Except through smoky rose-colored Hollywood glasses, poetry is seldom seen in movie scripts, which, as literature, are at their lyrical zenith when they read something like: MEDIUM CLOSE SHOT, SIDE EXIT DOOR, BATHED IN a SINGLE YELLOW LIGHT.
A movie script is being published this autumn, however, which ignores the close-shot, long-shot lingo of the camera's eye, implicitly mistrusts the camera's capacity to discern, and with a natural if unnecessary eloquence offers its own scene-setting visions of South Pacific backgrounds. Small wonder. Called The Beach of Falesá, the script was written by...
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