I’m a firm believer that there are some source texts that are absolutely impossible to botch, provided they keep the main narrative intact. Tracy Letts’ play “August: Osage County” belongs in such a category.
Many in the theatrical community already assert that it will be in the American dramatic canon along with works by Arthur Miller, Tennessee Williams, and Tony Kushner. Letts provides some of the most gripping familial tensions I’ve ever read, and it’s chock full of meaty characters in an ensemble for the ages.
John Wells’ film adaptation of “August: Osage County” brings that story to a larger audience than likely could ever be reached on one stage. Moreover, the cast he assembles is like the kind of “one night only” extravaganza that fans can only dream about. I’ve never seen the show live, so I can’t really speak to its theatrical power.
Letts’ words did, however, jump off the page and paint such a vivid picture in my mind that I feel as if I did. While the film does a decent job translating the action to the realm of cinema, there still feels like a bit of raw intensity evaporated in the transfer.
That’s not to say, though, that Wells doesn’t effectively harness the power of the screen to bring a different dimension to Letts’ opus of intergenerational discord. On a stage, you can’t key off the subtleties in an actor’s facial movements, which is one of his most clever editing tricks in “August: Osage County.” Some theorists have labeled film a fascist form because it has the power to direct your attention towards only what it considers relevant, but the way Wells chooses to organize these massive scenes is actually quite freeing. It ensures we do not miss crucial reactions that serve to define the arcs of the characters.
Melissa Leo seems to have emerged as the frontrunner for Best Supporting Actress for her work in “
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