Dear Match Book,
I like to read nonfiction books that have been turned into movies. I don’t care which order I encounter them in: If I read the book first, I like to follow up with the movie to see how the filmmakers streamlined the plot, but I’ll also go from movie to book. (I recently watched “A Civil Action,” then found the book by Jonathan Harr at a used-book store.)
I’m rarely disappointed by the literary counterparts, one exception being “Julie and Julia,” by Julie Powell — I far preferred the film.
I’ve read Terry Ryan’s memoir, “The Prize Winner of Defiance, Ohio,” which I thought was superb, but I haven’t seen the movie yet. I enjoyed both versions of Erich von Däniken’s classic “Chariots of the Gods” (I watched the movie first).
I recently picked up “The Monuments Men,” by Robert M. Edsel, since I have already seen the film. I’m also looking forward to reading and watching “The Radium Girls,” by Kate Moore, as well as to tackling both page and screen versions of “The Immortal Life of Henrietta Lacks,” by Rebecca Skloot.
Can you recommend any other nonfiction books that have been made into movies?
The mind’s eye of a reader — what allows you to picture, say, the views from the Pacific Crest Trail as conjured by Cheryl Strayed in “Wild,” or the graffitied walls of the bus-turned-shelter described by Jon Krakauer in “Into the Wild” (both ideal adds to your page-to-screen list) — might also hold some back from appreciating adaptations: Once built, the sets readers have constructed in their minds can be hard to strike. Your unique flexibility, though — a kind of double vision — allows you to see the distinct strengths and architectures of each form.
Given Hollywood’s penchant for recycling narratives, examples that fit your search abound. I’ll mention just a couple of handfuls. Start with two 2018 big-screen adaptations with excellent source material and Academy Award nominations. Spike Lee’s “BlacKkKlansman” sprang from Ron Stallworth’s “Black Klansman,” a memoir as lean and brisk as a screenplay. In it the first black cadet to become a police officer in Colorado Springs, in 1974, details his strange and dangerous undercover investigation of the Ku Klux Klan. Identity, as seen from the opposite side of the law, also plays a part in “Can You Ever Forgive Me?,” the delectable autobiography by a literary biographer turned literary forger, Lee Israel, adapted into a movie of the same name directed by Marielle Heller.
Skillful adaptations of (still more) personal narratives, which provide rich source material for filmmakers, can link the two types of storytelling inextricably. I still hold a grudge against Robert De Niro for the way he treated Leonardo DiCaprio, as Tobias Wolff, while playing his stepfather in the adaptation of Wolff’s memoir, “This Boy’s Life.” And just as Penny Marshall’s movie version of “Awakenings” led to a wider appreciation of Oliver Sacks’s writing, I wish that the director Jane Campion’s intimate “An Angel at My Table,” an adaptation of three volumes of the New Zealander Janet Frame’s memoirs (including scenes from her time in a psychiatric hospital), had led to a broader and more sustained readerly embrace of all of Frame’s vibrant and contemplative work.
And in another cinematic take on a young woman’s personal account of her stay in a psychiatric institution — Susanna Kaysen’s “Girl, Interrupted” — Angelina Jolie’s portrayal of one of Kaysen’s fellow patients won her an Academy Award.
An even more extreme confinement marks “The Diving Bell and the Butterfly,” Jean-Dominique Bauby’s slim book, which he composed post-stroke by blinking his words to an assistant, one letter at a time. The visually arresting movie, directed by the painter Julian Schnabel, shifts the key characters in Bauby’s life, making for interesting contrast.
The Big Picture
Finally, the narrative sweep of books on history, space, sports, etc. have led to a string of big-budget feature film successes: Laura Hillenbrand’s “Seabiscuit” and “Unbroken,” Margot Lee Shetterly’s “Hidden Figures,” and Doris Kearns Goodwin’s “Team of Rivals,” which became Steven Spielberg’s “Lincoln.” This category also includes two books that made the most surprising (to me anyway) and smooth transitions to film: Michael Lewis’s “Moneyball” and “The Big Short.” Chalk it up to movie magic.
Yours truly, Match Book
Check out Match Book’s earlier recommendations here.
上期六台彩开什么码【不】【知】【道】【是】【啥】【原】【因】，【突】【然】【间】【就】【生】【病】【了】，【头】【晕】【脑】【胀】，【恶】【心】【想】【吐】，【还】【咳】【嗽】…… 【要】【休】【息】【几】【天】，【好】【好】【养】【病】！ 【实】【在】【抱】【歉】！
“【走】【啦】。”【霜】【儿】【很】【是】【豪】【爽】【的】【轻】【拍】【白】【旭】【的】【肩】【头】，【于】【她】【而】【言】，【白】【旭】【早】【就】【是】【她】【的】【好】【友】【了】，【所】【以】【别】【人】【不】【敢】【对】【白】【旭】【做】【的】【事】，【她】【敢】【做】。 “【我】【总】【觉】【得】，【自】【从】【认】【识】【琴】【儿】【以】【后】，【我】【这】【女】【生】【勿】【进】【的】【谣】【言】【就】【破】【了】。”【他】【想】【了】【想】，【慕】【容】【烟】【琴】【可】【以】【靠】【近】【他】，【霜】【儿】【可】【以】，【独】【孤】【清】【漪】【也】【能】，【还】【有】【沐】【夫】【人】，【灵】【儿】，【这】【些】【都】【是】【女】【人】。 “【你】【也】【说】，【那】【是】【谣】
【众】【人】【忙】【把】【他】【送】【往】【医】【院】，【一】【查】，【发】【现】【他】【得】【了】【癌】【症】。 【为】【了】【抑】【制】【他】【的】【病】【情】，【琳】**【忍】【下】【心】【肠】，【把】【公】【司】【股】【份】【全】【卖】【了】，【拿】【来】【给】【余】【云】【龙】【治】【病】。 【余】【云】【龙】【觉】【得】，【自】【己】【病】【时】【治】【不】【好】【的】【了】，【不】【想】【让】【他】【们】【再】【浪】【费】【钱】。 【此】【时】【他】【也】【意】【识】【到】，【儿】【子】【拒】【绝】【定】【亲】，【不】【是】【因】【为】【他】“【不】【孝】”……【他】【也】【只】【是】【想】【给】【自】【己】【的】【孩】【子】【一】【个】【选】【择】【权】【罢】【了】。 【余】【云】
【初】【阳】【升】【起】，【浓】【郁】【的】【黑】【烟】【正】【渐】【渐】【消】【散】，【徒】【留】【缕】【缕】【轻】【烟】【化】【为】【无】【形】。 【高】【挂】【着】“【香】【桂】【叶】【之】【家】”【招】【牌】【的】【旅】【店】【内】，【一】【个】【小】【男】【孩】【正】【艰】【难】【地】【抱】【起】【摞】【起】【来】【的】【木】【条】，【朝】【着】【库】【房】【跌】【跌】【撞】【撞】【地】【走】【去】。 “……【就】【像】【你】【现】【在】【看】【到】【的】【这】【样】，【他】【已】【经】【无】【依】【无】【靠】。【店】【里】【已】【经】【是】【这】【个】【样】【子】，【伙】【计】【的】【家】【属】【迟】【早】【也】【会】【上】【门】【要】【钱】，【他】【的】【父】【亲】【也】【需】【要】【收】【敛】【与】【下】【葬】，
【薛】【娇】【儿】【第】【二】【日】【起】【了】【个】【大】【早】。 “【把】【前】【些】【日】【子】【老】【夫】【人】【赏】【的】【那】【只】【金】【钗】【给】【我】【拿】【过】【来】。”【薛】【娇】【儿】【在】【首】【饰】【匣】【中】【挑】【挑】【拣】【拣】【了】【半】【天】，【也】【不】【甚】【满】【意】。 “【姨】【娘】，【咱】【们】【不】【便】【太】【过】【铺】【张】【了】【吧】。”【小】【莲】【将】【金】【钗】【递】【给】【她】，【有】【几】【分】【担】【忧】【的】【说】【道】。 【薛】【娇】【儿】【将】【金】【钗】【插】【入】【发】【间】，【不】【甚】【在】【意】【的】【说】【道】：“【如】【今】【暮】【合】【院】【那】【边】【的】【算】【是】【失】【了】【势】【了】，【另】【外】【那】【个】【不】【过】上期六台彩开什么码【半】【个】【月】【后】，“【黑】【血】【谷】”【深】【处】【一】【道】【黑】【影】【正】【于】【遮】【天】【避】【日】【的】【黑】【霾】【雾】【气】【中】【快】【速】【穿】【梭】，【正】【是】【身】【着】“【天】【鹰】【墨】【染】【袍】”【的】【刘】【玉】，“【黑】【血】【谷】”【深】【处】【地】【貌】【与】【外】【围】【毒】【林】【完】【全】【不】【同】，【没】【有】【树】【木】，【光】【秃】【秃】【一】【片】，【连】【绵】【凸】【起】【的】【丘】【陵】，【形】【成】【连】【片】【大】【小】【不】【一】【的】【凹】【谷】。 【刘】【玉】【施】【展】【御】【风】【术】【踩】【着】【凸】【起】【的】【怪】【石】，【快】【速】【向】【前】【飞】【奔】，【四】【周】【冒】【着】【缕】【缕】【黑】【烟】【的】【泥】【土】【不】【时】【翻】【动】
“【吃】【吗】？”【超】【市】【门】【口】【的】【小】【店】，【茵】【茵】【举】【了】【两】【个】【可】【丽】【饼】【分】【了】【一】【个】【给】【少】【女】。 【少】【女】【也】【没】【有】【和】【茵】【茵】【客】【气】，【谢】【过】【之】【后】【就】【接】【了】【过】【来】【咬】【了】【一】【口】。 “【这】【地】【方】【好】【吃】【的】【东】【西】【比】【想】【象】【的】【要】【多】【啊】！”【美】【味】【入】【口】，【少】【女】【不】【禁】【发】【出】【感】【叹】。 【她】【娇】【憨】【的】【模】【样】【看】【着】【茵】【茵】【有】【些】【也】【忍】【不】【住】【扬】【起】【嘴】【角】，“【你】【多】【大】【了】？”【少】【女】【长】【的】【样】【子】【就】【很】【容】【易】【惹】【起】【别】【人】【的】【怜】
【一】【重】【天】。 【冬】【雪】【妍】【行】【至】【了】【一】【处】【无】【主】【之】【地】，【身】【姿】【沉】【稳】【的】【落】【在】【了】【地】【上】，【她】【先】【是】【四】【顾】【打】【量】【起】【周】【围】【的】【环】【境】【来】，【此】【处】【乃】【是】【一】【处】【风】【景】【秀】【丽】【的】【山】【间】，【山】【间】【溪】【流】【纵】【横】【交】【错】，【流】【水】【潺】【潺】，【景】【色】【风】【水】【看】【似】【宜】【人】，【不】【过】【灵】【气】【充】【裕】【程】【度】【只】【能】【算】【得】【一】【般】，【也】【无】【怪】【乎】【这】【样】【的】【山】【水】【俱】【佳】【之】【地】，【是】【一】【个】【无】【主】【之】【地】，【没】【有】【任】【何】【宗】【门】【在】【此】【开】【山】【立】【派】。 【不】【过】【只】
【若】【儿】【不】【懂】【她】【在】【说】【什】【么】。“【你】【是】【谁】？【灵】【心】【又】【是】【谁】？【这】【是】【哪】【儿】？” 【女】【人】【笑】【道】：“【呵】【呵】……【你】【这】【孩】【子】，【这】【里】【当】【然】【是】【醉】【玉】【楼】，【我】【是】【这】【里】【的】【妈】【妈】，【灵】【心】【就】【是】【你】【啊】。” 【这】【个】【女】【人】，【正】【是】【醉】【玉】【楼】【里】【的】【老】【鸨】。 【若】【儿】：“【可】【我】【不】【叫】【灵】【心】【啊】。” 【老】【鸨】：“【你】【不】【叫】【灵】【心】【还】【能】【叫】【什】【么】？【这】【孩】【子】，【不】【会】【是】【受】【了】【什】【么】【惊】【吓】【吧】……”