Colin Marshall in Open Culture:
Here at Open Culture, when we think of authors who write work made for the movies, we do, of course, think of names like Dan Brown, J.K. Rowling, and Robert Ludlum — but even more so of names like Samuel Beckett, whose pushing of aesthetic and intellectual boundaries on the stage we welcome now more than ever on the screen. And in a way, his works have undergone more complete film adaptation than have the books of many bestselling mainstream writers, thanks to the 2002 omnibus project Beckett on Film, which rounded up nineteen auteurs to direct films, ranging in length from seven minutes to two hours, of each and every one of his nineteen plays.
Beckett on Film‘s roster of directors includes Michael Lindsay-Hogg doing Waiting for Godot, Atom Egoyan doing Krapp’s Last Tape, Neil Jordan doing Not I, the artist Damien Hirst doing Breath, and Anthony Minghella, he of The English Patient and The Talented Mr. Ripley, doing Play, which you can watch above. The sixteen-minute production adapts Beckett’s 1963 one-act, a distinctively purgatorial sort of romantic drama which presents a man (“M”), his wife (“W1”), and his mistress (“W2”), each trapped in an urn, each forced to speak about the details of their triangular relationship when, on stage, the spotlight turns to them. On film, Minghella chooses to swap out the spotlight for the camera itself, which cuts, swings, and shifts focus swiftly between the three, commanding the history of the affair from all three perspectives, each delivered with flat, rapid-fire insistence yet with surprising clarity and feeling as well.