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…)