METAPHYSICAL OVERVIEW: Surreal depictions of people’s lives, narration which makes the viewer privy to the character’s inner mind—and confusion about what is real and what is subject to perspective—often lends perspective of a peculiarly remarkable clarity.

Quite the movie…and what subject matter. Adaptive behavior delineates the outcome of living organisms, as well as social structures. Kaufman does not stop there. All definitions of the word, adaptation, are humorously addressed in the subtle layers of this deliberately bewildering screenplay where fantasy and reality blur. Written by Charlie Kaufman, Adaptation cleverly explores the challenges of writing in general—and the formulaic approach to screenwriting in particular. Kaufman invented a co-writer (a fantasy brother he names Donald.) This bizarre approach to humor and originality, together with the insider’s jokes, is rather specific writer’s humor…if one hasn’t ever stepped foot on the screenwriter’s path, some of the humor may not be evident. It is, also, rather adaptive behavior by Kaufman, considering the ever more difficult quest for original movie themes, thoroughly explored by filmmakers for over a century. Kaufman wrote Being John Malkovich, one of the fresh, original movies of 1999. How would he top that one? Adaptation is Kaufman’s bid to stay on the ‘original idea’ filmmaker list. His screenplay is an adaptation of Susan Orleans’ book, "The Orchid Thief" (Orleans’ writing inspired another movie adaptation, Blue Crush, also on movie screens this past year.)

Kaufman created his two main characters, Charlie (himself) and Donald Kaufman (non-existent brother,) who are twins (both played by Nicholas Cage.) These characters are rich in personality quirks and foibles that do not hinder their success in the entertainment jungle, in fact, sometimes aiding them. Charlie, and his character Charlie, are adapting Orleans’ book to the screen. The viewer meets Susan Orleans, played by Meryl Streep in award winning fashion, early in the movie, and the brothers eventually meet her, too. Streep brings real depth as the surprisingly gritty, yet whimsical author. Her characterization and Cage’s double time acting compliment Kaufman’s tapestry of writing, orchids, biological adaptation, human insecurities, social catastrophes, environmental issues and a frank, somewhat harsh view of his profession. A warning alarming scenes may be a bit much for those preferring not to view those types of cinematic depictions. There will be nominations for Kaufman, as well as the director Spike Jonze and the acting ‘trio’—all of which are well deserved. Adaptation is a collaboration of Beverly Detroit, Clinica Estetico, Good Machine, Intermedia, Magnet, Propaganda Films and distributed by Columbia, Screen Gems and Sony Pictures.

Antwone Fisher is another screenplay with a twist, as it is a semi-autobiographical rendering. More importantly, it is Denzel Washington’s directorial debut, of which he acquits himself quite expertly. The young unknowns, Derek Luke and Joy Bryant, turned in beautiful performances. Viewing is moderately difficult, as the dark aspects are fistfights or more subtle depictions of reality.

Another adaptation (Bill Condon) with dark undertones, Chicago, is sufficiently violent that some may decline, thus missing the sterling choreography, fabulous costumes, splashy dance sequences (revisiting Bob Fosse’s stage version) and startling vocal performances of Richard Gere, Renee Zellweger, Catherine Zeta-Jones, Queen Latifah and John C. Reilly. Christine Baranski is a wonderfully skilled veteran of musicals. Loop Films, MiraMax and Producers Circle brought Rob Marshall as Director, (directed and choreographed Annie.)

Lighter material dominates Deliver Us From Eva, with LL Cool Jay and Gabrielle Union, and Two Weeks Notice, with Sandra Bullock and Hugh Grant. Jackie Chan and Owen Wilson are together again in Shanghai Knights. Owen’s brother Luke Wilson is taking his turn at comedy again in Old School.

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