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Appendix Wuthering Heights Screen Adaptations

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Appendix Wuthering Heights Screen Adaptations Appendix Wuthering Heights Screen Adaptations Abismos de Pasión (1953) Directed by Luis Buñuel [Film]. Mexico: Producciones Tepeyac. Arashi Ga Oka (1988) Directed by Kiju Yoshida [Film]. Japan: Mediactuel, Saison Group, Seiyu Production, Toho. Cime Tempestose (2004) Directed by Fabrizio Costa [Television serial]. Italy: Titanus. Cumbres Borrascosas (1979) Directed by Ernesto Alonso and Karlos Velázquez [Telenovela]. Mexico: Televisa S. A. de C. V. Dil Diya Dard Liya (1966) Directed by Abdul Rashid Kardar [Film]. India: Kary Productions. Emily Brontë’s Wuthering Heights (1992) Directed by Peter Kosminsky [Film]. UK/USA: Paramount Pictures. Emily Brontë’s Wuthering Heights (1998) Directed by David Skynner [Television serial]. UK: ITV, Masterpiece Theatre, PBS. Hihintayin Kita Sa Langit (1991) Directed by Carlos Siguion-Reyna [Film]. Philippines: Reynafilms. Hurlevent (1985) Directed by Jacques Rivette [Film]. France: La Cécilia, Renn Productions, Ministère de la Culture de la Republique Française. Ölmeyen Ask (1966) Directed by Metin Erksan [Film]. Turkey: Arzu Film. ‘The Spanish Inquisition’ [episode 15] (1970). Monty Python’s Flying Circus [Television series]. Directed by Ian MacNaughton. UK: BBC. Wuthering Heights (1920) Directed by A. V. Bramble [Film]. UK: Ideal Films Ltd. Wuthering Heights (1939) Directed by William Wyler [Film]. USA: United Artists/ MGM. Wuthering Heights (1948) Directed by George More O’Ferrall [Television serial]. UK: BBC. Wuthering Heights (1953) Directed by Rudolph Cartier [Television serial]. UK: BBC. Wuthering Heights (1962) Directed by Rudolph Cartier [Television serial]. UK: BBC. Wuthering Heights (1967) Directed by Peter Sasdy [Television serial]. UK: BBC. Wuthering Heights (1970) Directed by Robert Fuest [Film]. UK: American International Pictures. Wuthering Heights (1978) Directed by Peter Hammond [Television serial]. UK: BBC. Wuthering Heights (2003) Directed by Suri B. Krishnamma [Television film]. USA: MTV Networks. Wuthering Heights (2009) Directed by Coky Giedroyc [Television serial]. UK: ITV. Wuthering Heights (2011) Directed by Andrea Arnold [Film]. UK: Ecosse Films, Film4, Screen Yorkshire, UK Film Council. 205 206 Appendix ‘Wuthering Heights’ [episode 3] (1952). Broadway Television Theatre [Television series]. USA: WOR-TV. ‘Wuthering Heights’ [episode 72] (1950). Westinghouse Studio One [Television series]. Directed by Paul Nickell. USA: CBS. ‘Wuthering Heights’ [episode 81] (1948). Kraft Television Theatre [Television series]. Directed by Fielder Cook and George Roy Hill. USA: NBC. ‘Wuthering Heights’ [episode 9] (1958). The DuPont Show of the Month [Television series]. Directed by Daniel Petrie. USA: CBS. Notes Introduction 1. The edition of the novel used throughout this book is based on the authorita- tive 1976 Clarendon edition of Wuthering Heights, edited by Hilda Marsden and Ian Jack. This authoritative edition is based on the first edition of Wuthering Heights rather than the second edition published in 1850, which included changes made by Charlotte Brontë to her sister’s novel. 2. There have been numerous other studies on screen adaptation that have guided my own reading on the subject, including: Leitch (2007); Elliott (2003); Cartmell and Whelehan (1999, 2007b); Hutcheon (2006); Welsh and Lev (2007); Geraghty (2008); McFarlane (1996); Cahir (2006); Wagner (1975); Stam and Raengo (2004, 2005). 3. Please refer to the Appendix of this book for a full list of known Wuthering Heights screen adaptations. 4. I have not found any significant analyses of the 1985, 2003 and 2009 adap- tations, apart from reviews and publicity on the Internet. Stoneman lists Hurlevent in the Appendix to Brontë Transformations (see Stoneman, 1996a, pp. 315–6), but does not analyse it in the body of her work. To me, this high- lights the extent to which Rivette’s Hurlevent could not be integrated into Stoneman’s discussion of the mainly American and English adaptations. I feel that the film’s different approach however, in fact highlights the ideological processes at work in the other adaptations of Wuthering Heights. 1 Before the Afterlife: Analysing Wuthering Heights 1. There are two characters named Catherine in the novel and in some of its screen adaptations: the elder Catherine, who is associated with Heathcliff and the first generation of characters, and her daughter, the younger Catherine, who is associated with the second generation. To avoid confusion, I will be referring to the elder Catherine as ‘Catherine’ and the younger Catherine as ‘Cathy’ throughout this book. 2. It is worthwhile to point out that Emily Brontë was familiar with the works of the Romantic authors. See Gordon (1989, pp. 86–94) for details regarding the literary influences of the Brontës. 3. A notable example is Percy Bysshe Shelley’s poem Epipsychidion, to which I shall return in more detail in Chapter 5. 2 The Cinema of Spectacle: Establishing the Wuthering Heights Tradition on the Eve of Hollywood’s Golden Era 1. No copy of the film is known to exist, with only a few photographic stills surviving. 207 208 Notes 2. See Glancy (1999, pp. 70–1) for statistical information regarding Hollywood ‘British’ films of the 1930s and 1940s. 3. Refer to my discussion on Heathcliff in Chapter 1 of this book for further discussion on nineteenth-century discourses of ‘heroic masculinity’. 3 Moving Backward, Looking Forward: Jacques Rivette’s Hurlevent 1. The literal translation of Hurlevent in English is ‘howling wind’. While it is possible to read this title in a metaphoric manner, the title of the film seems to be more practical in meaning. Hurlevent is the standard translation for Wuthering Heights in French, as the title appears in numerous French transla- tions and adaptations of the novel. It seems that Rivette is here simply using a title for his film that would be recognisable for a French audience as a refer- ence to Brontë’s novel. 2. Please refer to the Appendix for full details about these adaptations. 3. The Garrigue is a type of scrubland in the regions of Provence and Corsica. 4. The actress who plays Catherine is Fabienne Babe who, along with Lucas Belvaux, the actor chosen to play Roch, was specifically selected because of her age. Rivette details in his interview with Hazette how he wanted to make an adaptation of Wuthering Heights in which the actors would be the same age as Catherine and Heathcliff in the novel. See Hazette (2003, n.p.). 5. All dialogue transcriptions are my own as there is no available copy of the film’s screenplay. 6. For more detailed discussions on the region of the Cévennes in relation to France’s religious history refer to Deming (1994), Randall (2004), and Kelly (2003). 7. Wuthering Heights was adapted into ballet in France in 1982, 2002 and 2007, with numerous performances. It was adapted into ballet in England in 2003. 8. Poe the ‘literary god’ is largely the product of his French critics, one of the most noted ones being Charles Baudelaire. For illuminating discussions on the issue of Poe’s status in French culture see Weightman (1987, pp. 202–19) and Quinn (1967, pp. 64–78). 4 Wuthering Heights in the 1990s: Peter Kosminsky’s Ambitious Narrative 1. Hereafter, the film shall be referred to as Wuthering Heights. Since there are two Catherines in the film, as in the novel, I will be using the same method to differentiate between the two Catherines as used in my analysis of the novel, by referring to the elder Catherine as ‘Catherine’ and the younger Catherine as ‘Cathy’. 2. Dialogue transcriptions are my own, as the only available screenplay of the film is the shooting screenplay, which differs vastly from the actual final product of the film. I have therefore chosen to concentrate on the dialogue in the film itself rather than the screenplay. 3. Ingham is quoting Francke (1992, p. 60). Notes 209 4. The issues which Monk discusses here are also raised in McFarlane (2001, p. 277). 5. It is important to note that I do not believe that women or femininity are inherently tied to nature, nor that nature itself is an unmediated site that is the antithesis of culture. Rather, I am here engaging with Gilbert and Gubar’s feminist argument and the manner in which the film reworks such feminist arguments. 6. Haire-Sargeant is here referring to the elder Catherine as ‘Cathy’. The allu- sion to ‘Hammond’ is a reference to the 1978 BBC television adaptation of Wuthering Heights, directed by Peter Hammond. See the Appendix for full details regarding this adaptation. 7. The film’s opening inter-title claims that it ‘remains true to the spirit of Emily Brontë’s novel’ by demonstrating that ‘love can only be fulfilled through death’ and that ‘instincts and passions’ are ‘timeless’. This is, of course, a rather familiar mode of decontextualisation of the novel that func- tions alongside overt misogyny in the film. 8. For example, see Anonymous (1991); Heller (1991, pp. 16–17); Paramount British Pictures Limited (n.d.b); Wall (1992b); Matthews (1992, p. 33); Hewitt (1991); Hickling (1992, p. 11). 9. For example, see Aldridge (1992, n.p.); Bark (1994, pp. 1C–7C); Meuller (n.d., p. 34); Verity (1991, p. 40); Matthews (1992, p. 33); J (1992 (n.p.); Hutchinson (1992, n.p.); Hardy (n.d., n.p.); Diamond (1992, pp. 16–17). 10. Lee is here referring to the elder Catherine as ‘Cathy’. 11. Lee is here referring to the elder Catherine as ‘Cathy’ and the younger Catherine as ‘Catherine’. 5 Catherine and Heathcliff for the Y Generation: MTV’s Modernisation of Wuthering Heights 1. All dialogue and narration transcriptions are my own as there is no available copy of the film’s screenplay. 2. For example, see Cohen (1997, pp. 30–1); Coates (1997, pp. 52–3); Leonard (2007, pp. 24–5, 32–3); Shuker (2001, pp. 115–37); Knightley (2001, pp. 109–42). 3. The lyrics have been transcribed from both the film itself and the soundtrack to the film.
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