The Constant Gardener
© James C. Hess
But for a lack of ego unabashed and unapologetic arrogance would be appropriate at this moment: A few weeks ago I received an e-mail from an individual, a reader of this otherwise humble and insignificant column, who claimed to be a person who lives and works in Hollywood proper.
Since such missives tend to be commonplace I politely asked he provide evidence, some measure of proof demonstrating that he was what he claimed to be, what he claimed he was.
He did: An otherwise unlisted telephone number that allowed me access to the proverbial inner sanctum.
It turned out this individual, this fan (for lack of a better and more appropriate word), was not only what he claimed to be, but he was also who he said he was: When I called the number provided, and told the woman who answered who I was and why I was calling, she barely let me finish before putting me through with an almost breathless, 'Hewashopingyouwouldcall'.
We had a rather long and involved conversation, during which it came out he has been following this effort for some time, and that he unconditionally agreed with me that something must be done to return Hollywood to its glory days.
That 'something', it was agreed, was the re-introduction of The Story.
For some time now, as long-time readers of this column know, I have actively campaigned for the return of not only good storytelling but good storytellers.
A campaign, I was told, that is being answered with films and movies such as "The Constant Gardener".
Superficially this pronouncement is correct. "The Constant Gardener" does tell a good story, by way of good storytellers such as Brazilian director Fernando Meirelles and novelist John Le Carre, who, individually and collectively, know how to tell a good story, using as a narrative structure the structure otherwise found in a standard chess game: One narrative is not apparent, while many are, resulting, finally, in that one narrative, with the best, most recent example being Meirelles' "City of God" (2002).
Therein, however, is a problem: As a writer Le Carre brings a certain prejudice and perception to his works. As a director Meirelles brings his own unique perception and prejudice. Unfortunately, they are as unique as the telling of a given tale. As a result "The Constant Gardener" demonstrates a certain case of multiple personality disorder: Here is Meirelles' direction. There is Le Carre's literary stylings. Here is Le Carre. There is Meirelles. Here is a historically proven characteristic demonstrated narratively by Le Carre. There is a cinematic touch that identifies Meirelles.
