April 2002:
Note: these postings on the film were written 11 years ago and I've changed my mind about the film a lot. I've studied films and Davies's work carefully; also written professionally and blogged a great deal on film. I leave these there as a record of how I did once understand the mini-series and how the others who contributed to the threads understood the mini-series.
Re: David Yates & Andrew Davies' TWWLN: Part Two (I)
Although I watched Part Two this past Sunday I have not written anything about it because I have been so busy; among other things, my husband has been ill, but he is now on the mend and I think to myself I'll forget the damn film if I don't write about it this evening.
I liked Part Two very much. It developed further and in interesting ways the types that had been set before the viewer in Part One; it continued the use of grotesque comic and disjunctive images and allusions to other films. Once again there was a real attempt to convey to the modern audience a vision of society analogous to that Trollope meant to convey to his Victorian reader and to present Trollope's story and the events of that story and at least the names of the characters who acted out the story, but doing so in ways that depend upon modern assumptions and cinematic clichés for the viewer to pick up what's intended. (I'd call the shaping of familiar types, images, situations, clothing a use of clichés; it enables an audience to get the meaning quickly a "must" in popular cinema; what differentiates a film like Lancelot du Lac and Metropolitan from Hollywoodized films is as much a matter of not having stars and not using clichés so the viewer is left slowly to work out what these characters, situations and imagery stands for in an individual way.)
It is important both to divest your mind of Trollope's novel and to remember it indirectly. The development of the character of Paul Montague is a case in point. In Part Two Yates and Davies are concerned to differentiate him from the men at the Beargarten and the men on Melmotte's board. He is to be a positive figure we like despite his human failings and relative impotence against the mores and realities of his society. So the spotlight is strongly put on his objections to Melmotte at the meeting -- and there are many more people at the table than in Trollope's novel and Paul does much better in public; he is not seen gambling in the club. Paul (Cillian Murphy) does have sex with Mrs Hurtle (Mirando Otto) very definitely but the scene is done wittily. It's clear from Part One Paul is presented as somewhat kinky and there is an effeminate sly feel to him; it's appropriate therefore that the sex should be suggested by a scene where she is photographed as taller than he (she stands on a bed) and he is carefully unlacing her boot. Foot fetishism is amusing, but she is dominatrix here. In the scene between Roger Carbury (Douglas Hodge) and Paul, Roger does not cut Mrs Hurtle dead on account of her caste or sexual freedom; it occurs in a room, not on the beach; Hodge is given lines from a letter which occurs much later in the book, one Roger writes to Paul after Hetta has learnt that Paul went to Lowestoffe with Mrs Hurtle in which he calls Paul a scoundrel and rogue and berates him for his two-faced weak selfish behavior throughout. Douglas Hodge delivered those lines very well. We have had a very great change here, one which makes Hodge's anger acceptable to a modern audience.
Very importantly, unlike the book, Paul and not Melmotte offers to go to America to see if there is railway and Paul really goes and works hard there. We see him in a vast landscape in his shirtsleeves. This recalls what happens at the close of Andrew Davies's film adaptation of _Wives and Daughters_. In the novel Roger Hamley goes to Africa, but we never see him there; in the film not only Roger (Anthony Dowell) but our heroine, Molly Gibson (Justine Waddell are seen in the vast landscape -- very similarly photographed in both adaptations -- and hard at work in shirtsleeves and trousers like her man, the sweat on her brow apparent to the viewer). The 21st century viewer respects work; Trollope's idea is that a gentleman is worth while because he's a gentleman; he need do nothing but somehow embody his caste honorably.
Perhaps the weakest moments for Paul Montague in the film are those which occur with Hetta Carbury: they feel like old-fashioned Victorian melodrama, and contrast unfavorably with Felix Carbury (Matthew MacFayden) who actually looks somewhat better in his workman's clothes (not absurd the way Trollope meant to see his) and Carbury's indifferent way of courting Ruby (Maxine Peake) which to the 21st century viewer come across as utterly believable, every day courting as we know it -- at least in mood or feel.
I'll divide this posting up so it won't get too long.
Ellen
Re: David Yates & Andrew Davies' TWWLN: Part Two (II)
One of the best studies of film adaptations of novels and short stories that exists is by Lester Asheim; it has yet to be published as a book, but can be bought as a dissertation from UMI. It was written in 1950; the man watched some 24 movies based on famous books and carefully counted how many scenes in the original book appeared in the movie; how many characters were added or subtracted; he compared screenplays to the texts of the original novels. He also watched less carefully some 100 further movies based on novels and read studies of these, He discovered that on average far fewer scenes from a book are taken into any movie and far more scenes invented (or taken from a few lines by a narrator) than viewers realize. On average 36% of a film's scenes (or 22 out of an average 58) had no corresponding scene in the novel, and while 87% of the films were told from an omniscient point of view only 37% of the novels were.
Part Two was filled with scenes which had no counterpart in Trollope's TWWLN but which could have been there. Among the most interesting were the exchanges between Georgiana Longestaffe (Anne-Marie Duff) and Auguste Melmotte (David Suchet) over breakfast. Melmotte was given lines Trollope's narrator tells us (very ironically) about Georgiana's pretensions, motives and real behavior.
I was a little surprized at how much prominence Yates and Davies gave Georgiana, but in retrospect it makes sense: she is not a melodramatic sentimental heroine given modern feminist lines (what a thankless role as Hetta has poor Paloma Baeza); Yates and Davies do not treat Georgiana half-mockingly the way Marie Melmotte (Shirley Henderson), as a girl who longed to grow up to be a Barbie Doll and has at least lighted on someone who resembles the beautiful Ken (Felix); Georgiana is given dignity and carries scenes over class and ethnic conflicts which would have resonance for a modern audience. I noticed Yates and Davies' Georgiana is not given the harsh ugly lines Trollope's Georgiana has (which would make her unacceptable today); they chose an actor to play Breghert (Jim Carter) who far from fat, ugly, and "greasy" was a tall, strapping man with a Roman kind of nose -- very handsome, dignified, and strong (in the US an actor who really looked like Trollope's imagined man would elicit protests of feeding into anti-semitism). I thought Suchet played those scenes with intelligent ironies, hard to do with the more grotesque and clownish kinds of moments he had to personify. The modern film-makers thoroughly detest the arrogant snobbish Lady Monogram. This is an easy one for Yates and Davies: who today would admit to having motives like Lady Monogram. It is also a weakness in the film: so many people do have such motives. So note how these minor scenes are put in.
Melmotte or Suchet again dominated the film -- perhaps even more strongly than in Part One, but as others have commented, Cheryl Campbell as Lady Carbury, the doting mother comes into her own in Part Two. I really thought Matthew MacFayden stole the show when he wasn't meant to until I looked up a couple of cast lists. He listed second to Suchet in the three I have found. MacFayden's scenes were among the most memorable and he was on the screen much more often than Melmotte. I tried to count but gave up, but as far as I got MacFayden seemed to have twice as many as Suchet and more than anyone else.
I'd like to agree that Campbell was portrayed sympathetically but my feeling is this film adaptation was as male-oriented as the 1970s Pallisers. In the 1970s Pallisers the actresses fell into submission and adoration after some vexation and misery, with the men as central players throughout, the exemplars of power, kindness, and those whose needs were seen to first and above all. We have gone 30 years further and lost the kindness of this older film, and are much more cynical and present meaner more sordid weaker characters. The women are simply not sympathized with truly; they are cogs in a machine who are variously foolish (Mrs Melmotte is not a crude fearful ex-prostitute but a child sucking candy when her husband is not looking) and ineffectual. Thus far only Mrs Hurtle is given any sense of power and independence -- and she is a kind of southern belle as male wet dream (Blanche Dubois in this week's sequence was not pathetic in the modern sense of the word). Yates and Davies have three central males and the most interesting as a character portrayal is their Felix. It's fascinating how the Trollope's total sleaze in a modern film remains a total sleaze but doesn't seem so bad any more. We are made to feel sorry for him as he gambles the night away. We are made to feel he is being grabbed at by these absurd women -- doll-like or not knowing their own mind (Ruby). One of the most human -- not grotesque -- moments of the film occurs when Felix manages to get himself home and crawls to the door, singing the familiar rhyme we sing to children, "Home again home again giggedy-jig." So to Yates and Davies Georgiana and Felix are those whose original conception in Trollope is still somewhat available for transposition into a modern film.
This is true of Ruby too -- only she is given much less space than the novel and only scattered moments here. Yates and Davies make sure we see her black-and-blue face. They don't let Melmotte beat Marie in the same way (Suchet is not really blackened -- he is what the world wants). I thought the scene in the railway between Marie and Didon and the policeman recalled the original illustration in Trollope's novel by Lionel Fawkes too.
Thus far on the whole this film adaptation of Trollope's TWWLN is a satisfying, entertaining and intelligent TV film. It has its flaws -- or inconsistencies of mood as here and there it lurches back into some sudden Victorian strain (such as the moment where the three women in Mrs Pipkins's house keep Felix from Ruby). It has its pandering -- Lady Monogram was an easy target which flatters the self-esteem of the viewer. It is Hollywoodized as we've said before. But on its own terms it stands up remarkably well.
And yet I admit to an ambivalent response: it is exhilarating to find that someone has the boldness to invent new types (I haven't been able to talk of Melmotte for the type is new to this kind of film), to depart from sentimental melodrama, to reach for grotesque comedies and modern cynicisms and scepticism and present the world as governed by clowns because most people don't mind in the least; at the same time to see the woman's emotion picture replaced by a mode which is implicitly derisory of the sensitive and intelligent, of the subjective intangible world (which Trollope did value) and especially of women is demoralizing. It is sometimes said that the 19th century in Western society saw some genuine progressiveness and improvement in general attitudes towards the powerless and vulnerable and certainly the abolition of slavery after countless centuries of acceptance is heartening. I suggest that the last 25 years have seen a movement which has gone swiftly backwards in many areas of life.
Ellen Moody
Date: Sat, 13 Apr 2002
Ellen, I agree with you regarding this recent broadcast...your comment:
"I was struck by the openly parodic nature of the piece: I gazed at a highly theatricalized scene, meaning the way the actors were blocked; in it over- or maybe it was self-consciously dressed up superrich late Victorians were moving about a set that announced itself as as phony."
Earlier this week, I posted this comment: "Last night was my first experience with the television broadcast. Was this a satirical rendition or is this how Trollope's work is perceived? The vulgarity of the Melmottes was comical. Couldn't this have been played less desperate and still conveyed Trollope's ideas?"
Ellen, what I found hard to believe was the way Marie Melmotte's character flitted from one person to an other. One moment she was sitting by her mother and then the next she was snuggling up to Felix. It had a comedic feel to it and I felt it showed Marie as vulgar as the rest of her family. The breakfast scene with Georgianne comes to mind.
In a Victorian scene, you expect to see decorum and stiffled emotion. Trollope's novel conveyed to me an unseen vulgarity on the part of the Melmottes. The notion was 'felt' versus 'seen', by the established gentry of London, that the Melmottes were outsiders, new money etc.
Also your comment:
"Trollope wants to make a strong distinction between money made from land and business and money made from speculative schemes, ....."
It is clear in the novel that Pickering Park indeed has value. Melmotte has purchased this home and already has mortgaged the property, pulling all available cash money from its value without putting any of his money into the property. A 'real' theft has occured here when we find out the additional information on how the sale was completed.
If you contrast this scheme with the railroad speculation, it is indeed a distinctly different mode of making money. One is based on actual real value.....land......and another on hot air....Melmotte's promotion of the enterprise.
Donna
Date: Wed, 3 Apr 2002
Did anyone watch on Monday night in the U.S. on public T.V.? Any feelings pro and/or con?
I think, on the whole, the production was good, but I do have some reservations in the casting especially of Lady Carbury. I did not picture her as chubby; I think she is thinner, more attractive and more sinister. Likewise, Felix should have been more amoral. He is too much in league with his mother's plan to "capture" Marie Melmotte. Marie, herself, was portrayed too aggressively, and her voice was so gravel-ly. Melmotte, in contrast, was perfect as was Hetta.
Regards.
Doris White
Date: Wed, 3 Apr 2002
Doris said earlier this morning,
I did.
I agree. I thought she would be more glamorous, maybe voluptuous, but
certainly not chunky.
Actually, I think Felix is perfect, and when I saw his competitors, I could
see why Marie would go for him.
I agree with that. Who thought of that yukky baby voice?
Here I agree, too.
I did find Winifred Hurtle's southern accent hard to believe. Wasn't she
supposed to be from Oregon? I wonder if the British find southern accents
sexy and alluring, and suited to Winifred Hurtle as a femme fatale.
With the Hetta Carbury/Paul Montague/Roger Carbury triangle I am reminded of
Alice Vavasor/John Grey/George Vavosor triangle, where the woman finds the
dangerous man more exciting than the dull but reliable man.
Dolly Longestaffe is just how I pictured him; blond, totally self-involved,
indolent, not bad looking but no lady killer either. Georgina is no less
self-involved, heedless of her father's financial difficulties, totally
snobbish.
I loved the scene where Madame Melmotte danced with the Prince. I don't know
that she comes across as stupid, just awkward, very much a fish out of water.
--Jill Spriggs
Date: Wed, 3 Apr 2002 Jill wrote:
I also agree here, Felix was great but the voice of Marie is impossible.
I loved the southern accent of Mrs. Hurtle and particularly liked seeing her
portrayed as a young woman. I changed my mind from the person portrayed in
the book whom I disliked to a more sympathetic character. I remember when I
first met Angela R. during my first visit to London, she was disappointed
that I didn't have an accent. (I've lived in the south more than 20 years
but still retain the fact that I come from New York.)
I found the production pretty good on the whole but too much drama in some
of the scenes and not enough of the feeling I have of Trollope.
Joan
Date: Wed, 3 Apr 2002 Hi Group again--Winnifred Hurtle's character is fine. English actors do
Southern accents well, because of closeness to English accents (e.g.
Leslie Howard in GWTWind). Also, Oregon state had two major groups
settling there, New England, and Southern--the latter fleeing the South
after the Civil War.
TWWLNow is my favorite Trollope book (I've read all of them). Date: Wed, 3 Apr 2002 Dear Readers,
My view on the adaption is its lack of being serious.
Perhaps it is the way I read or the way I feel when
read Trollope's work. I take his novels very much to
my heart. His ability to show empathy as he sketches
out his characters I have found in no other author.
Mr. Melmotte for example. Through part one of the
movie I felt we are to view him as a joke. Yet in the
novel I see him and his character and or character
flaws in many different ways. I feel Trollope assumes
we know he is a villain, but he uses his character to
show us all the variations of this type of character
defect.
Perhaps I will see things differently as the movie
progresses. Still I would much rather read Trollope.
Patricia Stewart
Date: Fri, 10 May 2002 n her recent lively email on Fanny Trollope's Domestic Manners
Catherine referred to the conception of Mrs Hurtle in Yates and
Davies's _TWWLN_:
I agree.
In Part One the director/producer/costumer had Mirando Otto
dressed with a neckband that recalled Vivien Leigh twice: the
way she was dressed as Scarlett O'Hara in GWTW and
the way she was dressed in the opening scene of A Streetcar
Named Desire. The director of A Streetcar was alluding
to GWTW. In Part Two, the witty bedroom scene had
Mirando got up in an outfit that reminded me of the way Belle
was dressed in the 1939 GWTW film.
It was quite deliberate. As I say sympathy, understanding,
compassion, let alone identification was nowhere to be seen,
but that the icon was intended is clear.
I did not pay enough attention to the way Hamilton Fiske
(Michael Riley) was dressed in Part One and he did not
appear in Part Two. I did have a sense of him as loud
and relaxed (what the costume "signed" to us); I'll lay
a bet they have him dressed as some archetypcal character
from previous filmic costumes.
Ellen
Now we go back in time and move forward:
Date: Tue, 20 Nov 2001 I confess to have forgotten about Dolly Longstaffe. Certainly not villainous,
the Oxford Reader's Companion to Trollope describes him as being "lazy,
dim-witted and contrary", "devoted chiefly to playing cards and smoking
cigars". I thought I remembered reading about him somewhere other than in
TWWLN, and I found where, from the same source. Remember how, in The Duke's
Children, he was one of a flock of young men enraptured by the American
Isabel Boncassen?
While Dolly Longstaffe was anything but villainous, remember that he caused
the downfall of Melmotte not through altruism, but because Dolly, better than
his father, suspected Melmotte would not come through with the cash. Couldn't
this portrait of an indolent man, dependent on parental largess, be another
jab at AT's favored older brother?
Jill Spriggs
Date: Tue, 20 Nov 2001 I am afraid that the second episode of The Way We Live Now was a grave
disappointment. It looked more like soap opera than a serious BBC classic
serial. Marie Melmotte is being portrayed as a nymphomaniac teenager, and
Mrs Hurtle's behaviour is explained as that of a jealous woman, passionately
in love with Paul Montague, which he seems unable to cope with.
Incidentally, I wonder what Americans makes of her accent. It seems
extraordinary to me, although I don't claim to be any sort of an expert.
Finally, Felix's affair with Ruby Ruggles resembles nothing so much as an
episode from East Enders, a most popular but awful British soap opera. I
shall go on watching, but with a much reduced expectation.
Concerning Jill's query, I think that she will find Adolphus, better known
as Dolly, Longstaffe in TWWLN falls into the category of non-villainous
Adolphuses. It is his stand against the sale of the family property to
Melmotte which finally brings the swindler and crook down.
Regards, Howard
Re: Film Adaptations of Novels and the BBC TWWLN, Part Two
Since May I have been busy working on an essay-review I
was invited to write for a Victorian journal. One of my topics
involved George Eliot and historical fiction. A second
was -- and is -- film adaptations of novels.
I have been watching films galore since May and reading books on
these things and have become convinced that the
evaluative standard of "faithfulness" is erstaz: the people
who make these movies know that. They are operating
in a different medium and exploiting a different kind of
plot (one intended to give rise to occasions for catalyst
scenes) and, most importantly of all, dramatizing
character types or functions who may have the same
names and indeed do the same acts as in the story
of the same name by the author, but their emotional
feel and function in the story is quite different. There
are also favorite types for movies and if the type is
not in the novel he is added to the film; if the type
is only marginal in the novel, he is given a major
role; conversely, types who don't do well in film
adaptations because they lack a real function are
dropped.
Dolly Longestaffe is fascinating from the point of
view of adaptation. He appears in at least two
of Trollope's novels: The Way We Live Now &
The Duke's Children. I have a vague memory
he is spoken of in The Claverings but never
appears. I have been patiently watching the
older film adaptation of The Pallisers. I find
it very disappointing when I think about the books,
but if I dismiss the books from my mind, I find
it intriguing and a success. It's a modern work,
a 1970s work. It opens with Dolly; he is brought
in repeatedly; his personality as suggestively
begun by Trollope is developed into a type
frequently found in late 20th century film
adaptations: the louche amoral cynic who is
supposed to amuse us. Trollope did not
have quite this archetype in mind: he made
a believable sleazy character who really does
care about his property and rank, is nasty
to his sister, is selfish, cold, more immoral
than amoral, and not a cynic more a
conscious hypocrite. Trollope kept him in
the margins of his fictions. The film adaptations
bring him forward: according to folklorists
whose types are the best thing I know to
understand the figures we see in movies
he is a subtype: Propp, a Russian folklorist
finds Odysseus is the first one to correspond
to this: the person who is "in the know",
has the "street view", is calculating, successful
and usually comes out on top. Movies need
him to fill the audience in on what's happening
and provide an ironic "take" which amuses
their own amorality.
It's revealing to know which actors play which
parts. The same actor will be repeatedly called
upon to play the same type: Ronald Colman
and then Dirk Bogarde after him were "victim-
heroes who are central helper figures in the
film-story (Sydney Carton, it's a far far better
thing and so on). Ralph Fiennes is Heathcliff
and a fierce amoral type in The English
Patient. The man who played Dolly in the
1970s is too old now, but he even looks
like the man who played Addison in All
About Eve which used this type (it doesn't
matter if the film adaptation is of a 19th
or 20th century novel). I will be interested
to see who plays the part when the film
comes to the US. I am hoping it will; not
all BBC productions do and as I wrote
yesterday this one is not "pulling them"
in. One columnist said the time schedule
has TWWLN beginning five minutes
earlier than its competition, but that ploy
is not working.
It's "bad news" for those who want to see good
film adaptations of stories taken from Trollope's
novels -- note I don't say visual or film
equivalents of these. There is no such thing.
If it fails, the producers will blame Trollope's
material when it has been their own lack
of intelligence, courage and willingness to
respect their audience and present material
genuinely relevant to that audience.
Cheers to all, Duffy Pratt had protested.
Date: Wed, 21 Nov 2001 Dear Duffy and Everyone,
It doesn't always hold true that the twentieth century novel provides
the sort of story, a form of story-telling, and characters that are
readily adaptable -- or transferrable -- to moving pictures. Apparently
it is rare that story-telling through moving pictures can come across
well by using voice-over or flashback. Thus the kind of novel --
very common -- where the subjective memory of the protagonist
provides continual flashbacks or the whole book is wound around
flashback memories -- is very difficult to adapt. Yet adapt they
do and transform the material. A case in point is The English
Patient: what was marginal in the book moves into the center
in the movie; what was in the center in the book moves to the
periphery in the movie.
This suggest to me that the choice of what to adapt centers on
the "events" of the story which are malleable enough to turn
into cinema subgenres -- of which there are a number. One
of these is the woman's "emotion picture" (an industry term) to
which many, perhaps most of these adaptations of 19th
century novels belong. Women's is derogatory: women are
as yet secondary creatures in our society. Men go to these
and watch Masterpiece and Mystery Theatre in huge numbers:
the material has been made by respectable because of the
attachment to the 19th century "classic" or high status
book.
The Way We Live Now is a high status book. Now I've
no idea if the subgenre is woman's "emotion picture" --
Andrew Davies's screenplay and the adaptation of Wives
and Daughters was and it is a really wonderful movie.
At the same time it is not Gaskell's book.
I wonder if people would be willing to do this: I would love
to hear what you think is the very best film adaptation of
a 19th century novel you have ever seen, and what you
think is the very best film adaptation of a 20th century
novel you have seen.
Off the top of my head, I'll opine at least what I found profoundly
enjoyable and have watched several times:
19th century: the 1995 Miramax Sense and Sensibility, screenplay
Emma Thompson, starring herself, with a fine & important supporting
performance by Alan Rickman
20th century: Granada TV's Brideshead Revisited, screenplay John
Mortimer, starring Jeremy Irons, with a fine performance by Anthony
Andrews as Sebastian Flyte.
One cannot translate plays into films straight: I really was
taken by Vanya on 42nd Street for the way it turned a great
play into a great movie.
Anyone else have favorite film adaptations of novels or plays?
Ellen
i don't have much expertise in this subject anymore, but in my mind
the best adaptation of novel to film was Pinter's adaptation of The
French Lieutenant's Woman.
mp
Favorite Film Adaptations
I enjoyed the following immensely, have watched the first two several times
each, and intend to watch the two C20 ones again.
19th century: I thought the (fairly) recent film of Persuasion with Amanda
Root as Anne was as good as it could be - with the exception of the kiss in
the street almost at the end, and the ship sailing into a blood-red sunset.
But they're minor compared with the rest of the movie; for realistic
portrayal of the period it's hard to beat.
The BBC (?) adaptation of the Barchester Chronicles is also compelling
viewing with wonderful performances by Alan Rickman as a perfectly odious Mr
Slope, Donald Pleasance as Mr. Harding, and Nigel Hawthorne as Archdeacon
Grantly.
20th century: BBC (?) adaptation of Anthony Powell's Dance to the Music of
Time, and Evelyn Waugh's Sword of Honour trilogy; both seen here fairly
recently, but I don't have details of producers or actors at the moment.
Elizabeth in Australia
I thought, like Ellen, that Brideshead was one of the all time greats,
especially Claire Bloom (I think) as Lady Marchmain, I also thought that A
Dance to the Music of Time was a great achievment.
As for the 19th century, I have very fond memories of the BBC War and Peace,
with Anthony Hopkins as Pierre but it was a long time ago I saw it so I am
not sure how it would compare nowadays.
Cheers (Who has just borrowed from a friend and watched for the first time The
Barchester Chronicles, which I though was overacted, although very
enjoyable)
Re: Film Adaptations of 19th Century Novels
Dear Everyone,
It's very easy to know just about every detail that you'd
want to know -- and far more -- about any particular
movie. Like most people I usually remember a movie
by who starred in it, after that who directed it; nowadays
I know how important the screenplay is, and I make
an attempt to find out. It's not always possible since
only recently did the screenplay writers insist (in
the most recent contract that at long last their
names be put on the credits visibly); but you can
find out. Just go to:
http://www.us.imdb.com/Top/
Year, name of movie, who acted and what was the
role, director, producer: an extraordinary cornucopia
of information and all (as long as you are online
and have access to the World Wide Web) for free.
When I quoted the year for Brideshead Revisited,
I looked it up there.
One of the most frustrating things in studying films
is how hard it is to get a screenplay. The reasons
are commercial: something like over 70% of all
films are based on published stories; the agents
for the writers don't want another version of the
story available and in competition with the novel:
it'll probably be easier to read, and if this became
a regular thing business interests would soon
accompany the text with pictures. In the case
of the Jane Austen films, that's what has happened.
The words "Jane Austen" sell so screenplays
are part of the paraphernalia sold around each
of the film adaptations as part of the hype.
Sometimes also the filmmakers don't want
the work disseminated. There is as yet
no market for these things: you have to create
markets. To print the text makes plagiarism
easier. It's very hard to get any of the BBC
screenplays apart from the Jane Austen
films.
Every once in a while there has been attempt
on the part of someone proud of a production
and wanting to buck this vise -- Kenneth Branagh
published a splendid book of the screenplay
for the 1994 Mary Shelley's Frankenstein --
but it never seems to last. I now own three
huge books filled with screenplays from the
1940s, some very great ones. These things
are as much literature as anything else:
the screenplay by Ben Hecht for the 1939
Wuthering Heights (starring Laurence
Olivier, Merle Oberon, director William Wyler)
is what many people remember when they
think they are remembering Bronte's book.
The screenplay has much poetry not in
Bronte, especially when it comes to what
Heathcliff says. You can get the screenplay
for Martin Scorcese's Age of Innocence;
Antony Minghella's screenplay The English Patient,
infinitely easier to read than the novel by
Onjaatje (spelling).
But it doesn't last, mainly because it's not
in anyone but the screenplay writer's commercial
interests to see the play published and only
would be in his or hers were it to be advertised
so it would sell.
I can tell Elizabeth who loves the BBC 1995
Persuasion that you can buy the screenplay;
it comes with photographs and it's a way of renewing
the experience. I have the screenplay by Emma
Thompson for Miramax's 1995 S&S I talked
about.
I was disappointed by the 1997 Dance to the
Music of Time (I just looked it up at the
above address and discovered the year, screenplay
writer is Anthony Powell III). It was just too
truncated; it should have had 12 episodes
like Brideshead. I've never seen The
Barchester Chronicles (imdb says that's
1984). I saw the Pinter French Lieutenant's
Woman; I remember best Jeremy Irons.
An actor's voice counts so much: Irons's voice
is why we love him on screen: I have been
listening to a recording of Burton doing "How
to Handle a Woman" and the other songs
of Camelot: it's his voice, its timbre
and register we fall in love with. It was the
key to Ronald Colman's success. For
actresses it's not that important: the
look on their faces is central there. Julia
Roberts has a transparently vulnerable
face. Bette Davis's, Katherine Hepburn's
were all charged with emotion, different
ones but the particular emotion is
not the point
I'll bet others have favorites. We tend to
remember the last we have seen, the latest,
so I was much taken by BBC's 2000 Wives
and Daughters, really loved it.
How about favorite movies? Most movies, as
I've said are film adaptations of published
stories (novels and non-fiction).
Every term I've screened it my students have
been mesmerized by Boorman's Excalibur
(also 1981 -- now on DVD). It has everything:
Wagner, Carmina Burana, stills like
paintings, grand sweep.
I'm trying to think what's my favorite movie
of all time. Like Roger, I have experience
rewatching a movie I once loved and found
its technology or mores are now obsolete,
and it doesn't "work" the way it once did.
This happened with 1963 The Servant (Dirk
Bogarde, James Fox); it was still fascinating,
but not this shattering experience any
more. You have to have patience with
the old films and approach them something
like you do a 19th century novel; lend yourself
to it and enter into it. Having done that I'd
say the 1939 Wuthering Heights was
very great; yet to tell the truth, how much
easier was it to respond to the 1992 Wuthering Heights
with Ralph Fiennes and Juliet Brioche.
It's the rare film that doesn't go obsolete,
if only because the music which is usually
pop and the way sex and sentiment are
presented: this latter changes so after
around 1970.
I can't think of a favorite movie as such
any more, just a favorite of this type or
that.
How about others?
Ellen
Date: Sun, 25 Nov 2001 After Ellen Moody's difficulty in finding published reference to Simon Raven's The Way
We Live Now, after I blithely inserted it in her thread, I had a brief spasm of "my memory
has finally gone and I am hopelessly muddled," relieved by finding it briefly discussed (though as
a harbinger of the Pallisers, which the reviewer doesn't like) by Jonathan Keate at
http://www.btinternet.com/~sc.i/bc_close_encounters.htm
Raven died this year, offering ample opportunity for the obituarists to strut their stuff, and the
Telegraph gives the date of the TWWLN adaptation as 1969:
http://www.lineone.net/telegraph/2001/05/15/obituary/simon_11.html
Patrick Scott
I think, on the whole, the production was good, but I do have some
reservations in the casting especially of Lady Carbury. I did not picture
her as chubby; I think she is thinner, more attractive and more sinister.
Likewise, Felix should have been more amoral. He is too much in league with
his mother's plan to "capture" Marie Melmotte.
Marie, herself, was portrayed too aggressively, and her voice was so
gravelly.
Melmotte, in contrast, was perfect as Hetta.
Actually, I think Felix is perfect, and when I saw his competitors, I
could see why Marie would go for him.
I did find Winifred Hurtle's southern accent hard to believe. Wasn't she
supposed to be from Oregon? I wonder if the British find southern accents
sexy and alluring, and suited to Winifred Hurtle as a femme fatale.
//Ms Theo Nassar, Seattle, Washington//
From
Subject: [Trollope-l] Yates and Davies's TWWLN: Costuming & Accents as Signs
"To my ears, she was evoking Vivien Leigh in Gone With
The Wind, a film that is an American icon."
Ellen
Roger
From: Patrick Scott
Subject: Simon Raven and TWWLN
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