
When, one day in 1929, writer Thomas Wolfe decided to keep the appointment made by Max Perkins, editor at Scribner's, he had no illusions: his manuscript would be turned down as had invariably been the case. But, to his happy amazement, his novel, which was to become "Look Homeward, Angel," was accepted for publication. The only trouble was that it was overlong (by 300 pages) and had to be reduced. Although reluctant to see his poetic prose trimmed, Wolfe agreed and was helpe... (Full plot summary below)
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When, one day in 1929, writer Thomas Wolfe decided to keep the appointment made by Max Perkins, editor at Scribner's, he had no illusions: his manuscript would be turned down as had invariably been the case. But, to his happy amazement, his novel, which was to become "Look Homeward, Angel," was accepted for publication. The only trouble was that it was overlong (by 300 pages) and had to be reduced. Although reluctant to see his poetic prose trimmed, Wolfe agreed and was helped by Perkins, who had become a true friend, with the result that it instantly became a favorite with the critics and a best seller. Success was even greater in 1935 when "Of Time and the River" appeared, but the fight for reducing Wolfe's logorrheic written expression had been even harder, with the novel originally at 5,000 pages. Perkins managed to cut 90,000 words from the book, and with bitterness ultimately taking its toll, the relationships between the two men gradually deteriorated. Wolfe did not feel grateful to Perkins any longer but had started resenting him for owing his success to him.
Leave your thoughts about Genius.
| ObserverRex ReedColin Firth is brilliant as the patient, uncompromising and introspective Max Perkins, and the explosive performance by Jude Law as the wild, unpredictable and tragic Thomas Wolfe is one of the greatest triumphs of his career. I was spellbound. |
| The PlaylistJessica KiangYour mileage will vary on Genius, depending on where you place Law’s performance on the irritating/entertaining spectrum and your tolerance for somewhat formulaic tales of creative ego and “The Price of Fame.” |
| The New RepublicJoanna ScuttsThe film struggles mightily to dramatize the work of reading, writing, and editing, with loud scratches of red pencil on paper. |
| Chicago Sun-TimesRichard RoeperEven as I was rolling my eyes, I was digging just about every stylized visual flourish, every big performance, every overly dramatic confrontation featuring first-rate actors letting loose with unabashed gusto and veracity, even when they were bellowing lines stating the obvious. |
| Fort Worth WeeklyKristian M. LinThe results are decidedly underwhelming despite a deluxe cast. |
| RogerEbert.comGlenn KennyI’m not the only one who was at least slightly taken aback, though, by a persistent quirk in the movie’s casting, which is that not one of the Lions of American Literature in this picture was played by, well, an American. |
| Common Sense MediaSandie Angulo ChenSatisfying portrayal of literary legends has mature themes. |
| Christian Science MonitorPeter RainerMy worst fears were confirmed almost from the start. In order to inject some pep into the proceedings, Law has been encouraged to play Wolfe as a motormouthed rhapsodist who seems less inspired than unhinged. He’s exhaustingly exuberant. |
| Georgia StraightKen EisnerIs it ironic or merely inevitable that a film about the challenges of editing great writers should emerge still needing more passes in the screenplay department? |
| Cinemalogue.comTodd JorgensonIt sacrifices depth and context in favor of overwrought confrontations and emotional contrivances that make its artistic portrait seem slight. |