Almost as if companies agreed to give his work another look, this week’s second news of a James Ellroy adaptation has come our way. Following an announcement regarding The Big Nowhere and Luca Guadagnino (I Am Love), Deadline report that VS Entertainment are snatching rights to the man’s most recent novel, Blood’s a Rover.
This 2009 crime sage, Ellroy‘s most recent work, is both the final entry in his highly-praised Underworld USA Trilogy and, on top of that, finishes off the many dangling threads established by American Tabloid and The Cold Six Thousand. In what the author himself describes as “a ghastly tale of political malfeasance and imperialistic bad juju from 1968 to 1972,” we follow three killers doing the government’s dirty work — one of his favorite character types as of late.
Amazon tries to break down the complex proceedings like so:
“Summer, 1968. Martin Luther King and Robert Kennedy are dead. The assassination conspiracies have begun to unravel. A dirty-tricks squad is getting ready to deploy at the Democratic Convention in Chicago. Black militants are warring in southside L.A. The Feds are concocting draconian countermeasures. And fate has placed three men at the vortex of History.
Dwight Holly is J. Edgar Hoover’s pet strong-arm goon, implementing Hoover’s racist designs and obsessed with a leftist shadow figure named Joan Rosen Klein. Wayne Tedrow—ex-cop and heroin runner—is building a mob gambling mecca in the Dominican Republic and quickly becoming radicalized. Don Crutchfield is a window-peeping kid private-eye within tantalizing reach of right-wing assassins, left-wing revolutionaries and the powermongers of an incendiary era. Their lives collide in pursuit of the Red Goddess Joan—and each of them will pay ‘a dear and savage price to live History.'”
We have the skeleton of a great crime saga right there, though whoever VS get to adapt Rover will need to deviate from a source which follows two long, dense novels. This book, from what I understand, is no less a wild trip than any of his other outings, but Ellroy himself is optimistic; in his view, Rover should prove to be “a splendid motion picture.”
Following James Ellroy with the sort of work that must force him to emit a heavy scoff, THR let us know that by Dmitry Glukhovsky‘s sci-fi work, Metro 2033, has been purchased by MGM and Mark Johnson (Narnia); F. Scott Frazier is already tapped to work on the screenplay.
The start of a 20-book series which has been reaching international audiences, Metro 2033 is the future-set tale of a Moscow boy who, to get back into civilization, must traverse a nuclear wasteland filled “with mutants, soldiers of a Fourth Reich and political factions of various metro stations.” I hope they can stretch this out to 20 movies.
Does Rover have a capacity to work on the screen? Is Metro 2033 a potentially worthy story?
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