Two Emily Dickinson Biopics are present from scenes that vary radically with their lives

From the Wild nights with Emily (courtesy of Greenwich Entertainment)

The postscript for the new biopic for director Madeleine Olnek Wild nights with Emily She says: “The comments are to Emily Dickinson as an old virgin who was afraid to leave her room or publish her work. Susan's jurisdiction (Susan Ziegler) at various stages of her life, Olnek closes the book on the subject by showing the actual letters exchanged between the two.

This image of Dickinson contrasts sharply with that of the academic world and culture of the past century. As Rachel Handler brings in to discuss with Dickinson scholar Martha Nell Smith, “Even as late as three years ago, Terence Davies had a film Quiet Passion Dickinson showed this way: a lonely woman stuck with vulnerability, in love with a married man and married, as she grew older, not being able to face the outside world. ” Quiet Passion and Wild nights with Emily telling the same story, showing aspects of Dickinson's personality in a similar way, why are they so different?

From the Quiet Passion (courtesy of Music Box Films)

The film makers know that there is no one way to illustrate a real life or story. Todd Haynes, for example, breaks Bob Dylan on some incoming identities Not there, using characters inspired by Dylan to explore the myths behind the man rather than the man himself. Others, like Bertrand Bonello, rebel against established stories, creating “unauthorized” works to mislead their subjects. A film in 2014 St. Laurent he explores the good and evil of Yves Saint Laurent and his partner Pierre Bergé. Meanwhile, Jalil Lespert is Yves Saint Laurent Bergé allowed himself (also released in 2014) and more easily presents himself and Saint Laurent.

Wild nights with Emily it is in a similar space to Bonello's film, and both are determined to rewrite the healthy history of known figures. These films are not embarrassed to present their characters as sexes, and their respective biocidal colleagues could not take care of this element. Yves Saint Laurent it would be better to interfere with his main character from having a sexual desire outside monomer, while Quiet Passion it simply ignores those desires, creating an image of torture and torture loneliness.

From the Wild nights with Emily (courtesy of Greenwich Entertainment)

Olnek and Davies are very different filmmakers. Olnek is a very sad and isolated woman Space Independent Lesbian Space seeks Same, although Davies is a more sharp man once told to interviewer: “I hate being gay, and I'm spending most of my life.” Olnek's portrait of Emily Dickinson feels modern in every way. It often breaks the boundary between the story and the storyteller, who directly reviews those who destroy and handle history, and openly celebrates love between two women, from their first kiss to the last contact.

But Davies's style of pleasant, personal cinema, based on his own tolerance is not more than anything else, always less; it's just a queue in a much different form than Olnek. Although it can be reviewed for the complete disregard of Emily and Susan's letters, Quiet Passion it affects its own way. As Michael Koresky notes in his book Terence Davies (an excerpt of them can be seen here), “The beauty of such pain reveals a method of reconstructing the past which we could call a queer in the way it recreates Davies's cultural and family items. in new forms. ”

From the Quiet Passion (courtesy of Music Box Films)

If Emily and Susan Olnek are aware of the future, Emily Davies (Cynthia Nixon) is almost frozen in time, stuck within a capsule that is located and assembled. Due to his identity with Dickinson childbirth, her religious and identity issues, and there are even her sexuality (however, how conservative the film might be on that face) is strong narrative. His poetry and life becomes something appropriate, a device to reflect on Davies's own uncertainties about his profession, his identification, his love, and his death. His pain rises from him, and when he is seen, it is our own.

Quiet Passion and Wild nights with Emily Both videos are fictional on real events. While one can be said to be more accurate than the other, both are great, showing Emily Dickinson's funny comedy and megalithic poetry in unique ways. Instead of putting them against each other, they should be taken as complementary productions on different aspects of Dickinson, each of which is driven by stunning performances. In my life through fiction, emotional facts are more important than the simple facts. No matter what information was left outside the screen, in archives, biographies, and in the poems and letters we can read. Two of the beautiful, unique stories of a woman whose life and poetry were rising simultaneously and attractively, are as prominent as it was terrible.

Wild nights with Emily it is now in theaters. Quiet Passion they can be streamed on different platforms.

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