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A Adaptação Cinematográfica Da Ficção De Agatha Christie

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A Adaptação Cinematográfica Da Ficção De Agatha Christie Universidade de Aveiro Departamento de Línguas e Culturas 2007 Ana Patrícia O Puzzle e o Jogo do Crime: A Adaptação Marabuto Neves Cinematográfica da Ficção de Agatha Christie Universidade de Aveiro Departamento de Línguas e Culturas 2007 Ana Patrícia O Puzzle e o Jogo do Crime: A Adaptação Marabuto Neves Cinematográfica da Ficção de Agatha Christie Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Estudos Ingleses, realizada sob a orientação científica do Dr. Anthony David Barker, Professor Associado do Departamento de Línguas e Culturas da Universidade de Aveiro. Ao meu orientador, o Dr. Anthony Barker, pelo apoio, pela disponibilidade, pelo incentivo e pela inspiração…. Aos meus pais, pelo apoio incondicional de sempre, pela força constante que me transmitiram… À Raquel, a minha companheira nesta aventura desde o primeiro dia…. Ao João e à Luísa, pela partilha no gosto pela ficção policial… A todos aqueles que compreenderam… a todos aqueles que acreditaram… Obrigada! o júri presidente Prof. Dr. Kenneth David Callahan Professor Associado da Universidade de Aveiro Prof. Dr. Anthony David Barker Professor Associado da Universidade de Aveiro Prof. Dra. Maria do Céu Monteiro Marques Professora Auxiliar da Universidade Aberta palavras-chave romance policial, puzzle, whodunit, crime/assassinato como jogo, Era Dourada, detecção, decepção, distracção, fair play, crime film, adaptação, fidelidade. resumo Tendo como objecto primário de estudo o delineamento das estratégias de detecção e de decepção mais recorrentes na ficção policial de Agatha Christie, esta tese visa a explanação do conceito de romance policial enquanto exercício lúdico de dedução lógica, e da transposição para o ecrã cinematográfico dos elementos que lhe concernem. Principiaremos pelo enquadramento da escrita de Christie na denominada Era Dourada da ficção policial e pela exploração de conceitos inerentes à sua definição e à sua recepção pública; seguidamente, abordaremos a referência do género na sua versão fílmica, salientando o seu destrinçamento relativamente às outras formas de ficção criminal. Após um breve sumário que reporta para a problemática inerente ao fenómeno da adaptação fílmica, são apresentados três diferentes casos de estudo, comportando análises comparativas entre três romances policiais de Christie e as suas respectivas adaptações cinematográficas, frisando quer o modo como os elementos básicos da denominada fórmula foram transferidos para o ecrã, quer a relevância das adições ao argumento original, visionadas por três realizadores distintos, em diferentes décadas do século vinte. keywords Detective novel, puzzle, whodunit, crime/murder as a game, Golden Age, detection, deception, misdirection, fair play, crime film, adaptation, fidelity. abstract This thesis aims to explain the concept of detective fiction as a recreational exercise of logical deduction and the transposition of its main elements to the cinema, focusing on the delineation of the most recurring strategies of detection and deception in Agatha Christie’s detective fiction. First, we address Christie’s writing in the so-called Golden Age of detective fiction and define its public reception; afterwards, we deal with the genre in its filmic version, emphasizing its features in comparison with other forms of crime fiction. After summarizing the problems in relation to film adaptation, three different case studies are presented, offering comparative analyses of three Christie novels and their respective cinematographic adaptations; these analyses stress either the way the basic elements of the formula were transposed to the screen, or the relevance of the additions to the original plots, as they have been interpolated by three different film directors in three different decades of the twentieth century. O Puzzle e o Jogo do Crime: A Adaptação Cinematográfica da Ficção de Agatha Christie Índice Pág. Introdução ……………………………………............................................................. 13 Capítulo I - O Jogo do Crime na Literatura Policial…………………............ 17 O Romance Policial ………………………………………..................... 17 A Era Dourada …………………………………………………………… 21 A Crítica Negativa ……………………………………………………...... 27 O Leitor e o Puzzle – o Jogo do Crime………………………………… 29 A Noção de Fair Play………………………………………………......... 33 Os Legados de Poe e de Doyle – a Figura do Detective.................... 36 Agatha Christie: Estratégias de Dramatização, Decepção e Distracção …………………………………………………….................. 41 Capítulo II - A Adaptação do Whodunit ao Cinema …………………............ 46 O Crime Film ………………………………………………..................... 46 O whodunit no Cinema ………………………………………................ 50 A Adaptação Cinematográfica ………………………………………..... 53 A Adaptação das Obras de Christie: o Palco; o Grande e o Pequeno Ecrã ………………………………………………................... 57 Capítulo III - “Atira a Agatha do Comboio”...……………………………………. 61 Introdução a 4. 50 from Paddington (Christie, 1957) – o Livro…...... 61 Introdução a Murder, She Said (George Pollock, 1961) – o Filme …. 64 A Análise Comparativa …………………………………….................. 68 O Detective – Representação e Técnicas de Detecção………….. 68 Estratégias de Decepção ………………………………………........ 76 Representação do Assassino ……………………………................ 81 Representação da Vítima ………………………………………........ 83 A Adaptação: Pontos Negativos e Positivos ………:……………… 86 Capítulo IV - “Doze Homens e Mulheres em Fúria”…………………………… 88 Introdução a Murder on the Orient Express (Christie, 1934) – o Livro ……………………………………………………………………….. 88 Introdução a Murder on the Orient Express (Sidney Lumet, 1974) – o Filme …………………………………………………………………..... 92 A Análise Comparativa ………………………………………................ 97 O Detective – Representação, Técnicas de Detecção e Decepção …………………………………………………………....... 97 Representação da Vítima ………………………………………........ 111 A Adaptação: Pontos Negativos e Positivos ………………………. 113 Capítulo V - “Les Vacances de Monsieur Poirot” ……………………………. 118 Introdução a Evil Under the Sun (Christie, 1941) – o Livro................. 118 Introdução a Evil Under the Sun (Guy Hamilton, 1982) – o Filme…. 121 A Análise Comparativa ………………………………………................ 126 A Assinatura do Crime e a Relevância da Análise ao Perfil da Vítima …………………………………………………………............. 126 O Detective – Representação e Técnicas de Detecção ……........ 130 Estratégias de Detecção e de Distracção ……………................... 133 A Adaptação: Pontos Negativos e Positivos ………………………. 140 Conclusão…………………………………………………………………………………………… 145 Bibliografia: Bibliografia Primária ………………………………………………………… 149 Bibliografia Secundária ……………………………………………………. 150 Filmografia ……………...………………………………………………………………………. 154 Apêndices: Ficção Policial de Agatha Christie: Lista Cronológica de Publicações…………………………... 155 Agatha Christie – Lista de Adaptações Cinematográficas ………….......................................... 158 A dimensão simbólica dos romances de Christie resume-se (…) a uma luta entre o Bem e o Mal, com o triunfo do Bem e a erradicação do Mal. Em termos sociais, verifica-se uma crise, derivada da instalação dum elemento de desordem, a que se seguirá uma recuperação final da ordem violada. Fátima Albuquerque em “Implicações e Implicaturas da ficção policial de Agatha Christie: Contributos para a Definição de uma Matriz Literária”, 2001: 184 Introdução Contrastando com a grande maioria das formas narrativas, centradas no desenvolvimento do ser humano na busca pela sua individualidade, enquanto membro de uma sociedade em constante mudança, a narrativa policial renega a ideia da impraticabilidade do retorno a um ponto inicial após a instalação de um momento de desordem, sendo que o elemento que se distingue, numa definida sociedade estereotipada, é aquele que é eliminado. Como Franco Moretti argumenta, a morte é, no romance policial, representada como “punishment of one who, wilfully or not trespassed the boundaries of normality.” (Moretti, 1990: 240) O retorno à ordem social é, por conseguinte, permitido pela própria eliminação da representação da individualidade humana, pelo que “for the stereotypes to live, the individual must die, and then die a second time in the guise of the criminal.” (Ibid.:241) A relevância do estereótipo espelha-se similarmente no seguimento de uma fórmula que se tornou previsível na ficção policial: “To the endlessly repeated irony of the most unlikely suspect, the formal detective novel added those of the most unlikely detective and the most unlikely place.” (Porter, 1990: 86) No seio desta matriz de estereótipos e formas repetidas, o autor apresenta ao leitor, sob a forma textual, um quebra-cabeças, um enigma que, enquanto desprovido de uma dimensão simbólica de índole complexa, se constitui como exercício lúdico de dedução. O crime não representa, pois, mais do que um mero ponto de partida para uma charada com um grau de complexidade deliberadamente, e ironicamente, elevado. O exercício às “celulazinhas cinzentas”1 revelou-se um tão grande atractivo popular, particularmente a partir do período da Era Dourada do romance policial (década de 1920/30), que Mr. Anthony Pratt transportou o conceito de “jogo do crime” para um contexto mais literal, na forma de um jogo de tabuleiro. O jogo Cluedo, 1 Referência que reporta para um dos apanágios verbais do mais célebre detective criado por Agatha Christie, Hercule Poirot. 13 editado pela Waddingtons, no Reino Unido, em 19491, goza ainda hoje de um grande sucesso, com sucessivas reedições a nível mundial,
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