Screenplay Review: The Constant Gardener

Okay, so I can sometimes make mistakes. I can't say for sure, yet, since I have yet to actually see The Constant Gardener, but I was definitely not very impressed with the script when I read Jeffrey Caine's adaptation of John LeCarré's novel (screenplay draft dated 2/2/04). But all the reviews have been really positive, so maybe I was wrong. Who knows? I was considering seeing the film this evening, so I could sum up my feelings, but that didn't happen. So perhaps if and when I do see it, I can fill you in on things.

But let me first show you my comments on the script, then I'll fill in the gaps of what might account for the discrepancy between my feelings then and the reviews now. I read the script in March of 2004 as a writing sample for a specific project, not as a submission. Here's what I had to say, basically:

Minor Spoiler Warning!

The Constant Gardener has high goals, but generally fails to reach them due to weak drama. The plot never meshes properly with the subject matter, the thrills are generally fake or arbitrary, and are unconnected to the plot, and the pacing is too slow to maintain audience interest. While many of these weaknesses may stem from the source material, Caine has still done nothing to improve these weaknesses in his screenplay, and thus is a PASS as a writer for XXX or other XXX projects.

The biggest problem with The Constant Gardener is that it sets out to unveil evil and corruption within the pharmaceuticals industry, but never fully makes this hit home dramatically. One reason for this is that the difference between what we know about the plan at the end of the film is not very different from our understanding of that background shortly after Tessa'’s death. Thus, all of Justin'’s digging around really uncovers very little new, and we are bored watching it.

Similarly, much of the thrills or action seem artificial at best, or irrelevant at worst. Justin's run-in with thugs in Germany, and his near murder in Canada, leading to Lara's death, are standard fare that never really make us feel the stakes have risen for Justin. The various locations around the world seem more a function of what is expected in this genre than what serves the plot well. Furthermore, Justin is a particularly passive character, and thus even when he gets involved in the hunt to finish his beloved wife'’s work, we still never get on his side. He is dry and reserved, barely ever showing emotion, and never turns the corner that is required of most protagonists in similar films; there should be a point at which he realizes this is for real, and he steps it up, showing some action and desperation. This contributes to a dragging of the script, and tediousness for the audience.

As an adapter, Caine is ultimately responsible for these weaknesses. He has done nothing to make this a more cinematic screenplay, leaves the plot as somewhat unbelievable, and worse makes as not care about the plot.

Whoah! So not a very good review, eh? So what am I to make of all the glowing word of mouth about this film? The way I see it, there are many potential explanations for this discrepancy.

1. The most likely explanation, as I see it, is that I simply didn't get this script when I read it. I don't have the script around anymore, so I can't go back and check. But what I can say is that I saw LeCarré's name and I was imagining it as a mainstream thriller of the style of The Bourne Identity or something. And while I have yet to see this film, and though I also have not seen City of God, also by director Fernando Meirelles, I have a feeling that this is a bit more artistically minded than I was picturing. Thus, it is possible that had I been thinking of this in different terms, I might have come to a different conclusion about it.

At the same time, however, I must point out that the advertising is pitching the film as a mainstream thriller as well, which surprises me. It definitely did not read as one, or at least not as a good one. I am willing to accept that it might be a good film of a different variety, but if it is actually a pretty straightforward thriller, there would've had to have been some major work done on it! What seems more likely to me is that they are marketing it that way because they don't know how else to market it. But when star Rachel Weisz was on Letterman last week, she seemed equally uncomfortable describing the film. And her last words on it tried to sell the film as a romance!

2. A second possibility is that the script changed drastically between the draft that I read and the one that was finally filmed. I have no idea whether this is true or not, but it could certainly explain a lot!

3. It is also possible that I will disagree with all the reviews, and actually think that the film is pretty poor as well. But I do still intend to see it, because I'm really curious.

4. The explanation I'm leaning towards, and I'll let you know after I see it, is that the script isn't actually very good, but that the film is that rarity in which the director has made a good film out of a poor script. It is possible that through Meirelle's solid direction and the excellent acting talents of Ralph Fiennes and Weisz (and though I can't remember how sizable his role is, I'll also mention one of my new fave character actors, Bill Nighy), the film was able to raise the quality of the story overall, and transcend the 2nd rate script. This is rare, but I've seen it before.

I remember seeing Meet the Parents, and loving it, but then thinking as I left the theater how the script wasn't really that great. As it happened, I was working as a reader for Robert DeNiro's Tribeca Productions at the time. They produced Meet the Parents. I asked my boss over there about it, and he agreed -- it wasn't such a great script. The way I saw it, what made that movie so funny and so successful was the excellent chemistry between DeNiro and Ben Stiller.

Perhaps the same thing happened here. Maybe the script wasn't so great, and perhaps the film is still really good. My guess is that there was some combination of all these things going on. I'll get back to you once I see the film, and if any of you have seen it, I'd love your feedback as well!

Tags: screenwriting, The+Constant+Gardener, Jeffrey+Caine, John+Le+Carre, Fernando+Meirelles, Rachel+Weisz, Ralph+Feinnes, Meet+the+Parents, Robert+DeNiro, Ben+Stiller, Bill+Nighy