Not only does Noah Baumbach successfully adapt Don DeLillo's supposedly unfilmable 'White Noise,' he infuses it with innocence, fun and visual splendor.
urgency in Baumbach’s hands. He splices in not only relevant found footage but also the toxic event’s precipitating accident, about which the book barely speculates. In the process he draws a line from mass hysteria to human carelessness, the results of which can be similarly catastrophic. And isn’t that the theme of these last few years?
While the third act still plunges us into more chilling waters, Baumbach guides us with familiar signifiers. A chemistry lab looks like it belongs to Bunsen and Beaker. A visit to the A&P packs in maximal advertising language. And in an impressive coup, German legendpresides at the German hospital where Jack lands near the story’s end .
DeLillo has said in interviews that Robert Altman’s films influenced his work, and some will note the Gladney family’s Altman-style overlapping dialogue. While Driver and Cheadle manage to assimilate the novel’s more stylized speech in a way that somehow feels credible, it seems more awkward on Gerwig — perhaps because sheof the camera for some time, or because the role falls too far outside of her typical woman-child repertoire.
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