘Pierre Menard, autor del Quijote’) (and for having had the opportunity to refer to it a preview, for Cambridge Film Festival 2014 (#CamFF), of Othello (Otel.lo) (2012)).
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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)