Philip Roth is author of 25 novels and other works of non-fiction.  Revered in America, he has won every major American literature prize, including the National Book Foundation’s Award for Distinguished Contribution to American Letters in 2002.  Despite his literary success, his films have had a difficult journey to the silver screen.

I joined the long line of Roth fans that were disappointed with Robert Benton’s adaptation of “The Human Stain,” the 2000 novel that received the National Book Award for the best work of American fiction. It was an extraordinary book and perhaps Roth’s finest. And I believed that it would translate nicely onto the silver screen. While the novel weaved in and out of the past and present, the transitions weren’t so frequent that it would create a problem for the screenwriter, Nicholas Meyer (Oscar-nominated for “The Seven-Per-Cent Solution.”

Benton was able to attach an exceptional cast that included Anthony Hopkins, Nicole Kidman, Ed Harris and Gary Sinise. But when the film bombed with critics and audiences alike, it was quickly pulled from mainstream movie houses and relegated to small boutique theaters, and for short periods of time. It made only $5.3 million against a production budget of $30 million.

Mr. Roth’s work has been adapted again by Mr. Meyer this year. Taking the pages of “The Dying Animal” and turning them into the film “Elegy,” Mr. Meyer and the film’s director, Isabelle Coixet have managed to create a finer adaptation of the text, and a far better film.

“Elegy” stars Ben Kingsley as a college professor with a proclivity of seducing his students after they have received their grades. At this particular moment in his life the student is Consuela, played with simplistic precision by Penélope Cruz. Dennis Hopper and Patricia Clarkson also star in exceptional supporting roles that would be worth a lot more awards currency if, well, the film would actually be seen by anyone. But hopefully I am wrong about that.

From Roth’s portfolio, both “Goodbye, Columbus” and “Portnoy’s Complaint” were adapted as films in the late 1960s and early 1970s.  “The Ghost Writer” was adapted for television in 1984, but I have not seen it. The director Phillip Noyce — who impressed me with “Rabbit-Proof Fence,” “The Quiet American” and “Catch a Fire” — is currently adapting Mr. Roth’s Pulitzer Prize-winning novel “American Pastoral.” John Romano, the scribe behind the truly disappointing “Nights in Rodanthe,” wrote the script.

Mr. Roth told the AP in September that “The Human Stain” and “Portnoy’s Complaint” were “unwatchable.” He further noted that he does not involve himself in the adaptations, a different approach from Michael Chabon and John Irving, for example.

Mr. Roth’s most recent book, “Indignation,” has already been option by producer Scott Rudin. Rudin has had a lot of success bringing literary works to the big screen, knocking out “No Country for Old Men” and “Oil!” (a.k.a. “There Will Be Blood”) last year.  This year he has “Revolutionary Road” and “The Reader” on deck.  So perhaps the tide is beginning to turn and smart minds will be able to create quality films that provide a faithful nod to their creator.

I’m keeping my fingers crossed.

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