Adapting any William Faulkner for movies is not easy — if it can be done at all. Legendary director Martin Ritt made a bad film in 1959 of Faulkner’s “The Sound and the Fury” with Yul Brynner and Joanne Woodward. Faulkner academics who stumble upon it are in for nightmares.

Yesterday multi -hyphenate James Franco premiered his ambitious adaptation of “As I Lay Dying,” a Rashomon like tale of a burial told by 15 characters from different perspectives. (Franco, I think, whittled the number down to 9.) To accommodate the many speakers of the novel Franco does two things: he uses split screens a lot and head on interview close ups. Sometimes these things work and sometimes they don’t. A few times when the split screen came up I thought it would have been more effective to just have a regular shot. The split screen diminishes powerful moments especially when of the halves is pedestrian.

At the press screening, you could see the divide: there were loads of exits before the film ended. And then there was applause. Go figure.

Of the critics, only Todd McCarthy really liked it. Everyone else was impressed but frustrated. It’s no easy sell. At a party last night one critic said, “It’s an English doctoral student’s take on Faulkner.”

The story is set in rural Mississippi in the late 1920s. Addie Bundren is dying, and then dies. She wants to be buried far away in Jefferson. Her children and husband, a not exactly brilliant bunch, must take her by wagon over a river and through the woods. Along the way a few things happen including the burning of a barn, a rape, and the revelation of a pregnancy. Also someone gets a new set of teeth.

Franco cast himself as the main child, named Darl, probably because it would help sell the movie. But he stands out like a sore thumb among the other players. Move star looks and clean white chompers– yes, this movie is about dentistry–make Darl seem like a documentary filmmaker who came to Yoknapatowpha County in search of a story.

And there are some problems with casting Tim Blake Nelson as Anse, the father of all but one of these adult children. Physically he looks nothing ike them, and he’s too young. Also, he spends most of the movie gaping, mouth wide open, toothless. His speech is largely unintelligible. I thought I’d need subtitles to understand him. Of course, this is how Anse is described, so what can you do ? But TBN is just too convincing.

What’s good about “As I Lay Dying”: Ahna O’Reilly, who is also in “Fruitvale Station” and is Franco’s ex girlfriend, lights up the screen. She’s aided by cinematographer Christina Voros, who applies a pale palette that brings a dusty flourish to the landscapes. Also the third act of this laconic screenplay suddenly jolts into action after a lot of meandering. It suggests there could be more to all this if it had been drafted one more time.

Some of the problems can be fixed. For the mother, Addie, to work, she needs a great narrator in voice over (I was thinking Melissa Leo) who could explain and comment on what’s happening, That would make the mother, played on screen briefly by veteran character actress Beth Grant, much more engaging and sympathetic.

In the end, as I said, this wasn’t easy. There’s a reason why no one tackles Faulkner like they make Jane Austen movies. And this movie can still be improved and tweaked and polished up to make it less grim and a little more accessible before it’s released by Millennium later this year.

Exclusive: Joel and Ethan Coen’s “Inside Llewyn Davis” got a 10 minute standing ovation last night in its Cannes premiere, the kind of reception that is real Cannes, and not the tepid deal for “The Great Gatsby” last Wednesday. Carey Mulligan, who stars in both movies, told me later (and not to put down Gatsby): “It’s thrilling to be watching a movie and feel that everyone loves it.” Indeed, the black tie audience was gaga for “Llewyn.”

The cast was all there, even John Goodman, who sort of arrived and hen vanished again. He and Garrett Hedlund have a hilarious extended cameo that actually could be spun off into another movie. Folk singer Llewyn winds up driving to Chicago with them. Goodman is a mysterious sort of white blues man who talks a blue streak.

Hedlund is Johnny Five, his “valet” who speaks almost no words.You couldn’t hope to meet a nicer celebrity couple than Justin Timberlake and Jessica Biel. They’re polite, well spoken, gracious and good looking. And smart. What else could you want?

They sort of stole the night in Cannes on Sunday at the premiere of the Coen brothers’ gem of a film, “Inside Llewyn Davis.” They’re also very well dressed: Justin in his tux, Jessica in an elegant Marchesa gown.

Justin plays Jim, a sort of clueless good guy folk singer who’s a pal of Llewyn (Oscar Isaac in his star making performance) and married to Jean (Carey Mulligan). It’s not the lead role but Justin is quite satisfied with his work and trajectory as an actor. He’s in his sweet-spot here, playing it light just the way he does in his guest appearances on “Saturday Night Live.” He actually has developed a devilish panache reminiscent of Bob Hope (also a devoted golfer).

“Llewyn Davis” is the first movie Timberlake has been in that’s featured him as a singer.

We talked about his career at the intimate gathering following the “Llewyn” black tie premiere. Timberlake is extremely thoughtful and very articulate on this subject. He said: “You know my music career hangsoer me like a cloud.” Interesting. Justin worries that he still isn’t taken seriously as an actor because of the music. He’s really devoted to the acting career. In fact, I’d say in a way that his whole “20/20 Experience” album and tour is an acting exercise. Justin is playing a part– of a Rat Pack like suave singer with a back up band. And that’s just fine since the album is a monster hit and the tour should be, too.

He told me of the whole “Suit and Tie” success: “It’s a tribute” to soul  music of the 70s with a Memphis feel. And while he’s mastered the R&B falsetto, it’s nice to hear him sing straightforwardly in “Llewyn Davis.” He, Oscar Isaac and Adam Driver perform a hilarious but seriously meant novelty song called “Please Mr. Kennedy” in the movie that should become a cult classic.

Coming up next for Justin, a movie role that could really break through for him: the late record exec Neil Bogart, whose Casablanca Records produced Donna Summer and KISS. Bogart was a mastermind who lived large in the 70s. Timberlake told me they’re about to choose a director, and he’s doing his research. This will entail a meeting with Gene Simmons–which, I hope, someone will film. That’s a movie in itself.