Will Self rates the film as an adaptation of Ballard’s vision
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Promotional poster for Ben Wheatley’s High-Rise

Of the film adaptations that had been made of his work during his lifetime, JG Ballard vouchsafed to me that he liked Jonathan Weiss’s version of The Atrocity Exhibition the best. It was hardly a surprising verdict; the movie, released in 2000, eschews any of the easy certainties of narrative for a furious collage of extreme images – urban wastelands, nuclear explosions, penises rhythmically pumping in and out of vaginas – all to the accompaniment of a voice-over comprising near-verbatim passages from the quasi-novel. And as the book is a furious collage of extreme images, the film is of the highest fidelity imaginable.

Ballard also liked Steven Spielberg’s adaptation of Empire of the Sun, although more, one suspects, because of the opportunity he got to be an extra in a party scene that was set in a simulacrum of his parents’ interwar home in Shanghai. So tickled was he by this Möbius-looping of reality and the imagined that Ballard wrote about the episode in another roman-à-clef, The Kindness of Women. When it was announced in the early 1990s that David Cronenberg was to adapt Ballard’s apocalyptic tale of autogeddon, Crash, and moreover set it in Toronto, I was so exercised that I phoned the writer. “You can’t let him do that, Jim,” I protested (or words to that effect). “Crash is one of the great London novels. The city demands that it be set right here!” He was having none of it and gently talked me down: the point of the novel was to describe a global phenomenon, one Ballard termed “the death of affect”. It was quite irrelevant which city the film was set in – the important point was that Cronenberg’s affectless vision and planar cinematography, all lit at operating-theatre strength, strongly resonated with Ballard. (more…)

Mark Kermode (The Observer) interviews the film’s director, Ben Wheatley
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Ben Wheatley

Set in a brutalist 70s “luxury” apartment block that becomes a twisted microcosm of society, High-Rise stars Tom Hiddleston as Dr Robert Laing, a smooth, slippery antihero who moves in just as the cracks of anarchy start to appear. While Jeremy Irons’s architect Anthony Royal lords it up in the penthouse, below him dog-eating chaos begins to reign, rising up in feral fashion, floor by floor. Despite their vast differences, there’s a connection between Zardoz and High-Rise, both of which are home-grown, sci-fi-tinged works rooted in the mid-70s. Ballard’s novel was published in 1975, the year after John Boorman’s dystopian epic provoked gales of laughter with scenes of Sean Connery climbing into a flying head to break into the plush world of “the Vortex”, wearing only a bright red posing pouch. Both depict a future in which a class-segregated society is teetering on the brink of collapse; both imagine lavish idylls and increasingly hellish environs existing side by side.

[…]

“I read High-Rise when I was about 17,” he says, “along with all the usual counterculture stuff: Naked Lunch, Fear and Loathing in Las Vegas. The thing about Ballard was that you could feel his radiation. He seemed scary, and dangerous, and that was why you had to read his books. I read Crash around the same time, and I remember thinking it had a turn of phrase that didn’t feel like anybody else. A way of looking at the modern world and making it alien. I read Hello America and The Drowned World and so on, all in a lump. But High-Rise kept returning…” (more…)

David Lean on location for Lawrence of Arabia (1962)
David Lean on location for Lawrence of Arabia (1962)
The Criterion Collection profiles the many sides of the epic filmmaker
For many cinephiles, the name David Lean signifies grand moviemaking—sweeping epics like Lawrence of Arabia and Doctor Zhivago. But the long and eclectic career of this legendary British director encompasses arresting intimacy as well, as evidenced by the films of his in the Criterion Collection. Among those are pictures that he was responsible for editing, early on in his work in film: some of his national cinema’s greatest hits, including Anthony Asquith and Leslie Howard’s Pygmalion, Gabriel Pascal’s Major Barbara, and Michael Powell and Emeric Pressburger’s 49th Parallel. In the forties and early fifties, having moved to directing, he made several luminous films, including adaptations of such classic and important contemporary works from the stage and page as Harold Brighouse’s Hobson’s Choice, Noël Coward’s Blithe Spirit and Still Life (Brief Encounter, in the film version), and Charles Dickens’s Great Expectations and Oliver Twist. All are graced by evocative, shadowy black-and-white cinematography and elegantly restrained compositions. Summertime, his gorgeous 1955 Technicolor trip to Venice with Katharine Hepburn, marked a turning point in his career: the sun-dappled location shoot was galvanizing for Lean, and the remainder of his films, from The Bridge on the River Kwai to A Passage to India, could be considered outdoor spectacles. Yet Lean’s deep interest in complex characters, his brilliant way with actors, and his classic sense of storytelling were never trumped by scale. [More at The Criterion Collection]