Having your book turned into a movie is like seeing your oxen turned into bouillon cubes.

John LeCarre

Never judge a book by its movie.

J.W. Eagan

Task 1. Comment on the quotations above. Do you support the view expressed in them?

 

— SPEAKING

Task 2. Which do you prefer: reading a book or watching its film adaptation?

Discuss with your group whether you prefer reading a book or watching its screen adaptation.

Step 1. Decide for yourself which activity you prefer. Think of arguments to support your point of view.

I’d prefer to read a book because...		I’d prefer to watch a film adaptation because...
·   ·   ·		·   ·   ·

Step 2. Team up with your groupmates who share your point of view.

Step 3. Debate with the other group if it is better to read a book or watch its film adaptation.

 

Task 3. Read the text. What arguments does the author provide to prove that film adaptations are never as good as the books they are based on?

FILM ADAPTATIONS ARE NEVER AS GOOD AS THE BOOKS

THEY ARE BASED ON

I believe that the arguments about books versus films very much depend on the quality of the book. A film adaptation of a book might improve on the printed version, but, in my opinion, a book is always better than 'the film of the book'. Many people who have enjoyed the book are tempted to go to the cinema to see the film adaptation or watch it on video, but I'm sure most of them are disappointed by the experience.

I think that there are three good reasons why films of good books are generally disappointing. Firstly, a film is comparatively short (perhaps just ninety minutes long), whereas the book it is based on may be several hundred pages long and take many hours to read. This means that when you go and see the film, you often find that some of your favourite characters or scenes are not included because the screenwriter has had to simplify and cut the story. Secondly, books can give you important information that is difficult to present in a film. For example, a novelist can tell us what a character is thinking as well as what he or she says, while in a film we usually only hear what the character says. But the third and most important reason is that when we read a book, we imagine, for example, what a character is like and our mental picture of that person is very different to how he or she is represented on the screen. When we watch the film, we find ourselves thinking things such as 'that actor is much too small' or 'that actress should be younger' and that stops us enjoying the film.

For these reasons, my opinion is that while it might not be such a bad idea to read a book after you have seen the film adaptation, it is never good to see a film adaptation after you have read and enjoyed a book.

 

Task 4. The following article compares a book “Breakfast at Tiffany’s” and its screen adaptation (both by Truman Capote). Read the text and turn to the tasks after it.

BREAKFAST AT TIFFANY’S

Truman Capote was already a celebrity by the time "Breakfast at Tiffany's". Capote experienced some difficulty coming up with an ending to the novel and it took him longer than he expected to finish it, but he finally did in the spring of 1958. He also signed a deal with the magazine Harper's Bazaar entitling them to publish it before the book came out. Unfortunately they tried to get Capote to omit the four-letter words and the way that Holly made her living from sex. Capote was of course outraged and refused to change a word.

Like Capote's other works, "Breakfast at Tiffany's" received mixed reviews with some writers calling it weak and lacking in originality compared to Capote's earlier books, and some eagerly praising it. However, it is indisputable that Capote, as well as J.D. Sallinger, quite accurately sketched a prototype of future generation. Holly's character echoes in hippies of the 70's with their constant search of happiness and belief that by ignoring the traditional esthetic norms they would bring their inner world in harmony with the outer world.

Despite all the criticism in regard to this novel, Capote later in life said that Holly Golightly was his favorite character. In an early version of the book he gave her the inappropriate name of Connie Gustafson, but later changed it for a more symbolic one - Holly Golightly - for she is a woman who makes a holiday of life, treading through it lightly. Pursued by Mafia gangsters and playboy millionaires, Holly was a fragile eyeful of tawny hair and turned-up nose, a heart-breaker, a perplexer, a traveller, a tease. She was irrepressibly "top banana in the shock department" and deliciously eccentric.

Along with the book's publishing came what Capote called the Holly Golightly Sweepstakes, where half of the women he knew and some he did not, claimed to be the inspiration for his character. One New York resident, named Bonnie Golightly, even tried to sue Capote for invasion of privacy and libel. But she was a fat forty-year-old woman and lost the lawsuit without much effect. But in truth the person that Holly most resembles is her creator. She shares Capote's philosophies as well as his fears and anxieties, and Holly's panic attacks called "the mean reds", which the author himself suffered from, serve as a perfect example of this connection.

The book filled with an authentic atmosphere and characters of New York of the 1940s, it is no wonder that Paramount approached Capote with a suggestion to make his book into a film. But the outcome upset Capote enormously, as the screen version considerably differed from the novel, especially in the ending, which totally changed the theme of the story. In the book, Holly was always traveling, searching for a place to belong, which she never finds, while the film ends with a typically Hollywood happy-end.

On top of everything, Paramount chose Audrey Hepburn to play the part of Holly instead of Marilyn Monroe, originally picked by the author. Capote and Monroe shared a similar background that made him persistent in casting her. Capote adored Marilyn - they both had very difficult childhood and had trouble throughout their careers dealing with their fame through drugs and alcohol. Although Capote lived longer than Monroe, they both ended their days in similar ways. Monroe had spent the time to work up a few scenes, and Capote felt that she would be perfect for the role, bringing to the film the more sexual nature of the novel.

What Hepburn brought to the screen was a different Holly Golightly. In the film version, her background was somewhat toned down (notice how the film tends not to dwell on the details of her past). Still, the haunting pathos of the character comes through. Toning down the sexual side of the novel may have even heightened this, as our attention is not diverted to the lurid details, and instead dwells upon the character development and the interaction between the two main characters.

Capote was not quite fair to Audrey Hepburn, whose childhood was far from happy, clouded by her parents' divorce and the Nazi invasion of Holland. Audrey suffered from severe starvation, anemia, and respiratory problems. The occupation seized when Audrey was sixteen. Her mother moved to London where Audrey studied dance. She was finally discovered by Collette, a French novelist who insisted that Audrey be cast as the lead role in Gigi, a Broadway adaptation of her novel. Despite her lack of acting experiences, Audrey impressed the audience with her performance and was given the role as Princess Anne in William Wyler's "Roman holiday" starring opposite Gregory Peck. Audrey's film debut gave her the Oscar that year for best actress.

At this point in her career, Hepburn was in a strange position. Her previous two films had been critical and box-office failures. Despite this, she still had scores of fans, and her popularity showed no signs of fading. In addition, throughout her career, she had positioned herself as something of an outsider to Hollywood and refused to move to Hollywood, away from her home in the Swiss Alps. Anyhow, Paramount decided to cast her in the role of Holly Golightly. Today, it is this role that Audrey Hepburn is perhaps most identified with.

However, as a whole, the film elegantly translates some of the material from the book and some scenes are taken word by word from the novel. Like any film that is made from a book, it should be judged by itself and considered as separate entities with the book. On its own "Breakfast at Tiffany's" is a wonderful film that has stood the test of time and remains a classic.

 

Task 5. Answer the questions on the text.

1) The author of the passage implies that:

a) the film has turned out much better than the book;

b) the book is of more importance than the screen version;

c) it is of primary importance when writing a script not to change anything in the book;

d) both the book and the film are equally interesting;

e) the book should not have been made into a film.

2) The passage suggests that the reason for Capote to choose Monroe over Hepburn was because:

a) Hepburn brought to the screen a different Holly Golightly;

b) Paramount insisted on Hepburn;

c) Monroe and Capote had many things in common;

d) Monroe and Capote died in similar ways;

e) Hepburn's previous two films were box-office failures.

3) The reluctance of the author to omit four-letter words in the book resulted in:

a) decision by Paramount to film the book;

b) the author's desire to see Marilyn Monroe in it;

c) the breaking-up of the contract with Harper's Bazaar;

d) the book getting mixed reviews;

e) both the book and the film being equally interesting.

4) The author of the passage presumes that the reason for Capote to write "Breakfast at Tiffany's" was:

a) his views which were expressed through Holly;

b) his desire to depict most accurately the future generation;

c) his contract with Harper's Bazaar;

d) his intention to portray the atmosphere of New York of the 1940s;

e) his hope to see Marilyn Monroe playing the role of Holly.

5) Judging from the text, the proof of the connection between the author and Holly lies in the fact that:

a) they both used four-letter words;

b) he truly managed to depict future generation through her;

c) she was his favorite character;

d) she was a "top banana in the shock department";

e) they both suffered from panic attacks called "the mean reds".

 

 

REVISION

? WRITING

Task 1. Compare a well-known novel or play with its screen adaptation. The following words and phrases may come in handy:

· based on a novel (story, play);

· to recollect the plot vividly (dimly);

· to be faithful to the original;

· to deviate from the original;

· to get the true spirit of...;

· a fascinating interpretation;

· the concept underlying the film;

· the message comes through clearly;

· to transfer a book to the screen without distorting it;

· the book lends itself admirably to screening;

· an authentic period atmosphere (sense, background);

· a truly memorable film;

· a travesty of a great classic;

· the film is inferior (superior) tо the book.

UNIT 3. CHECK YOURSELF

Task 1. Render in English the following text (an extract from a talk between J. Aldridge and a "Literaturnaya Gazeta" correspondent):

— В связи с тем, что вы упомянули об экранизации своей книги, скажите, каково ваше отношение вообще к возможностям переложить литературные образы на язык кино? Например, широко известно, что вы отклонили предложение Голливуда поставить фильм по роману «Дипломат».

— Действительно, месяц назад я получил 25-е приглашение сделать кинокартину по этому произведению. Мой отказ, однако, вызван не неприязнью к экранизациям вообще, но опасением, что в фильме будут смещены идеологические акценты. Когда дело касается тем, связанных с современной политической жизнью, малейшее изменение интонации способно исказить основной смысл.

— Вы, очевидно, помните, что советский фильм «Последний дюйм» по вашей одноименной повести пользовался большим успехом у нашего зрителя. Как вы расцениваете эту экранизацию?

— Честно говоря, я принял ее не сразу. Режиссер поменял местами главных героев: вместо сына, разыскивающего отца, в фильме, наоборот, отец разыскивает сына. Однако после нескольких просмотров я согласился с такой перестановкой — фильм оказался верен духу и стилю оригинала. Но, к сожалению, не всегда так происходит. Многие экранизации целиком зависят от вкусов продюсера. К тому же, чтобы удовлетворить западных критиков, предпочтительно, чтобы фильм был максимально субъективистским, исследующим обостренное подсознание. Если это не вестерн, в нем, как правило, нет места герою. Публика, утверждают западные критики, не поверит в достоверность положительного героя, но с большой готовностью воспримет антигероя.

Советский кинематограф, напротив, настаивает на примате героя. Я тоже считаю, что искусству необходим герой.

«Литературная газета», 1977, 14 дек.

 

Task 2. Translate the following sentences into English.

1. Этот режиссер успешно снимает детей. В этом фильме восьмилетний Вова Петров прекрасно играет Витю.

2. Кто играет главную роль в фильме? — Том Браун. Он блестяще справился с ролью. А вот исполнение второстепенных ролей оставляет желать лучшего.

3. Режиссерская и операторская работа в этом новом приключенческом фильме великолепна.

4. «Король Лир» был замечательно экранизирован Козинцевым. Особенно мне запомнились массовые сцены.

5. На фестиваль приехали делегации киноработников многих стран.

6. Когда режиссер начал подбирать актеров на роли в своем новом фильме, молодая актриса и не думала, что ей поручат заглавную роль.

7. Н.— талантливый и опытный сценарист, но в этом фильме такой неинтересный текст.

8. Я вчера пришел в кино в надежде посмотреть новый художественный фильм, который пользуется таким успехом, а вместо него показали два научно-популярных фильма. Сначала я был разочарован, но должен сказать, что мне понравились эти фильмы.

9. У него было много дел, и он устоял против соблазна пойти на новый фильм о путешествиях. Он даже и телевизор не включил.

10. После хроники показали шведский фильм, но, к сожалению, он не дублирован на русский язык, а я сидел так далеко, что не мог читать титры.

11. Голливуд был никому неведомым пригородом Лос-Анджелеса до 1911 года, когда одна кинокомпания начала снимать там фильм за фильмом.

12. Между первыми черно-белыми немыми фильмами и теперешними звуковыми цветными мало общего.

13. На кинофестивале показывали и вестерны, и фильмы ужасов, и детективные фильмы, но всем им я предпочел мюзикл «Оливер» — экранизацию «Оливера Твиста». Это было потрясающе.

14. Роль учебных фильмов в процессе обучения трудно переоценить.

 

— SPEAKING