{"id":4730,"date":"2019-04-07T10:05:28","date_gmt":"2019-04-07T15:05:28","guid":{"rendered":"https:\/\/blogs.iwu.edu\/johnupdikesociety\/?p=4730"},"modified":"2019-05-18T11:34:41","modified_gmt":"2019-05-18T16:34:41","slug":"native-son-adaptation-gives-props-to-updike","status":"publish","type":"post","link":"https:\/\/blogs.iwu.edu\/johnupdikesociety\/2019\/04\/07\/native-son-adaptation-gives-props-to-updike\/","title":{"rendered":"Native Son adaptation gives props to Updike"},"content":{"rendered":"\n<p>In a reveiw published in <em>The Atlantic<\/em>, Hannah Giorgis pronounced the new HBO adaptation <a href=\"https:\/\/www.theatlantic.com\/entertainment\/archive\/2019\/04\/hbos-native-son-an-uneven-adaptation\/586621\/\">&#8220;An Arty but Superficial Take on <\/a><em><a href=\"https:\/\/www.theatlantic.com\/entertainment\/archive\/2019\/04\/hbos-native-son-an-uneven-adaptation\/586621\/\">Native Son<\/a><\/em><a href=\"https:\/\/www.theatlantic.com\/entertainment\/archive\/2019\/04\/hbos-native-son-an-uneven-adaptation\/586621\/\">.&#8221;<\/a> <\/p>\n\n\n\n<p>She writes that the production, directed by Rashid Johnson with a screenplay by Suzan-Lori Parks, &#8220;thankfully dispenses with some of the novel&#8217;s most graphic elements and moves its protagonist out of the 1930s and into contemporary Chicago. This Bigger, who more often goes by Big, is played by a graceful and dynamic Ashton Sanders (<em>Moonlight<\/em>). He skulks about the screen, and the South Side, in green hair and punkish attire: black high-water pants, black nail polish, a black leather jacket with OR AM I FREAKING OUT spray-painted across the back. Big&#8217;s got a lot of <em>style<\/em>. The same could be said for the film itself.&#8221; <\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"405\" src=\"https:\/\/blogs.iwu.edu\/johnupdikesociety\/files\/2019\/04\/lead_720_405.jpg\" alt=\"\" class=\"wp-image-4731\" srcset=\"https:\/\/blogs.iwu.edu\/johnupdikesociety\/files\/2019\/04\/lead_720_405.jpg 720w, https:\/\/blogs.iwu.edu\/johnupdikesociety\/files\/2019\/04\/lead_720_405-500x281.jpg 500w, https:\/\/blogs.iwu.edu\/johnupdikesociety\/files\/2019\/04\/lead_720_405-300x169.jpg 300w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\" \/><\/figure>\n\n\n\n<p>However, Giorgis writes, &#8220;The film gestures at Big&#8217;s internal motivations, but doesn&#8217;t bear them out. Instead, we see him visibly uncomfortable in a soul-food joint with Mary (Margaret Qualley) and her white Communist boyfriend, Jan (Nick Robinson). We get classical-music interludes and shots of books, including Ralph Ellison&#8217;s <em>Invisible Man<\/em>, in Big&#8217;s room. (In the shot that features the Ellison book, Big places a gun on it.) We see him admire the Daltons&#8217; library, and the camera lingers for a moment on the volumes\u2014among them, <strong>John Updike&#8217;s <\/strong><em><strong>Rabbit Redux<\/strong><\/em><strong>,<\/strong> Robert Lowell&#8217;s <em>Life Studies<\/em>, and, naturally, Richard Wright&#8217;s <em>Native Son<\/em>. These signifiers function primarily as shortcuts for suggesting that Bigger is a <em>different<\/em> sort of black man without offering any context for why the norm itself exists.&#8221;<\/p>\n\n\n\n<p>Related story:  <a href=\"https:\/\/www.theatlantic.com\/entertainment\/archive\/2019\/04\/hbos-native-son-integrates-james-baldwins-critiques\/586462\/\">&#8220;Native Son Gets the James Baldwin Edit&#8221;<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In a reveiw published in The Atlantic, Hannah Giorgis pronounced the new HBO adaptation &#8220;An Arty but Superficial Take on Native Son.&#8221; She writes that the production, directed by Rashid Johnson with a screenplay by Suzan-Lori Parks, &#8220;thankfully dispenses with &hellip; <a href=\"https:\/\/blogs.iwu.edu\/johnupdikesociety\/2019\/04\/07\/native-son-adaptation-gives-props-to-updike\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":818,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[70],"tags":[],"class_list":["post-4730","post","type-post","status-publish","format-standard","hentry","category-updike-in-pop-culture"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/blogs.iwu.edu\/johnupdikesociety\/wp-json\/wp\/v2\/posts\/4730","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.iwu.edu\/johnupdikesociety\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.iwu.edu\/johnupdikesociety\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.iwu.edu\/johnupdikesociety\/wp-json\/wp\/v2\/users\/818"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.iwu.edu\/johnupdikesociety\/wp-json\/wp\/v2\/comments?post=4730"}],"version-history":[{"count":1,"href":"https:\/\/blogs.iwu.edu\/johnupdikesociety\/wp-json\/wp\/v2\/posts\/4730\/revisions"}],"predecessor-version":[{"id":4732,"href":"https:\/\/blogs.iwu.edu\/johnupdikesociety\/wp-json\/wp\/v2\/posts\/4730\/revisions\/4732"}],"wp:attachment":[{"href":"https:\/\/blogs.iwu.edu\/johnupdikesociety\/wp-json\/wp\/v2\/media?parent=4730"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.iwu.edu\/johnupdikesociety\/wp-json\/wp\/v2\/categories?post=4730"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.iwu.edu\/johnupdikesociety\/wp-json\/wp\/v2\/tags?post=4730"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}