Bee Season

Since I have not read the novel upon which Bee Season is based, I cannot evaluate the film's interpretation of the book. It seems, however, that there is more occurring within the characters of this story that is not stated or developed within the screenplay. And unfortunately more needed to be conveyed, and developed in order for this film to affect the audience in a useful way. Plot Summary: The film is about an intellectual, dynamic family. Eliza (Flora Cross) enters a school spelling bee, wins, and soon realizes she has the ability to visualize words and their correct spelling. She says she feels and sees the word "talking to her." Her father, Saul Naumann (Richard Gere), a professor of Judaic Mysticism at a San Francisco university later decides that Eliza has the unique ability to speak to God. He becomes preoccupied with nurturing and developing this "gift" within his daughter, and in the process falls out of touch with his son Aaron (Max Minghella), who becomes disillusioned with his faith in Judaism and rebels against the influences of his father. Aaron begins studying Buddhism after meeting a female romantic interest who is sympathetic to his expressed feelings of emptiness and detachment. Saul's Wife, Miriam (Juliette Binoche), struggles with her own detachment from reality as she continues to mourn the death of her parents who died in an accident when she was young girl. My Analysis: Like some of the characters in the film, I too left the film somewhat empty, or unfulfilled. I wanted to know more about what was going on with this family. The relationship between Gere's character and his son is somewhat familiar -- a son rebels against a father who is too strongly pushing his faith and interests. This form of rebellion seems typical of most adolescents. The mother and daughter share the unusual relationship; both of whom seem to possess certain supernatural powers. While it is the daughter's power to visualize and spell that is the focal point of the film, it may well be a similar ability that drives her mother to mental illness. The relationship between them should have been developed more, however. I wanted to know what the mystical-supernatural ability meant, but the screenplay doesn't explain much, and this is frustrating. In addition, when it becomes apparent that Miriam is suffering from a severe mental disorder and continues to mourn the death of her parents, I questioned why her husband was so utterly unaware of her suffering as it had been going on for some time. He was an intelligent man who had great concern for the welfare of his family, and it didn't seem to fit his character. The film might merely be about a domineering father and the influence his beliefs have over his family. But I'm hoping it's more than that. The story goes to pains to make it clear that there is a very real supernatural element at work here, but the film doesn't do enough to convey what this means and why it's important. I appreciate movies that are efficient, that don't hold my hand through everything and that give me credit for making inferences to tie a storyline together, or even leave the story purposely ambiguous so as to allow for interpretation, but in the case of the Bee Season, the subject matter is too abstruse and the story is too underdeveloped. I could not reach a satisfactory understanding of what occurred and why it was important. The acting was strong, however. Binoche, Gere and company make the best of an underdeveloped script. The quality of the acting makes the problems with the script even more frustrating because it seems like this film could have been much more.

It's true.. the book is always better than the movie. I thought that this movie was very disappointing to watch after having reading the book.

The movie moves too fast, though I can understand because of time limit, to actually give the viewers the concepts that the book gives. A lot of details and events are cut from the book that is important to the story as a whole. The script seems undeveloped, and the actors/actresses carried out their character with mediocre performances.

Saul (Richard Gere) is somewhat true to his character. The only thing he is obsessed with is to enable Eliza to communicate with God. He does this in a way that is the most true to novel.

Aaron's (Max Minghella) appearance is very different from that described in the book. He is described as a pale and scrawny young man, who is incapable of getting dates and is a social outcast. His search for a new religion seems unreasonable and spontaneous in the movie, and I thought it didn't really capture his true character.

Miriam's (Julliete) kleptomania is weird in both the book and the movie. Her actions in the book seems more reasonable when I knew her purposes for doing it. In the movie I thought it was a very random thing for her to do.

Eliza (Flora Cross) is a young actress, and is limited to what she can do. Her acting is very mediocre at best, and does not convince me of Eliza that is in the novel.

Chali, which I am surprised to see, have been transformed from a middle-aged man into a young blond girl. I can understand why they did that, but that just adds to the falseness of Aaron's character.

Overall I think the movie is an average depiction of Bee Season. I can't say that they did a nice job of sticking to the plot. It's almost impossible to transform a novel into a movie with everything in the book.

Perhaps I wasn't in a particularly patient mood when I rented this flick, however I just couldn't finish it after an hour. The actors had no chemistry whatsoever. I adore Juliette Binoche, but there was no tension/attraction/emotion between her and her supposed husband played by Richard Gere. Richard Gere did not suit the role of a Jewish, brooding intellectual. Flora Cross was interesting and quirky, but again her relationship with other characters seemed forced. (I must say that I am a large fan of the chin cleft, it's a wonderful thing...). The entire book was dumbed down, the magic was rendered laughable. I suggest you spare yourself the experience.

Imagine growing up in a family of academics, musicians, and Jewish mystics. When 12-year-old Eliza (Flora Cross) wins both the district and regional spelling bees, her father, Saul (Richard GereJewish mysticism, begins to tutor her daily. Not only is he preparing her for the state spelling bee competition, but Saul is also training his daughter to be the mystic he wasn't able to become. Bee Season is not only a movie about meditation, but it is also itself a meditation. This family is consumed with finding God, but they all look outside of the family to find it, and in the process, the family falls apart. Eliza's older brother Aaron (Max Minghella) is so jealous that his sister is getting all of the family's attention that he goes off and joins a Buddhist cult, and everyone in the family is so focused on their own problems that no one notices the mother (Juliette Binoche) going slowly insane! Bee Season is transcendent and thought-provoking, and it even makes me want to go out and look for God.

"Bee Season" is much better than the trailer foretold and almost surmounts a central miscasting to re-interpret the strongest aspects of Myla Goldberg's novel, which my Fiction Book Club had thoroughly enjoyed discussing.

The film blends a family drama with two popular interests, the Kabbalah and spelling bees. Unfortunately, the gimmicky celebrity populism of the former is accentuated with the wincible casting of Richard Gere as the father who is supposed to be a Talmudic scholar with a dissertation on Jewish mysticism.

When he was shown giving a simplistic lecture at multicultural UC Berkeley on the theme of tikkun olam (repairing the world) that is echoed throughout the film, I felt the only way I could accept him in the role at all would be to assume he was a gentile intro to comparative religion teacher, even though he has lines denigrating Jews who chant Hebrew in synagogue without understanding the language and about inspiring his French Catholic wife to convert. He does put across well how the patriarch bullies the family emotionally and controls them with food, rigid standards and attention, like a more subtle Great Santini, but he lacks the pale intensity of the obsessed and just seems another NPR-listening, Bach-duet playing intellectual.

Until the involving climax, though, there are ironically very little Hebrew numbers as letters to guide the secrets of the universe in the movie when the dad takes his spelling wunderkind daughter under his wing to teach her the power of language, but it does lead to the most powerful scenes in the film of letting us see what's going on inside her head. Flora Cross in her debut is the anti-Dakota Fanning in absolutely convincing us that she is in thrall to a supernatural gift and that her kabbalistic studies, which are usually forbidden to young people for their psychological dangers, are opening her up to hidden reservoirs of perception. It is completely exceptional that special effects can be so extraordinary and important to an intellectual family story, but they are not only enchanting but demonstrative. Cross naturally communicates how she intuitively is in touch with a force that her father can only enthusiastically theorize and not quite capture himself.

The sharp editing is superb at clarifying cross-currents from the book, and perhaps making it much easier, perhaps a bit too simplistically, to see how each member of the family is seeking the face of God in their own way. The son, dark heart throb in the budding Max Minghella, is, as usual, seduced by a bland blonde shiksa, Kate Bosworth, though with an unusual rebellious religious twist that here seems natural to the Berkeley environment. But then his Jewish religious education seemed pretty random.

The editing and the special effects also marvelously contrast the paternal theme with the other fractured visual theme of the kaleidescope that the mother favors. While Naomi Foner Gyllenhaal's adaptation (and it's nice to see Maggie and Jake's mom's work again) makes the details of the mom's increasingly disturbed activities more incomprehensible than in the book, Juliette Binoche superbly adds a fragility and depth to the role beyond the novel and makes her heartbreakingly sympathetic.

The conclusion is more emotional, if more pat, than in the book, though some interpretation is still possible.

In making the intellectual visible, the film also uses library settings as an inner sanctum very warmly.

Nice to hear the band Ivy on the soundtrack and over the credits.