Word: mollye
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Like Joyce, Strick doesn't follow a conventional, chronological narrative line. We are accustomed to flash-backs, but not to such brief flashes as those Strick introduces in his first scene: at the Martello tower, Buck Mulligan says "The aunt thinks you killed your mother," and Stephen sees, and we...
Those who planned this film first read Joyce quite profoundly. They discovered not only some of his wildest humor, but also his deepest tenderness, and his sense of how quickly the mind, in its movements, can leap from tenderness to humor, or from deep sorrow to humor. They discovered too...
Critics will never shut up about the beauties of Joyce's fiction, and one could ramble on just as interminably about those beauties that Strick has transplanted intact into his film. But Strick has created beauties more or less on his own, Joycean beauties intensified. The proximity of opposites is...
Compressing as he must, Strick inevitably creates certain emphases Joyce does not. He wisely emphasizes Bloom's relationship with Molly, which is certainly the essence of the novel. This, however, tends to exaggerate the relentlessness of Bloom's thoughts on his cuckoldry. More conspicuously exaggerated is Bloom's racial paranoia...
Many of the best parts of Joyce's book are missing. Since Strick has only 140 minutes at his disposal, he devotes most of it to the principal episodes: Stephen's soliloquy on the beach, Bloom's trip to Paddy Dignam's funeral, Bloom's...