American Pastoral
Paul Bettany was cast as Swede, Jennifer Connelly as his wife and Evan Rachel Wood as their daughter. All dropped out in 2004, after the movie spent many years in development. After 10 years, Connelly returned in the lead role, alongside Ewan McGregor.,The newspaper's masthead identifies 1970 as it's "141th Year." Should have been "141st Year.",[last lines]
Nathan Zuckerman: [narrating funeral] You come at people with an open mind, and yet you never fail to get them wrong. You get them wrong while you're with them, or you tell someone about them and get them wrong again. That's how we know we're alive. We are wrong. About the Swede, how life was going to open its arms and shower blessings upon him, I was never more wrong about anyone in my life.,Featured in The Graham Norton Show: Danny DeVito/Ewan McGregor/Sam Neill/Miranda Hart/John Bishop/Amber Riley (2016),Comes A-Long A-Love
Written by Al Sherman
Performed by Kay Starr
Courtesy of Capitol Records, LLC
under license from Universal Music Enterprises,Greetings again from the darkness. Tackling one of the great American novels is a difficult challenge for even the most seasoned film directors  and a dubious undertaking (at best) for a first-timer. Philip Roth won a Pulitzer Prize for his 1997 novel "American Pastoral", and there have been rumblings of a Hollywood production for more than a decade. It's somewhat surprising that the screen version is directed by first time director Ewan McGregor  with the Scottish actor also taking on the lead role of local Jersey boy and sports hero Seymour "Swede" Levov.

The story examines the cracks behind the façade of a seemingly perfect family  the sports hero marrying the beauty queen. Of course, there is always more going on within a family than most care to admit (at least that was the case in the days prior to Facebook). There's an early scene where Swede has introduced Dawn (Jennifer Connelly) to his father (Peter Riegert), and the philosophical and religious differences perfectly capture the changing times and mores from one generation to the next. Never has this been more true than the late 1960's and early 1970's  political and social upheaval were daily occurrences – and sometimes quite violent.

The first half of the movie is exceptionally well done and captures the essence of why the second half feels like a total decimation of everything Swede thought he had. He and Dawn's daughter Merry is beautiful and feisty and stutters  something that only enhances the anger she expresses and anguish she causes for her parents. Her innocent questions as a young child evolve into radical political beliefs and affiliations as she grows up.

Merry (ironically named) is by far the most interesting character in the story, but with the focus on Swede, Dakota Fanning only has brief moments that are worthy of her talent, and Dawn has only a few emotional moments that allow Ms. Connelly to flash the acting depth she hasn't shown in years. So much time and attention is devoted to Swede that the second half is a bit of a letdown and leaves too many details and questions unanswered.

John Romano's (The Lincoln Lawyer) adaptation of the American classic took a different direction than we might have preferred, but it's a thankless job since so many have considered this as unfilmable. McGregor shows a good eye as a director, though it's obvious this material needed a more experienced filmmaker at the helm. The great Alexandre Desplat provides a classy score  the piano pieces are especially well suited. Supporting work is solid from David Strathairn as narrator Nathan Zuckerman, Rupert Evans as Swede's brother, Molly Parker as Merry's therapist, Uzo Aduba as Swede's employee, and Valorie Curry as a misguided revolutionary. It's a reminder that family dynamics may be the most complex organism, and when blended with the volatile times of the Vietnam War, a generational gap should be expected  even if it's difficult and emotional to accept.,