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An Unlikely Adaptation with Emotional Depth
Sigrid Nunez’s “2018” novel ‘The Friend’ initially appears like an unlikely candidate for film adaptation, despite the fact that it received critical acclaim and an award. This text offers very little in terms of traditional plot, often veering into meditative reflections and frequent allusions to diverse literary works. At times, it even switches into a self-reflexive mode and borders on high-minded territory, making the idea of a direct translation to film seem challenging. Yet, filmmakers Scott McGehee and David Siegel have taken this seemingly modest material and successfully reshaped it for cinematic audiences, all while preserving its essence. Through carefully considered changes, they have introduced a raw emotional component that feels more immediate than the printed page allowed. In doing so, they remain faithful to the novel’s fundamental explorations of loss, companionship, and personal identity.
Naomi Watts steps into the central role of Iris, a reserved novelist residing in a cramped Manhattan apartment. Her routine existence turns upside down after her former teacher and mentor, Walter (portrayed by Bill Murray), takes his own life. Not only did he leave behind three ex-wives, but he also bequeathed a massive Great Dane named Apollo (played by Bing). In his final instructions, Walter stipulates that Iris must care for this gentle, grieving canine, which quickly poses problems with her pet-prohibitive landlord. Initially intimidated by the dog’s imposing stature and unsure of how to address his sorrow, Iris keeps him at a distance—until she realizes he offers a lingering link to Walter. According to the filmmakers, this setup proves ideal for broadening the minimalistic narrative, giving Iris a richer character arc than the unnamed narrator presented in the novel.
Conflicted Emotions
Iris, as portrayed by Naomi Watts, induces emotions in the viewer, reflects their struggles by shifting the feelings of deep sadness, sorrow, and repentance to a lower level, thus creating the effect of the guilty conscience that always lives in her despite her facade. One of the reasons for her internal conflict is her history with Walter, who used to be her confidant but later became an aloof figure whom she felt closer to but never really knew. Now she is faced with a major task which is arranging his incomplete documents for a posthumous release, therefore continually reminding her of his abrupt departure. In the meantime, the character of Apollo is a reflection of the multitude of emotions that Iris cannot express in the movie. Initially, she resents his presence, yet he persistently anchors her to Walter’s memory through small gestures of loyalty.
Unlike the novel’s somewhat highbrow leanings, the film version of The Friend adopts a more grounded, accessible tone that resonates with viewers on a universal level. Though Iris remains a skilled novelist and a dedicated teacher of creative writing, the script refrains from delving too deeply into the literary musings or high-minded debates present in Sigrid Nunez’s original text. On the other hand, instead of focusing on the character of Apollo, the directors Scott McGehee and David Siegel concentrate on the loneliness brought by Walter’s death and the positive influence of the dog on Iris’s emotions. The purpose of this approach is to let the film draw on a wider emotional palette, thus emphasizing the point that even in the midst of the most profound isolation, the sense of peace that comes from a pet’s plain loyalty may be found.
Maintaining Introspection
In translating the story from page to screen, McGehee and Siegel balance the delicate task of preserving the text’s reflective core while removing barriers that might alienate casual viewers. Though Nunez’s writing frequently drifts into intellectual tangents and incorporates quotations from authors or philosophers, the film trims such heady material to maintain narrative momentum. Rather than dwell on extended rumination, the directors insert small yet potent visual cues—like lingering shots of Iris’s cramped living space or Apollo’s hopeful expressions—that carry the novel’s introspective mood.
In place of overtly literary detours, the film relies on carefully paced dialogue and silent reactions, allowing unspoken emotions to echo powerfully between characters. By spotlighting day-to-day interactions and accentuating the sorrow Iris shares with this gentle giant, McGehee and Siegel allow viewers to connect more closely with the protagonists’ longing for solace. Ultimately, The Friend shows the deep love that two broken souls—one human, one canine—collectively seek each other’s favor and console one another through grief. Even if the story first seemed to be overwrought and slow-paced, the filmed version illustrates the world community’s strength born from accidental close connections.
To a great extent, the plot can be compared to some real-life situations of people who mourn for the loss of their beloved ones, or feel sorry about difficulties that they could not mend, but with the help of their pets, get the simple profound companionship. McGehee and Siegel make the most of pensive reflection and true passion, and in this way they let the audience discover their own selves when seeing Iris’s isolation and Apollo’s silent request. Implying the novel’s overarching themes through emotionally probing the characters, the film not only keeps the vulnerability of the original but it also offers a more girlish, tender look at life.
Perfect Casting
The casting process for Bing, who portrays the enormous Great Dane, was apparently extensive, and it pays off in a big way. His soulful gaze adds an uncanny quality to the character, making him the ideal foil to Naomi Watts’s depiction of Iris. Although Apollo can’t speak, his presence conveys a delicate vulnerability that feels almost human. This performance deepens the heart of the story, as the growing trust between dog and owner becomes a focal point of the film. McGehee and Siegel intelligently keep the two of them front and center, resisting the temptation to clutter their relationship. They only pepper in brief glimpses of Walter’s life, leaving the audience with key insights into how he discovered Apollo. Meanwhile, viewers get to witness an organic bond form between Bing’s Apollo and Iris, a bond that drives The Friend forward.
The character Iris, portrayed by Naomi Watts, has a raw and unapologetic gaze at her struggles and she indicates how one animal can cause a massive transformation in someone’s life. She is torn between the desire to somehow get closer to Walter’s memory and the hassle of having a big dog in a pet-free apartment. At first, Iris is distant and awkward around Apollo, especially when he hogs her bed or bumps into her tight living quarters. Yet slowly, he coaxes out her tenderness. This evolving rapport is the film’s backbone, showcasing how an initially unwanted responsibility can prove unexpectedly healing. Bill Murray’s Walter appears only in select flashbacks, reinforcing the sense that Iris must handle her mourning alone—except for the quiet, unwavering support that Apollo provides each time life threatens to swallow her up.
Sun-Drenched Sequence
McGehee and Siegel insert a beautifully lit scene from the past, revealing the moment Walter first encounters Apollo. The atmosphere feels dreamlike, with golden sunlight flooding the screen as the pair connect in a manner that seems predestined. Walter appears captivated by the dog’s calm nature, sensing immediately that this animal will change his world. The flashback radiates warmth and brightness, further accentuating the film’s tone of gentle optimism amid sorrow. The same glow resonates later on, when Iris contemplates how Apollo is shaping her own life in ways she hadn’t expected. Yet a somber undercurrent runs through these moments. The story never lets us forget that no one, not even the most cherished pet, will be here forever. That truth brings a subdued ache that lingers alongside the film’s message of renewal and hope.
The Friend is outstanding because it shows what our interconnections really are. It is a reminder that sooner or later, all of our loved ones will sooner or later depart us, if not knowingly, then due to circumstances. Iris becomes aware of the situation where Apollo’s life will end. She is the one who has to face the truth that yet their companionship is fleeting. Still, she can’t help but grow more attached to him, despite knowing that this deepening bond risks heartbreak down the road. In quietly acknowledging that pain, the film offers an unvarnished look at how relationships often shape who we become. Even as Iris struggles with her landlord’s rules and the emotional weight of Walter’s passing, she finds solace in the day-to-day moments spent with a dog who never asked for anything more than her presence. It is this devotion that ultimately transforms her outlook.
Sweetness Without Cynicism
In a cinematic landscape frequently marked by irony and harsh twists, The Friend offers a refreshing sort of kindness. McGehee and Siegel choose not to introduce cynicism or malice into the narrative, allowing Iris’s challenges to arise naturally from her circumstances rather than from cruel contrivances. Like many beloved dog movies, the film is tinged with an optimism that asks: How did we get so lucky as to share our lives with such loyal creatures? And what cosmic lottery did Iris win to inherit a dog like Apollo at the exact moment she needed him most? These musings have no easy answers, but The Friend gentle grace suggests it isn’t necessary to find them anyway. By celebrating the everyday miracle of a steadfast pet, The Friend leaves viewers with a powerful urge to adopt a Great Dane of their own.
