“Film as Art” – Script 3
Part III of the slide/cassette presentation of “Film as Art” moves into the
realm of film as literature. In this section you will see how film makers have
utilized literary sources as the basis of many outstanding movies.
Ask your instructor for “Fiction into Film: Literature Goes to the Movies,”
Part I.
Follow the slide presentation which coincides with the attached script.
Take Test 3.
PART THREE
SUMMARY OF CONTENT
FILM AND LITERATURE HAVE MANY OF THE SAME AIMS. . . THEY PROVIDE ESCAPE, OFFER INSIGHT, EVOKE EMOTION. BY ADDING SIGHT AND SOUND, FILM CAN CHANGE OUR EXPERIENCE OF A LITERARY WORK, GIVE IT A FRESH INTERPRETATION. FILM HAS A GRAMMAR OF ITS OWN—CAMERA AND EDITING TECHNIQUES THAT EXPRESS WRITTEN WORDS IN FILM TERMS. FILM IMAGES TAKE OVER PART OF THE FUNCTION OF WORDS AND LEND IMMEDIACY TO COMPLEX EVENTS, TO ACTION AND ADVENTURE.
“The movies” are everybody’s ticket to fantasyland. Yet one of the reasons for their popularity is that a great many of them have been based upon successful books, plays and short stories. As the motion picture evolved into an art form in its own right, it became increasingly adept at translating subtle literary material into visual form. In time, film took over from books the function of deepening our awareness of life.
Early in the twentieth century, when film was in its infancy, it was used merely as an extension of the still camera, to document simple actions: a train entering a station, people swimming. The first action-stories were accounts of historical events—“Orphans of the Storm” was based on the French Revolution—or dramatic episodes from real life, such as the fifteen-minute film made in 1899 on the Dreyfus Affair.
D.W. Griffith is credited with having made the greatest individual contribution to the development of the motion picture. His masterpiece was “The Birth of a Nation.” Based upon a racist novel entitled The Clansman, the film undertook the Titanic task of depicting the nation during the Civil War. Griffith provided the “grammar”—close-up, montage—that expressed written words in film terms.
The books of Charles Dickens have often been used as the basis for films because they adapt to the medium with very few alterations. Dickens was a highly visual writer and an inventor of elaborate plots. Shakespeare’s plays, also strongly plotted, have been the basis for more than two hundred screenplays in a great variety of treatments.
The psychological novel presents special problems to the filmmaker because much of the action takes place within the character’s mind. One of the most successful film adaptations of a psychological novel was that of Liam O’Flaherty’s novel The Informer. Here the screenwriter invented a series of symbols which made the psychological action visual.
While an occasional film adaptation of a novel or a story succeeds better than the original, something is usually lost in translation. It is the author’s voice. Film skims the action from the surface of a book and concentrates on the story line. But in a pure adventure story, like Jaws, film provides a visual impact far more powerful than anything which can be suggested by the printed word.
INDEX OF SLIDES
SCRIPT
Time: 16 Minutes
SONG:
(1)“Hear ye, hear ye, hear ye allTARZAN CALLING
The first and last and only callfrom “Tarzan and the Slave Girl”
film still
(2)“For the most gigantic, TitanicSCARLETT AND RHETT
stupendousfrom “Gone with the Wind”
Colossal affair of the agefilm still
(3)“Come along with meCINDERELLA AND PRINCE
To a jubileefrom “Cinderella”
With a hop and a hip hurrayanimation still
(4)“It’s gonna be great, let’s make itSHARK
a datefrom “Jaws”
For a Hollywood Holiday”film still
(5)“Every King and QueenAPE COUPLE
Of the silver screenfrom “Conquest of the Planet of the Apes”
Will be there for the matineefilm still
(6)“We’ll meet all the frillsFRANKENSTEIN STALKING
From Beverly Hillsfrom “Frankenstein”
On a Hollywood Holiday”film still
TITLE:
(7)FICTION INTO FILM:FAINTING GIRL
LITERATURE GOES TO THE from “Frankenstein”
MOVIES, PART 1film still
MALE NARRATOR:
(8)Hollywood means movies, andGOING TO A MOVIE
since the beginning of this century,from “Days of Thrills and Laughter”
film has held a fascination for thefilm still
public. Movies mean entertain-
ment, excitement, romance.
(9)One of the reasons that movies have“PRIDE AND PREJUDICE”
been so successful is that they havepublicity poster
built upon the popularity of other
entertainment media—particularly
literature and drama.
(10)At the turn of the century,Left:
novelist Joseph Conrad and filmJOSEPH CONRAD
pioneer D.W. Griffith indepen-New York Public Library
dently made almost identicalphotograph
statements concerning the pur-
pose of their respective mediums:Right
they wanted, above all, to makeD.W. GRIFFITH
their audiences “see.”New York Public Library
photograph
(11)Both film and literature haveTARZAN DEFENDS JANE
many of the same aims—provid-from “Tarzan Escapes”
ing escape, offering insight andfilm still
evoking emotional response—but
they obviously use different
techniques to achieve these aims.
(12)Through the addition of sight andTARZAN AND ELEPHANTS
sound, movies can add a new di-from “Tarzan and his Mate”
mension to literature. Althoughfilm still
the basic story and characters
may remain intact, the experience
of the work can change dramatically.
(13)Movies can use literary sources inKING AND QUEEN
a number of ways. At times theyfrom “Macbeth”
can adhere very closely to thefilm still
original.
(14)In other instances, elements of“JOE MACBETH”
the novel, play or short story arepublicity poster
changed radically, altered or
deleted completely in the film
translation.
(15)In examining the relationship of MOVIE CREW FILMING
film and literature, it may be“ORPHANS OF THE STORM”
helpful to understand some of thephotograph
early stages of the movie industry,
before it had the technical know-
how needed to translate literature
into film
FEMALE NARRATOR:
(16)The earliest movies experimented FILM OF TRAIN
with film simply as a form of docu-from “Arrival of a Train”
mentation. This film, made byfilm slide
Louis Lumiere around 1896,
records a train entering a station.
Its aim is to capture a single inci-
dent and record it permanently.
(17)The same is true with another earlyJUMPING INTO WATER
movie that just records peoplefilm still
jumping into the ocean and
swimming.
(18)In order to make longer and moreACCUSED
interesting movies, filmmakersfrom “The Dreyfus Affair”
turned to historical events forfilm still
story content, like “The Dreyfus
Affair” made in 1899. This sus-
tained narrative dramatizes an
important event of the time—in
twelve scenes and fifteen minutes.
(19)Historical themes continued to be NEAR DEATH
primary movie sources throughoutfrom “Orphans of the Storm”
the silent era, as in the 1921 superfilm still
spectacle “Orphans of the Storm.”
(20)This film focuses melodramaticallyRAGGED POOR
on the French Revolution,from “Orphans of the Storm”
film still
(21)complete with a cast of thousandsCROWD GOES WILD
from “Orphans of the Storm”
film still
MALE NARRATOR:
(22)In 1915, motion-picture history‘THE BIRTH OF A NATION’
was made by D.W.Griffith’s filmpublicity posters
“The Birth of a Nation.” The film
is important because it is one of
the first to use a literary work as
its primary source. It is also one of
the first full-length motion pictures
to be seen by the public, running
over four hours.
(23)The source for the picture was aKLAN RIDING AND SHOOTING
racist pulp novel called Thefrom “The Birth of a Nation”
Clansman, but Griffith’s interpret-film still
tation was nothing less than
revolutionary.
(24)He is credited with providing theSHOOTING SCRIPT
so-called “grammar” of the moviesfrom “The Birth of a Nation”
--the many camera and editingscript and film still
techniques, such as close-ups and
montage, that express written
words in film terms.
(25)READY TO CHARGE
from “The Birth of a Nation”
film still
(26)READY TO FIRE
from “The Birth of a Nation”
film still
(27)Griffith also went to great lengthsMARCHING SOLDIERS
to assure historical accuracy, par-from “The Birth of a Nation”
ticularly in the scenes of the Civilfilm still
War. Before staging key battle
sequences, he studied document-
tary photographs of the events.
(28)And before filming his re-enact-LINCOLN ASSASSINATION
ment of Lincoln’s assassination,from “The Birth of a Nation”
he researched historical engravings.film still
(29)Unfortunately, “The Birth of a KLAN AND PRISONER
Nation” reflects many of the Jimfrom “The Birth of a Nation”
Crow sentiments of the originalfilm still
source, yet it remains a landmark
in cinematic history.
FEMALE NARRATOR:
(30)D.W. Griffith gave much of the“HOW BELLA WAS WON”
credit for his film techniques topublicity poster
novelist Charles Dickens, whose
writings inspired filmmakers from
the very beginning of the silent
era. Dickens is still considered a
very “optical” writer since his
prose so easily lends itself to
visual translation.
(31)Movies based on Dickens’ novelsTHOUGHTFUL
are often almost literal adaptationsfrom “David Copperfield”
and, in many cases, can readilyfilm still
substitute for the original work
for study purposes.
(32)Such is the case with David Lean’sPIP AS A DANDY
film of “Great Expectations” madefrom “Great Expectations”
in 1947. The film retains most offilm still
the story line, characters and
themes of the original novel with
only minor changes.
(33)The movie parallels the book inPIP AT GRAVE
many interesting ways. It wasfrom “Great Expectations”
photographed, for example, on thefilm still
exact location that Dickens describes.
READER:
“Ours was the marsh country,
down by the river, within, as the
river wound, twenty miles of the
sea.
(34)“My first most vivid. . . impressionDetail of slide 33
. . .(was). . . gained on a memor-
able raw afternoon towards eve-
ning. . . I found out for certain,
that this bleak place overgrown
with nettles was the churchyard;
. . . and that the dark flat wilder-
ness beyond the churchyard was
the sea: (then)
(35)“’Hold you noise!’ cried a terriblePIP STARTLED
voice, as a man started up fromfrom “Great Expectations”
among the graves. . .’Keep still youfilm still
little devil, or I’ll cut your throat!’
(36)“(He was) a fearful man, all inPIP AND CONVICT
coarse grey. . . with no hat, andfrom “Great Expectations”
with broken shoe. . . A man whofilm still
had been soaked in water, and
smothered in mud, and lamed by
stones, and cut by flints. . . and
torn by briars;
(37)“who limped and shivered, andPIP SEIZED BY CHIN
glared, and growled and whosefrom “Great Expectations”
teeth chattered in his head as hefilm still
seized me by the chin.”
MALE NARRATOR:
(38)But film can also go beyondUPSET WOMAN
literary sources and powerfullyfrom “The Birth of a Nation”
visualize emotions, thoughts andfilm still
experiences.
(39)Film often focuses on complexFAMILY GROUP
events and translates them intofrom “Grapes of Wrath”
visual terms with an immediacyfilm still
not possible in words.
(40)In these ways, film images takeGYPO AND KATIE
over part of the function of words,from “The Informer”
and this capability becomes veryfilm still
important in adapting certain
kinds of literature.
(41)The Informer, written by Irish“THE INFORMER”
novelist Liam O’Flaherty, had topublicity poster
be altered to fit the film medium,
and was brought to the screen in
1935 by noted director John Ford
and screenwriter Dudley Nichols.
(42)The film adaptation sharpens the CHARACTERS FROM “THE INFORMER”
plot and focuses on the centralby Mike Gothland
moral dilemma faced by GypoCourtesy of Pratt Institute
Nolan—a man caught betweenmixed media
desire for money and loyalty to
friends.
(43)The time is 1922 in Ireland duringGYPO AND FRANKIE
a period of revolution and politicalfrom “the Informer:”
upheaval. Gypo, a powerful butfilm still
slow-witted man, yields to the
temptation of a twenty-pound
reward and informs on his best
friend, a fiery revolutionary wanted
by the British.
(44)The friend is trapped and killed,GYPO ACCUSES
and in order to protect himself,from “the Informer”
Gypo accuses another man of thefilm still
betrayal.
(45)But his treachery haunts him, andGYPO DRINKING
he tries to drown his conscience infrom “The Informer”
a long night of drinking. The rebelsfilm still
watch Gypo, however, and note
down the money he spends. Each
pound comes closer to the reward
money given to informers. At last,
there is no doubt of his guilt.
(46)He is taken before the rebel courtCOURT OF INQUIRY
of inquiry to be faced by the deadfrom “the Informer”
man’s sister.film still
(47)Gypo goes from denial to despairGYPO BREAKS DOWN
and finally breaks down and from “The Informer”
confesses.film still
GYPO:
“’I can’t remember, I’m drunk, I
tell ye! I can’t remember nothin’.’
DAN:
‘Confess, man—and ease your
soul.’
GYPO:
(48)“’I didn’t know what I was doin’!GYPO CONFESSES
I didn’t know what I was doin’!from “The Informer”
Can’t ye see what I mean? Is therefilm still
no man here to tell him why I did
it? Me head is sore! I can’t tell
him!’
DAN:
‘Lock him up!’”
MALE NARRATOR:
(49)Gypo, however, manages to escapeGYPO SEEKS REFUGE
and finds refuge with his girlfriendfrom “The Informer”
Katie. Katie vainly pleads with thefilm still
rebel leader for Gypo’s life, but
Gypo is hunted down and mortally
wounded.
(50)Dragging himself to a church, heGYPO DIES
meets the dead man’s mother andfrom “The Informer”
sister. After receiving their for-film still
giveness, he dies.
(51)Certain problems confronted theGYPO CONFRONTED
screenwriter when adapting thisfrom “the Informer”
novel. As Dudley Nichols explained:film still
NICHOLS:
“. . . some new method had to be
found by which to make the psycho-
logical action photographic. . .
(52)“(So) I. . . found a series of sym-GYPO BROUGHT TO COURT
bols to make visual the tragic psy-from “The Informer”
chology of the informer, in thisfilm still
case a primitive man of powerful
hungers.”
(53)In the screenplay, the action isFOGGY NIGHT
played out in one foggy night, thefrom “The Informer”
fog acting as a symbol of Gypo’sfilm still
groping mind.
(54)This sign, advertising ocean passageSIGN
to America, gives visual expressionfrom “The Informer”
to Gypo’s longings for escape.film still
(55)While contemplating the sign, GypoSHIP TO AMERICA
imagines Katie and himself happilyfrom “The Informer”
married and aboard the ship--film still
escaping from the life they know.
(56)Gypo’s hat is a visual image usedSYMBOLS
over and over to express his emo-from “The Informer”
tional state. When he feels strongfilm still
and sure of himself, the hat is
perched jauntily on his head. When
he is remorseful and after he has
confessed the betrayal, Gypo’s
hat is either twisted in his hands
or missing altogether.
FEMALE NARRATOR:
(57)In their search for suitable literary“ROMEO AND JULIET”
sources, it is not surprising thatpublicity poster
many filmmakers have turned to
Shakespeare. Over two hundred
movies have been based on
Shakespeare’s plays, with more
than half of them coming from
the silent era.
(58)These early films based on the“ROMEO AND JULIET” (1908)
Bard were not only successfulfilm still
commercially, but gave an aura of
respectability to a new industry
anxious to attract contemporary
writers and actors.
(59)“KING LEAR” (1916)
film still
(60)There is one film version of Hamlet,“HAMLET”
made in 1921, which explains thefilm still
conflicts within the main character
in a very original way. The Prince
of Denmark, you see, was a woman.
(61)The first full-length Shakespearean“THE TAMING OF THE SHREW”
film with sound was made in 1929: film still
“The Taming of the Shrew,” star-
ring Douglas Fairbanks and Mary
Pickford.
(62)And in much more contemporary“THE TAMING OF THE SHREW”
history, Burton and Taylor starredfilm still
in a very popular remake.
(63)Throughout the many films using“HAMLET”
Shakespeare as a source, the mostfilm still
consistent problem has been adapt-
ing and presenting the material
so that it is interesting to a mass
audience.
(64)One of the most critically acclaimedHENRY AND QUEEN
Shakespearean films of all times isfrom “Henry V”
Laurence Olivier’s production offilm still
“Henry V,” made in 1944.
(65)Olivier succeeded in adapting thisDINING SET
chronicle of fifteenth-centuryfrom “Henry V”
English history into an entertain-film still
ing movie, while retaining the spirit
of Shakespeare’s prose.
(66)The beginning action takes place inOPENING AT GLOBE THEATRE
a replica of Shakespeare’s Globefrom “Henry V”
Theatre, complete with an audiencefilm still
seen in the foreground. But the
movie soon transcends the events
of a filmed play.
(67)It reaches its ultimate departureTO BATTLE
from stage convention during thefrom “Henry V”
scenes leading up to and includingfilm still
the battle of Agincourt.
(68)In this part of the film, Olivier, forHENRY AT NIGHT
the first time ever in a Shakespear-from “Henry V”
ean film, treats a soliloquy asfilm still
thought—with the words heard
on a voice track as opposed to
being spoken by the actor.
(69)Soon the viewer is plunged into aBATTLE OF AGINCOURT
recreation of the battle fought infrom “Henry V”
the open air—complete withfilm still
pageantry, horsemen and hand-to
hand combat.
(70)The action of the play then returnsCURTAIN CALL
to the stage setting and ends withfrom “Henry V”
the player’s final curtain call.
(71)Film is asked to transcend theBATTLE