Archive for the 'television' Category

From page to screen

May 31, 2016

I suppose I’ve always been a purist when it comes to adapting a novel for television or the cinema: a book is a book for a reason, and converting it into something else – a play, a film, a TV series – always loses something. However, there are also times when something is gained…

Other forms (I’ll write more fully about significant form in a future post) add a visual element to something that was originally written to appear in print. It’s important to understand how it replaces a space that existed for the imagination to work in when we are reading: we visualise characters and places as we read, often working from our stock of memories of all the people we have ever met and the places we have been to. Thus, when we see a film after having read the book, we may feel that the casting or setting jars with what our imagination had created for us originally. Equally, if we watch a film or television adaptation first and then go on to read the book, our imagination may well be constrained by what we have seen. I do think that it’s important to allow free rein to the imagination, especially in a child’s formative years: if it’s fully developed, it will always be there; it’s a valuable and necessary part of us in so many ways.

Although adaptations add visual elements (which are often powerful and moving), they usually also necessitate trimming or cutting of much material that’s in the original text. Logically, if it takes us a total of, say, twelve hours spread over a few days to read a novel, then to turn it into a two-hour film inevitably means losing something, even though the visual elements are clearly a short-cut and substitute for many pages of written description. Even the first TV adaptation of War and Peace in the early 1970s, which lasted twenty hours (!) had to lose a great deal of Tolstoy‘s masterpiece.

So decisions are made, and can outrage us if we have read the book first and we feel that vital elements have been cut, or even worse, changed, for the sake of – what, exactly? a series suited to the US market, perhaps? However, if we come to the text after the film, we may well be enlightened by the richness of what the author offers us in the original.

What gets cut? Characterisation and location are relatively easy to do with visual support; action has the advantage of looking good on screen and keeping the viewer engaged; visual elements can create atmosphere very effectively indeed. What often suffers are the broader themes and ideas which a writer may have spent a good deal of time on: these may be lost, and their absence contribute to a more lightweight and superficial visual experience.

Things are added, too – and these are the kind of things that really jar for me. Examples: the marvellous adaptation of Jane Austen‘s Persuasion which works beautifully until the very end when the hero and heroine were instructed to kiss – for goodness’ sake! for the US audience. The adaptation of Mansfield Park where we were shown Henry Crawford and Maria Bertram in bed committing adultery. Colin Firth’s pool plunge and wet t-shirt moment. I could go on, but you get the idea, I hope. And please don’t tell me it’s all about making something relevant for a modern audience…

I have come across very good translations from book to film. I’ll cite the original TV adaptation of War and Peace again, because it was a masterpiece of its time; the early 1970s adaptation of Sartre‘s Roads to Freedom trilogy which many of my generation remember with great fondness, but which seems to have been lost forever; the TV adaptation of Middlemarch which did its best with a doorstopper of a novel; Volker Schlondorff‘s film of GrassThe Tin Drum, which, although only the first half of this epic novel, was stunningly faithful to the original.

Horrors include most adaptations of GCSE set books turned into theatre by companies desperate to milk the school market for cash, such as stage versions of To Kill A Mockingbird or Of Mice and Men.

Lastly, it occurred to me that science fiction comes off pretty well in the cinema, and I’m wondering why – perhaps it’s partly because of its emphasis on spectacle and imagination rather than ideas (gross oversimplification here, I know) but films such as Blade Runner and 2001: A Space Odyssey certainly managed to enhance their original novels, and I’m looking forward to seeing the series of The Man in the High Castle at some point…

%d bloggers like this: