Gardam's Old Filth - a challenge to screenwriters

A few quick notes on Jane Gardam's Old Filth, next few sections - in which we learn - through sections of life told out of sequence but knit together very deftly by Gardam, that Filth (his real name - Edward Feathers), now widowed, had been betrayed by seemingly devoted and strait-laced wife, Betty (?), who had been carrying on an affair back in Hong Kong with Filth's antagonist and rival (who later becomes his neighbor in retirement, both men widowed) - the Featherses retir first and Betty gets a cryptic and secretive call from her lover, who tells her that his son has died (he tells Filth this later when they patch up their friendship late in life). We also learn that both Filth and spouse are dishonest with each other - as they plan a day trip into London to sign their wills (why do Brits capitalize Wills?) they say that they're each going to have lunch with their club - Mrs. F. actually spends the day at the National Theater (not sure why, but it's perhaps becoming clear that she does not have a ladies club) and he goes off to the Temple Bar (the legal enclave I think) and, though we don't see his scene, it seems that he either did not go to a club himself or, if he did, it was a pretty miserable experience - he didn't know anyone. Then, in a deeper back-story section, we see that Filth, after his horrible childhood, had a very fine experience in his boarding school with eccentric headmaster, "Sir," and met a soul mate who became his best friend and whose family more or less adopted F. as their own - the salvation at the hands of others not his family helps explain the later-life success and (seeming) stability Filth attained. Pieces are gradually coming together - I'm surprised there's enough to sustain a trilogy, but I guess Gardam is vastly inventive - and that's part of the trick, disproving the notion that Filth is fortunate because "nothing ever happened to him." Wonder how this would work as a movie - the sections out of chronological sequence could be daunting and disconcerting within a film narrative, yet to tell the story in straight chronological order would destroy essence - a compromise, present tense with long flashbacks, would probably be the right approach.