source guides adaptations, heritage film & costume dramas

National Library adaptations, heritage film and costume drama 16 + Source Guide

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INFORMATION GUIDE STATEMENT ...... i BFI NATIONAL LIBRARY ...... ii ACCESSING RESEARCH MATERIALS ...... iii APPROACHES TO RESEARCH, by Samantha Bakhurst ...... iv

Introduction...... 1

E.M. FORSTER: MERCHANT IVORY ADAPTATIONS...... 2 A Room With a View...... 3 Maurice...... 5 Howards End...... 8

JANE AUSTEN Pride and Prejudice...... 12 Sense and Sensibility ...... 13 Emma...... 14 Persuasion...... 15 Bride And Prejudice (2005) ...... 16 Pride And Prejudice (2005) ...... 17

CHARLES DICKENS Great Expectations (1946 & 1997) ...... 18 Little Dorrit (1987) ...... 20 Mystery of Edwin Drood ...... 21 Martin Chuzzlewit (1994) ...... 21 Our Mutual Friend (1997) ...... 22 Bleak House ...... 22 Oliver Twist (2005) ...... 23

GEORGE ELIOT Middlemarch...... 24

EDITH WHARTON The Age Of Innocence ...... 25

FRENCH ADAPTATIONS EDMOND ROSTAND: Cyrano de Bergerac...... 27 ALEXANDRE DUMAS, PÈRE: La Reine Margot ...... 29 GUSTAVE FLAUBERT: Madame Bovary...... 31 HONORÉ DE BALZAC: Le Colonel Chabert...... 33 EMILE ZOLA: Nana, Germinal...... 34 MARCEL PROUST: Un Amour de Swann, Le Temps Retrouvé ...... 36 VICTOR HUGO: Notre-Dame de Paris, Les Misérables ...... 38 GUY DE MAUPASSANT: Partie de Campagne ...... 40

Compiled by: Tess Forbes, Susanna Goodson, Ayesha Khan, David Sharp Wendy Thomas, Anastasia Kerameos, Tracey Williamson,Sarah Currant, Victoria Crabbe, Bronia Evers

Design/Layout: Ian O’Sullivan Project Manager: David Sharp

ISBN: 085170 7688 (updated 2006)

© 2004 BFI NATIONAL LIBRARY, 21 Stephen Street, London W1T 1LN 16+ MEDIA STUDIES

INFORMATION GUIDE STATEMENT

“Candidates should note that examiners have copies of this guide and will not give credit for mere reproduction of the information it contains. Candidates are reminded that all research sources must be credited”.

BFI National Library i BFI National Library

All the materials referred to in this guide are available for consultation at the BFI National Library. If you wish to visit the reading room of the library and do not already hold membership, you will need to take out a one-day, five-day or annual pass. Full details of access to the library and charges can be found at: www.bfi.org.uk/filmtvinfo/library

BFI National Library Reading Room Opening Hours:

Monday 10.30am - 5.30pm Tuesday 10.30am - 8.00pm Wednesday 1.00pm - 8.00pm Thursday 10.30am - 8.00pm Friday 10.30am - 5.30pm

If you are visiting the library from a distance or are planning to visit as a group, it is advisable to contact the Reading Room librarian in advance (tel. 020 7957 4824, or email [email protected]).

BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel. 020 7255 1444 www.bfi.org.uk/filmtvinfo/library

The library’s nearest underground stations are Tottenham Court Road and Goodge Street. For a map of the area please see: www.bfi.org.uk/filmtvinfo/library/visiting

BFI National Library ii Accessing Research Materials

Copies of articles

If you are unable to visit the library or would like materials referred to in this guide sent to you, the BFI Information Service can supply copies of articles via its Research Services. Research is charged at a range of hourly rates, with a minimum charge for half an hour’s research – full de- tails of services and charges can be found at: www.bfi.org.uk/filmtvinfo/services/research.html

For queries about article copying or other research, please contact Information Services at the above address or telephone number, or post your enquiry online at: www.bfi.org.uk/filmtvinfo/services/ask

Other Sources

Your local library

Local libraries should have access to the inter-library loan system for requesting items they do not hold and they may have copies of MONTHLY FILM BULLETIN and SIGHT AND SOUND. Some recent newspaper items may be held by your local reference library. Larger libraries will hold other rele- vant materials and should offer internet access.

Your nearest college/university

Universities may allow access to outside students, though you may not be able to borrow books or journals. Ask your reference librarian, who should be able to assist by locating the nearest college library holding suitable material. The BFI Film and Television Handbook lists libraries with signifi- cant media collections.

Your school library

Local bookshops

Some of the books mentioned in the bibliography will be in print and your bookshop should be able to order items for you.

The British Library Newspaper Library

The Newspaper Library will have all the newspaper items referred to in this guide. Contact the li- brary first if you wish to visit. 16+ students under the age of 18 will need to make an appoint- ment.

The British Library Newspaper Library Colindale Avenue London NW9 5HE Tel. 020 7412 7353 Email:[email protected] www.bl.uk/collections/collect.html#newsBL

BFI National Library iii Approaches to Research by Samantha Bakhurst

Why do research?

You cannot simply rely on your existing knowledge when approaching essays in Media Studies. Although you will have some understanding of the area being explored, it is not enough to enable you to examine the area in depth. If you were asked to write about the people in your street in de- tail, you might have some existing information about names, faces, relationships, issues and ac- tivities but this knowledge would not offer you details such as every single one of their names, who knows who, who gets on with whom, how people earn a living, what has happened to them in the past and so on. This extra information could change your opinions quite dramatically. With- out it, therefore, your written profile would end up being quite shallow and possibly incorrect. The same is true of your understanding of media texts, issues and institutions.

Before researching any area, it is useful to be clear about what outcomes you are hoping to achieve. Research is never a waste of time, even when it doesn’t directly relate to the essay you are preparing. The information may be relevant to another area of the syllabus, be it practical work or simply a different essay. Also, the picture you are building up of how an area works will strengthen your understanding of the subject as a whole. So what outcomes are you hoping to achieve with your research?

A broad overview of the area you are researching: This includes its history, institutions, conven- tions and relationship to the audience. Research into these aspects offers you an understanding of how your area has developed and the influences that have shaped it.

An awareness of different debates which may exist around the area of study: There are a range of debates in many subject areas. For example, when researching audiences you will discover that there is some debate over how audiences watch television or film, ranging from the passive con- sumption of values and ideas to the use of media texts in a critical and independent way. Any dis- cussion about censorship, for example, will be extremely shallow if you have no knowledge of these different perspectives.

Some knowledge of the work of theorists in the area: You need to demonstrate that you have read different theorists, exploring the relevant issues and investigating the area thoroughly in order to develop your own opinion based on acquired knowledge and understanding.

Information relevant to all key concept areas: You should, after research, be able to discuss all key concept areas as they relate to that specific subject area. These are the codes and conventions, representation, institutions and audience.

Types Of Research

Primary: This is first-hand research. In other words, it relies on you constructing and conducting surveys, setting up interviews with key people in the media industry or keeping a diary or log of data (known as quantitative information) on things such as, for example, what activities women are shown doing in advertisements over one week of television viewing. Unless you are equipped to conduct extensive research, have access to relevant people in the media industry or are thor- ough in the up-keep of your diary or log, this type of research can be demanding, complex and sometimes difficult to use. Having said that, if you are preparing for an extended essay, then it is exactly this type of research which, if well used, will make your work distinctive and impressive.

Secondary - printed sources: This is where you will be investigating information gathered by other people in books, newspapers, magazines, on radio and television. All of these sources are excellent for finding background information, statistics, interviews, collected research details and so on. This will form the majority of your research. Some of these will be generally available (in public li- braries for example); others such as press releases and trade press may only be available through specialist libraries. BFI National Library iv Secondary - online sources: Online sources are also mainly secondary. You will need to be able to make comparisons between sources if you intend quoting online information, and to be wary of the differences between fact and opinions. Don’t necessarily assume something is a fact because someone on a website says it is. Some websites will be “official” but many will not be, so you need to think about the authority of a site when assessing the information found on it. The structure of a website address (URL) can indicate the site’s origin and status, for example, .ac or .edu indicate an academic or educational institution, .gov a government body, .org a non-profit organisation, .co or .com a commercial organisation. Websites sometimes disappear or shift location - make sure you can quote a URL reference for a site, and perhaps keep a note of the last date that you checked it.

Other Media: When considering one area of the media or one particular product or type of prod- uct, it is very important that you compare it with others which are similar. You will need to be able to refer to these comparisons in some detail so it is not enough to simply watch a film. You will need to read a little about that film, make notes, concentrate on one or two scenes which seem particularly relevant and write all of this information up so that you can refer to it when you need to.

History and development: Having an understanding of the history and development of the media text which you are researching will provide a firm foundation and context for contemporary analysis. There is a difference between generally accepted facts and how theorists use these facts.

Theory: This is the body of work of other critics of the media. Most of the books and periodical ar- ticles which you will read for research will be written by theorists who are arguing a particular viewpoint or position with regard to an issue within the media. It is this which forms the debates surrounding the study of the media, in which you, as a media student, are now becoming in- volved.

Using Research

Organising your research: Before rushing headlong to the local library or web search engines, the first stage of research is to plan two things. When are you able to do your research and how are you going to organise the information gathered? You may, for example, wish to make notes under the headings listed above.

Applying your research: Always return to the specific questions being asked of the text. The most obvious pitfall is to gather up all of the collected information and throw it at the page, hoping to score points for quantity. The art of good research is how you use it as part of your evidence for an analysis of the text. The knowledge you have acquired should give you the confidence to explore the text, offer your own arguments and, where appropriate, to quote references to support this.

Listing your research: It is good practice, and excellent evidence of your wider reading, to list all references to secondary research, whether mentioned within the essay or not, at the end of your work.

References are usually written in this way:

1. Len Masterman, Teaching About Television, London, Macmillan, 1980. 2. Manuel Alvarado and Bob Ferguson, “The Curriculum, Media Studies and Discursivity”, Screen, Vol.24, No.3, May-June 1983.

Other media texts referred to in detail should be listed, with relevant information such as the di- rector, date of release or transmission, production company and, where possible, scene or episode number. Where you have compiled primary research, it is useful to offer a brief summary of this also at the end of your work.

BFI National Library v introduction here has been a long-standing relationship between literary novels and film and television. Adaptations of Twell-known ‘classics’ were made from the early days of cinema.

Yet this has often seemed to be an uneasy relationship. Frequently critical writing on adaptations has come from a literary standpoint focusing on the fidelity of the film to the novel on which it is based. On the other hand film theorists have indicated that these kind of literary judgements devalue film, which has its own visual language.

We hope that the references provided in this pack will give useful material on the issues surrounding this debate. There are a substantial number relating to films of the works of Jane Austen, Charles Dickens and George Eliot, whose novels have frequently been adapted for film and television.

There is also a section on ‘heritage film’ as exemplified by the work of the Merchant Ivory production team in bringing adaptations of the novels of E.M.Forster to the screen. The ‘heritage film’ has been the subject of intense debate since the 1980s and and has been criticised by some for its commodification of the past - for its perceived tendency to present British culture and history in a prettified and conservative package.

Since the early 1990s there has been a move away from the ‘heritage film’ towards adaptations of literary novels by a number of directors who have worked in other genres and have brought a fresh vision to the costume film. Perhaps the first to take this approach was Martin Scorsese whose THE AGE OF INNOCENCE, adapted from the novel by Edith Wharton, was widely praised by film theorists as a cinematic triumph.

We therefore include a number of references illustrating the way in which Scorsese’s use of the genre has encour- aged a fresh debate on the subject of adaptations. Students who are engaged in their own research on adaptations may well wish to also consider other contemporary directors who have worked within this genre.

Susanna Goodson

BFI National Library 1 e.m. forster (1879-1970) ama past and in heritage”. He exam- “uniformly ‘conservative’ texts ines the emergence of a ‘heritage organised rigidly around a notion Dr industry’ both socially and eco- of national identity. Paying partic- nomically before moving on to ular attention to A ROOM WITH A deal with cinema in particular. VIEW and MAURICE, Monk cri- The adaptations of E. M. Forster’s tiques these films in opposition to novels are highlighted and their previous criticisms that had been place within the heritage genre is levelled at them. Its rare to say examined closely. A ROOM WITH A reading an MA is enjoyable, but VIEW, MAURICE and HOWARDS END this provides an excellent intro- Costume are all debated with many perti- duction to the various arguments nent observations made. This surrounding heritage films and a chapter brings together many of solid defence of an unfashionable the issues and arguments sur- genre. And rounding the genre and is essen- tial reading for anyone wishing to gain a better understanding of the PARKER, David issues. Film adaptation and the novels of Film adaptations by E. M. Forster: aspects of narrative structure. ge Merchant Ivory LONG, Robert Emmet PhD dissertation, University of Kent The films of Merchant Ivory. at Canterbury, 1998. 229p. bibliog. fil- Harry N. Abrams, 1991. 208p. illus mog. books (some col.). bibliog. filmog. Index. Parker’s thesis is that rather than DEGLI-ESPOSTI, Christine (ed.) A well-illustrated book detailing view film adaptations of novels in Herita Postmodernism in the cinema. the history of Merchant Ivory terms of how true they are to the , Berghahn Books, 1998. 264p. illus. films, from the start of their source novel; they should instead Index. careers in the 1950s going through be viewed as separate, but compa- to the late 1990s. Included are: A rable entities. His focuses for the In the chapter ‘E. M. Forster’s anti- ROOM WITH A VIEW, MAURICE and study are the films adapted from touristic tourism and the sightsee- HOWARDS END. This book offers the novels of E.M. Forster. With ing gaze of cinema’, Ellen Strain useful insights into the filmmak- regards the analysis of A ROOM examines how the notions of WITH A VIEW, MAURICE and ptations ing process and gives interesting tourism as represented by Forster anecdotal accounts of the back- HOWARDS END each of the nov- in his novels and then in the film grounds to the making of the els/films narrative structures are adaptations compare. A lot of the films. Less is written about studies, duration of scenes meas- Ada chapter is spent discussing the HOWARDS END as it was being ured and other quite technical sociology of tourism in relation to shot while the book was being details recorded. Whilst this the- postmodern theories. written. sis offers a unique perspective on Unfortunately, though an interest- a well-known subject, its focus ing discourse the terminology ren- may be too narrow for some. ders it impossible to read. Strain MONK, Claire sees Forster’s representation of

Guides: Sex, politics and the past: travel as “the fruitless search for Merchant Ivory, the heritage film PYM, John cultural authenticity and unmedi- and its critics in 1980s and 1990s Merchant Ivory’s English land- ce ated reality” but the conventions Britain. scape: rooms, views and Anglo- of the heritage film submerge British Film Institute/Birkbeck Saxon attitudes. Forster’s ideas into something College MA in cinema and Television, Harry N. Abrams, 1995. 131p. illus more visually appealing and con- 1994. 82p. bibliog. tables. Appendices. (some col.). filmog. Index. Sour versely, ‘touristic’. While there are many interesting ideas put for- + At the beginning of her thesis This very glossy book offers an ward, the dense theoretical tone Monk notes that what she terms appreciation rather than a critique means trying to make sense of “heritage” film, popular in the of four of Merchant Ivory’s films: A 16 them is hard work. 1980s/90s combined both “’classic’ ROOM WITH A VIEW, MAURICE, and ‘popular’ culture credentials”. HOWARDS END and THE REMAINS At a time when Britain was going OF THE DAY. Beautifully illustrat- HILL, John through political and ideological ed, this book offers excellent back- British cinema in the 1980s. changes it seemed to be clear that ground information on Merchant Clarendon Press, 1999. ix-xiv, 261p. in terms of representation on film, Ivory’s early career, and anecdotal illus. bibliog. index. audiences preferred to look to and location information on their Britain’s ‘great’ past than its quartet of costume dramas. Also In the chapter ‘The heritage film: uneasy present. This led to a criti- includes some script extracts. issues and debates’ Hill notes that cal and academic backlash which “During the 1980s there was a sig- Monk’s thesis aims to argue nificant growth of interest in the against; seeing all heritage films as

BFI National Library 2 METRO journal articles case studies: No.171. Spring 1986, pp.48-49

EMPIRE A room with a view ama No.141. March 2001. p.132 A Room With A This offers a lightly critical review

Dr Video to buy: classic Merchant View (1985) of the film. Ivory

While noting that the Heritage book SIGHT AND SOUND film/costume dramas are “now Vol.55 No.2. Spring 1986, pp.134-135 condemned as elitist and old fash- PELLOW, Kenneth C. , by Richard ioned”. Parkinson offers extremely Films as critiques of novels: trans- Love in a hot climate Mayne complimentary reviews of both A formational criticism. Costume ROOM WITH A VIEW and HOWARDS Edwin Mellen Press, 1994. 369p. bibli- END. og. Index. In this review Richard Mayne, while very complimentary about A comprehensive comparison of the film (noting that the tone of And SIGHT AND SOUND how the novel was adapted onto the novel has been caught precise- Vol.5 No.10. October 1995, pp.32-33 film. An indication of where the ly) notes that through the use of author stands on this is given in inter titles and the mood created Sexuality and the heritage, by the opening sentence in the chap- by the film “we never really forget

Film Claire Monk ter on A ROOM WITH A VIEW that this is a book”. Mayne also which “presents that rare example finds the supporting characters Looking at what she describes as more interesting than the two

ge of a good novel that was trans- ‘post-heritage’ film such as CAR- formed into a good film”. lovers (played by Helena Bonham RINGTON and ORLANDO, Claire Carter and Julian Sands). Monk states the out-of-vogue films of Merchant Ivory (citing A ROOM WITH A VIEW and MAURICE) offer a journal articles FILMS AND FILMING Herita

much more honest depiction of No.378. March 1986. p.41 , sexuality than the supposedly HISTORICAL JOURNAL OF FILM, more daring films. A room with a view, by Ann Lloyd RADIO AND TELEVISION Vol.10 No.3. 1990, pp.243-253 While praising the performances IN CAMERA Imagined contemporaries: cine- in the film and noting that the Autumn 1991. pp.3-4 matic and televised dramas about screenplay is for the main part a faithful adaptation of the novel, ptations the Edwardians in Great Britain Cover story: what’s in a look? and the United States, 1967-1985, Lloyd criticises the ending of the by D. L. LeMahieu film, which she believes is “trivial” An interview with Tony Pierce- in comparison to that of the novel. Ada Roberts who was the cinematogra- Narrowing the gaze of heritage pher on both A ROOM WITH A VIEW film and television to specifically and HOWARDS END while strong the Edwardian era, LaMahieu MONTHLY FILM BULLETIN on technical detail offers a few offers an interesting account of Vol.53 No.627. April 1986, pp.118-119 interesting insights on what is why this specific period of British A room with a view, by Philip often described as the “look” of history should prove popular with Merchant Ivory films. Strick Guides: contemporary audiences. With specific references to A ROOM In a balanced critique of the film, WITH A VIEW. ce Strick notes that in faithfully adapting the film from the book both the good and not so good CINEMA PAPERS qualities from the novel are intro-

Sour No.58. July 1986, p.41 duced into the film. Strick also

+ An Englishwoman abroad, by has some comments to make Brian McFarlane about the sound of the film and James Ivory’s use of music. 16 McFarlane praises the way both James Ivory and Ruth Prawer Jhabvala balance the opposition at STILLS the heart of the novel; “repression No.26. April 1986, p.42 and expression”, within the film Tourist trap: A room with a view, and notes that the adaptation of A by Sheila Johnston ROOM WITH A VIEW is further evi- dence of Ivory’s “continuing fasci- Offers a complimentary review of nation with cultural discrepan- the film, but not without some cies”. criticisms.

BFI National Library 3 CINEASTE Noting that the original novel was In this lengthy review of A ROOM Vol.15 No.1. 1986, p.48 “uncharacteristically benign for WITH A VIEW while analysing and Forster”, Canby goes on to praise praising the film as a whole, for Room with a view, by Hal W. Peat Ruth Prawer Jhabvala and James some reason Kael decides to spend ama Ivory’s adaptation. a fair amount of the review criti- Remarking that it is a “very simple cising Helena Bonham Carter’s

Dr tale” Peat compares the lightness personal appearance. of A ROOM WITH A VIEW with (in VILLAGE VOICE his view) the “lumbering” PASSAGE 11 March 1986, p.53 TO INDIA (directed by David Lean) FINANCIAL TIMES in their depictions of clashing cul- Films in focus: Forster care, by 1 April 1986, p.8 tures. However, the implication of Andrew Sarris his review seems to be that while Room with a view helps outlook at good, it is not a substantial film. In a detailed review of the film, Goldcrest, by Raymond Snoddy Costume Sarris notes that there is always a dilemma for filmmakers who An article about how the success CITY LIMITS adapt a novel for the screen; they of A ROOM WITH A VIEW helped to 10-17 April 1986, p.23 are criticised if they take liberties (temporarily) improve the fortunes And with the text and they are criti- of its production company New releases: A room with a view, cised if it is too faithful an adapta- Goldcrest Films and Television by Kim Newman tion. However, for Sarris, after it suffered a series of costly Merchant Ivory’s production of A disasters.

Film Newman believes Merchant Ivory’s ROOM WITH A VIEW is deemed A ROOM WITH A VIEW to be a much “one of the finest films of the more successful work of adapta- ROLLING STONE ge year”. tion than their previous efforts. 8 April 1986, pp.31-32

NEW YORKER Foreign films with a view, by Elvis Mitchell press articles 17 March 1986, pp.79-80 Herita

Noting the American aversion to

, The longest journey, by David NEW YORK TIMES any film tainted with the “art- Denby 28 July 1985, p.15 house” tag, Mitchell highlights the qualities that have made the film Denby claims at the start of his A literary film-making team has a a success in the U.S. and offers review that until the release of A go at E. M. Forster, by Michael praise to the filmmakers “For ROOM WITH A VIEW he considered Billington those who thought the day would the Merchant Ivory team as “more never come when they’d enjoy a ptations persistent than gifted”. However, Behind the scenes during the mak- Merchant-Ivory film, A Room with with this adaptation Denby feels ing of the film, this article gives a a View could be a shock”. that they have finally produced a brief overview of the Merchant

Ada film that can be considered “a tri- Ivory partnership, to some of the umph”. Praising every aspect of themes covered in the narrative of THE GUARDIAN the film, Denby’s is an effusive and the novel and film and includes an 10 April 1986, p.13 enthusiastic review. interview with James Ivory. Thanks a million, by Derek Malcolm NEW YORKER SUNDAY TIMES Guides: 24 March 1986, pp.112-115 2 June 1985, p.39 A positive review of the film, but of interest as it notes that though

ce The current cinema: twits, turtles The merchant of Florence, by Nigel A ROOM WITH A VIEW has a small- and creeps, by Pauline Kael Horne er budget than two other Goldcrest films (REVOLUTION and ABSOLUTE Primarily an interview with Ismail

Sour A Room With A View Merchant during the making of

+ the film, he explains how they chose to film A ROOM WITH A VIEW and how they have managed to 16 stick to their own ideas about film- making rather than be swayed by Hollywood. A slight though nonetheless interesting article.

NEW YORK TIMES 7 March 1986, p.16

The screen: A room with a view, by Vincent Canby

BFI National Library 4 BEGINNERS) it will probably make TODAY LONDON DAILY NEWS the more money. 11 April 1986, p.24 30 March 1987, p.17

Just too charming for words, by Romancing the whole world, by ama THE LONDON STANDARD Anne Bilson Michael Pye 10 April 1986, p.25

Dr A vaguely critical review that finds A brief article tracing how the film Daniel’s a perfect snob! by the reviewer noting, “it doesn’t was shot on a shoestring budget, Alexander Walker exactly titillate, provoke or inspire but eventually was Oscar nominat- you but it’s tremendously civilised ed and made a healthy profit at While admiring the film as a and charming”. the American box-office. Its suc- whole, Walker devotes most of his cess is cited as being because the praise (and the review) to Daniel film is “clean, beautiful and intelli- Day Lewis’s characterisation of THE SPECTATOR gent – heterosexual romantic love,

Costume Cecil Vyse. 19 April 1986, p.38 for once”.

Pictures from Italy, by Peter DAILY MIRROR Ackroyd CINEMA: A QUARTERLY REVIEW

And 11 April 1986, p.16 1987 As much a critique of the The lazy, hazy way we were, by Merchant Ivory ‘style’ as it is of the Cinema: a quarterly review, by William Marshall film, Ackroyd believes that the film David Shipman

Film is almost a parody of a parody and An antipathetic review that while that the adaptation could be said Shipman gives a near scathing noting all the visual merits of the to be “almost too faithful” to the review of the film, nearly a year ge film feels there is very little else of novel. However, he still provides a after it was first released. interest to an audience. good review for the film. Damning the film with faint praise “tolerable entertainment”. This is clearly a reviewer who has no time DAILY TELEGRAPH NEW YORK TIMES for the work of Merchant Ivory, Herita

11 April 1986, p.13 5 July 1986, p.11 regardless of what it is. , A fine romance, by Patrick Gibbs Merchant and Ivory strike gold, by Aljean Harmetz MAIL ON SUNDAY A fine review of the film, though 6 March 1994, p.3 Gibbs seems to be an exception to Highlighting the success of A all the other reviewers who singled ROOM WITH A VIEW in America Helena sues for a slice of film’s out Daniel Day Lewis’s perform- and detailing the profits made by profits, by Paul Nathanson ptations ance for praise. the distributors and how they marketed the film in America. In a claim brought against the pro- duction company Goldcrest, Ada TIMES Bonham Carter, Daniel Day Lewis, 11 April 1986, p.15 DAILY MAIL Julian Sands and Maggie Smith 14 July 1986, p.7 claimed that they were owed a Masterpiece of enchanting fidelity, percentage of the films profits. by David Robinson The gentle English conquering America, by Shaun Usher Robinson’s review praises all ele- Guides: ments of the film and especially In a country where the majority of Maurice (1987) for not, as he puts it, “betraying” the audience greet “art-house” ce Forster’s novel. films with indifference, this article looks at the unexpected success of book A ROOM WITH A VIEW at the TIMES LITERARY SUPPLEMENT American box-office and how it WAUGH, Thomas Sour 11 April 1986, p.375 took the industry by surprise. The fruit machine: twenty years of

+ writing on queer cinema. Detached about attachments, by Duke University Press, 2000. xii, 312p. Alan Hollinghurst DAILY TELEGRAPH illus. bibliog. index. 16 18 December 1986, p.3 Starts by describing A ROOM WITH In the chapter entitled: ‘Laws of A VIEW as E. M. Forster’s “least U.S. award for British film, by the desire: Maurice, Law of Desire and interesting” novel. Describing the Los Angeles correspondent Vera’ MAURICE is enthusiastically film as “a spirited, if simple-mind- described as “one of the most ed…confection” Hollinghurst how- A note about the film winning Best moving and honest gay films of ever, goes on to add that while the Picture at America’s oldest awards the decade, and a faithful adapta- film is “a quality product, solidly panel, the National Board of tion of one of the most important made” he sees little reason for it to Review. Daniel Day Lewis won gay novels of the pre-Stonewall have been made. Best Supporting Actor. The Board is era”. While there isn’t much cri- made of U.S. film critics, researchers, tique or analysis of the film, this academics and authors. chapter illustrates some of the

BFI National Library 5 importance that was attached to SCREEN TIME OUT the film upon its release. Vol.29 No.3. 1988, pp.72-80 No.898. 4-11 November 1987, pp.28- 29 Melodrama and ‘Maurice’: homo is ama where the het is, by Mark Finch Ivory league, by Mark Sanderson journal articles and Richard Kwietniowski

Dr Consisting of interviews with LITERATURE/FILM QUARTERLY In an interesting critique of MAU- some of the cast and James Ivory, Vol.24 No.3. 1996, pp.309-321 RICE that repositions the film as this not only provides some inter- being part of the tradition of esting insights into the making of The functions of the narrator’s Hollywood melodramas, Finch and MAURICE, but is also worth reading voice in literature and film: Forster Kwietniowski do not seem particu- for the pre-fame interview with and Ivory’s Maurice, by June Perry larly enthusiastic about the film. Hugh Grant. Levine They do view the timing of the

Costume film’s release as re-politicising the A highly theoretical discourse on reasons why Forster wrote the MONTHLY FILM BULLETIN the use of narrative voice in both novel and its relevance to late Vol.54 No.646. November 1987, the novel and film adaptation, that Twentieth century Britain. pp.338-339

And makes many good points about narrative and differences of focus Maurice, by Jill Forbes in the narrative voice because of FILMS AND FILMING the media used. However, the No.398. November 1987, pp.35-36 Forbes notes that any faults with

Film explorations in theory may prove a the film are to be found in the deterrent to many when reading Maurice, by Ronald Bergen book as well, describing MAURICE this piece. as Forster at his “most snobbish ge A clear and thorough review of the and least able to comprehend the film, that touches on many of the world he lives in”. She goes on to LITERATURE/FILM QUARTERLY topics that tend to get raised in note, that by being faithful to the Vol.17 No.2. 1989, pp.99-107 discussions about MAURICE. These novel, Merchant Ivory have failed include attitudes to homosexuality to bring any perspective to the Herita work. Ivory-Merchant’s Maurice: the that are reflected in both the novel , hero in absentia, Margaret Goscilo and in the film in what is a post- AIDS era, and why it was pub- A critical approach to the lished posthumously. Issues of FILMS AND FILMING Merchant Ivory adaptation of MAU- class are highlighted and as with No.397. October 1987, pp.13-15 RICE. Goscilo’s main arguments all Merchant Ivory reviews, the are that the screenplay is disjoint- “look” of the film. A good starting Ivory tower, by Allan Hunter ed and ignores the subtleties of point for anyone researching the ptations the characters, Clive Durham and film. In this interview with James Ivory, Alec Scudder. And that James the production of MAURICE is dis- Ivory’s and Kit Hesketh-Harvey’s cussed and the themes and issues Ada screenplay minimises and loses CITY LIMITS of the film. He also answers ques- sight of the character of Maurice 5-12 November 1987, p.27 tions of how a mainstream movie Hall himself. A rare article that audience will be able to accept the goes against the tide of near unan- New movies: Maurice, by John gay narrative. Hunter then goes imous praise for the film. Wrathall on to ask James Ivory about his future directing projects. This arti- In this slightly critical review of cle offers an interesting insight Guides: LITERATURE/FILM QUARTERLY MAURICE, Wrathall manages to say into the workings of Merchant Vol.17 No.2. 1989, pp.108-112 what is wrong with the film a lot Ivory. ce more concisely than some other “To thine own self be true…” critics of the film. He points out, Adapting E.M. Forster’s Maurice to the faithful adaptation of the SIGHT AND SOUND the screen, by W. Rohan Quince novel, the loss of perspective on Vol.56 No.4. Autumn 1987, p.290 Sour the character of Maurice and the Love story/Maurice, by Claire + A detailed critique of the differ- look of the film. Wrathall, howev- ences between the novel and the er does acknowledge that this is Tomalin film adaptation. Noting in particu- still one of the first mainstream 16 lar the filmmaker’s attempts to movies to tackle homosexuality Describing the film as a “stunning highlight the homophobia of the head-on. success”, Tomalin critiques the era and the effects of this on the film in comparison to Forster’s characters more sharply that novel and gives useful background Forster detailed in the novel. This information to the circumstances essay is excellent for those who of Forster writing the book and are unfamiliar with MAURICE as it how this is manifest in the adap- gives a straightforward analysis of tation. the story and outlines most of the main themes and issues.

BFI National Library 6 NEW YORK TIMES DAILY TELEGRAPH press articles 28 September 1987, p.136, 138 5 November 1987, p.12

GUARDIAN Making book, by David Denby The hidden loves of Edwardian ama 30 July 1987, p.11 society, by Victoria Mather Criticising, ‘Maurice’ the novel,

Dr The trouble with Maurice, by Paul Denby describes it as “a mere Mather states that while the Roud shadow of such masterpieces as Merchant Ivory adaptation is supe- Howard’s End and A passage to rior to the original novel, she While praising most aspects of the India”, Denby goes on to note how- believes the characters to be weak film, Roud believes that any prob- ever, that the Merchant Ivory pro- and the happy ending improbable. lems with the film are ones that duction of MAURICE is “remarkably are inherent to the novel and that solid – as good, really, as a faithful these revolve around the character adaptation” but that for all its GUARDIAN

Costume of Maurice. Roud believes him to strengths, the film cannot over- 5 November 1987, p.24 be “too wet and a whiner”. come the inherent weaknesses of the novel. Maurice, by Derek Malcolm

And LONDON EVENING STANDARD Noting the mixed reviews the film 3 September 1987, p.41 TIME received in America, Derek 12 October 1987 Malcolm feels that the reality is Boys will be boys, by Alexander somewhere in between the two

Film Walker Twits atwitter, by Richard Schickel camps; “the Forster original is by no means his best work, though Walker notes that while MAURICE Criticises both James Ivory’s direc- perhaps his most personal, but ge the film is beautiful to look at, the tion and Forster’s novel for being praising Ivory for yet another ele- character of Maurice Hall is clichéd and too reverential in its gantly mounted, finely shaded lit- unsympathetic, therefore making handling of its subjects. erary adaptation”. the film an unsatisfactory experi- ence. Herita

NEW YORKER MAIL ON SUNDAY INDEPENDENT , 21 September 1987, pp.103-105 25 October 1987, pp.17-18, 20 5 November 1987, p.14

The current cinema: temporary The house party that came to Speakable vices, by Adam Mars- madnesses, by Pauline Kael stay, by Tim Craven Jones

A fairly scathing review that A report from one of the locations In this complimentary review of attacks both the novel for being a used in the filming of MAURICE. the film, Adam Mars-Jones makes ptations “museum piece” and the film the same point that other review- “which painstakingly reproduces ers of MAURICE make which is that the limp, drawn-out construction SUNDAY TIMES in being a faithful adaptation of Ada of the novel”. 4 November 1987, p.27 the novel; any faults of the novel are replicated in the film. Making Maurice by degrees, by VILLAGE VOICE Anna Kythreatis 22 September 1987, p.72 EVENING STANDARD Primarily an interview with Ismail 5 November 1987, p.32 Men in love, by Stephen Harvey Merchant in which he describes Guides: trying to persuade the Cambridge Of flesh and fashion, by Alexander A two-part piece, this first-part is colleges of King’s and Trinity to Walker ce the actual review that heaps praise allow them to film there. Also on the Merchant Ivory adaptation mentioned is the budget of the At one point in his review “a stimulating movie which actu- film and his partnership with Alexander Walker states, “This is a ally improves on its distinguished James Ivory. story that commands great under- Sour source”. The second-part is an standing but elicits little sympa-

+ interview with James Ivory which thy”. Feeling that the pace of the provides interesting detail on WHAT’S ON narrative is slow and that the Ivory’s views on E.M. Forster’s 4 November 1987, p.38 characters of Maurice and Clive 16 work and how he never had been are unsympathetic, but that in interested in England until he Prim and proper, by Philip Bergson common with other Merchant started directing films in India, Ivory films, “the film is master- and became aware of their social A quite harsh review that com- ly…as a social panorama of the legacy and how he feels the film mends the look of the film but Edwardian era in town and coun- marks an end to their Forster criticises the content: “it is all try”. adaptations. most properly executed, if without the fire of either imagination, or real desire”.

BFI National Library 7 TODAY MAIL ON SUNDAY surrounding Forster’s novel its 6 November 1987, pp.32-33 9 November 1986, p.9 biographical background, its posthumous publication and the Greater love hath no man, by Jane Lifting the veil on a dark secret, by novels unexpectedly happy-end- ama Reed Victor Davis ing. Hollinghurst, however, argues that in this “deplorably well-made

Dr A vaguely mocking review of the Reporting on why it took so long film” James Ivory and Kit Hesketh- film, which while not criticising it, for MAURICE to first be published Harvey (the writers of the screen- sees little point in it either. All the and then adapted into a film, and play) have sacrificed the novels usual elements, such as the cast includes a short interview with the “nervous veracity, its point and its and the settings and design of the producer of the film, Ismail animus, to a numbingly slow dis- film are praised, but the reviewer Merchant. play of authentic detail”. While leaves little room for doubt about Hollinghurst’s arguments are their ambivalence towards the interesting, they do include at one

Costume film. NEW YORK TIMES point a rather bizarre defence of 12 November 1987, p.21 Forster’s account of Clive’s change of heart to heterosexuality, which FINANCIAL TIMES Forster’s ‘Maurice’ becomes a is recontextualised in the film.

And 6 November 1987, p.21 move, by Joseph Lelyveld

Another tour-de-Forster, by Nigel Primarily an interview with the INDEPENDENT Andrews two executors of E.M Forster’s 10 December 1987, p.12

Film estate, Donald Parry (a vice- This review for MAURICE starts off provost at King’s College, Where dons fear to tread, by by highlighting why some people Cambridge) and John Rylands. Catherine Chester ge have a problem with the Merchant Both prove very entertaining about Ivory style of filmmaking: “To the their perceptions of the making of This brief but interesting article sceptic, the Merchant-Ivory style MAURICE and why it took until ten interviews one of the executors of sometimes seems like yards of years after Forster’s death for one E.M. Forster’s estate about their sumptuous set-dressing and high- of his novels to be allowed to be decisions and experiences of Herita

tone British acting in search of a adapted. allowing Forster’s work to be , moment of cinematic originality”. adapted into films. With particu- However, this then gives way to an lar focus on MAURICE. enthusiastic review of the film MORNING STAR that ends by commenting that the 13 November 1987, p.8 characters are as recognisable today as they were at the time the Maurice, by Victoria Dignam Howards End novel was written. ptations This review praises the film for (1992) remaining “faithful to the spirit of OBSERVER the book” and describes the film Ada 8 November 1987, p.22 as “an eloquent voice”. book

Two faces of love, by Philip French KELLY, Ian SPECTATOR Howards End: study guide. A very enthusiastic review that 21 November 1987, pp.50-51 Film Education, [1992]. 8p. illus. fil- compares the themes in a shared mog. Bibliog. review with the Steve Martin film Tasteful repro, by Hilary Mantel Guides: ROXANNE that was released at the Aimed at the 16-18 year olds as a same time. A considered review of the film in teaching guide, this offers a con- ce which Mantel argues that perhaps cise introduction to the key points the filmmakers should have taken of the novel. Drawing upon other SUNDAY TELEGRAPH more liberties with the novel; the texts and prompting the students 8 November 1987, p.17 character of Maurice could have

Sour to ask questions about both the been made “less of a whiner and a novel and the film, this is a useful

+ The Wildean shores of love, by prig”, sections of dialogue lifted and interesting guide. Richard Mayne from the novel and Mantel feels that the happy-ending is too 16 A review that commends the improbably considering all that Merchant Ivory adaptation of MAU- has proceeded it. journal articles RICE as being so skilful “as to sug- gest weakness in the original EMPIRE text”. The only criticism that TIMES LITERARY SUPPLEMENT No.128. 8 February 2000, p.122 Mayne levels at the film is that he 6 December 1987, p.1225 found it lacking in “erotic electrici- Howards End, by Ian Nathan ty”. Suppressive nostalgia, by Alan Hollinghurst A DVD/video review of the film, that while complimentary still This review of the film starts by finds it passionless and “strangely providing a critique of the issues inert”.

BFI National Library 8 EMPIRE EMPIRE details of how well the film is No.47. May 1993, pp.56-58 No.36. June 1992, pp.46-47 doing in America.

Howards’ way, by Gary Leboff All good things to those who wait, ama by David Gritten FILMS IN REVIEW A timeline of the history of the Vol.34 Nos.3/4. March/April 1992,

Dr production of HOWARDS END An interview with Anthony pp.117-119 beginning in 1983 when the Hopkins to coincide with the screenwriter Ruth Prawer Jhabvala release of HOWARDS END. He Howards End, by Pat Anderson and James Ivory first thought of looks back on his career and why adapting an E.M. Forster novel he made the decision to make a While mainly a synopsis of the through to Spring 1993 with film with Merchant Ivory. film, this review starts by pro- Merchant Ivory contemplating claiming HOWARDS END to be “per- their next project. A thorough and fect” believing it to be a faithful

Costume interesting article. EMPIRE and masterly adaptation of E.M. No.36. June 1992. p.24 Forster’s novel.

HOLLYWOOD REPORTER Howards End, by Angie Errigo

And 26 February 1993, p.14 HOLLYWOOD REPORTER A highly complimentary review Vol.312 No.12. 13 March 1992, p.9, 34 Hollywood report: ‘Howards End’ that describes the film as “sheer good Sony Classics beginning, by perfection”. Howards End, by Jeff Menell

Film Martin A. Grove Howards End Describing the film as a product A brief interview with Tom that “is rich in both texture and ge Bernard one of the co-President’s substance”. In a review full of of Sony Classics, which distributed admiration for the film, the per- the film in America. Gives an formance of Emma Thompson is interesting aspect into the more particularly singled out for praise. commercial aspects of the film Herita

and its box office in America. , INTERVIEW Vol.22 No.3. March 1992, p.40 CINEASTE Vol.19 Nos.2/3. Dec 1992, pp.69-70 Shots in the dark.

Howards End, by Peter Bates A critique of HOWARDS END, that looks at the themes of both the ptations An exhaustive critique of the film film and the novel. The review that examines the characters and also draws upon the adaptation of narrative in relation to the novel in another Forster novel WHERE Ada detail, Bates ends his review with ANGELS FEAR TO TREAD (1992) the comment: “Howards End is a directed by Charles Sturridge that competent, sometimes thrillingly was released at the same time. filmed novel; yet it falls just short of a truly imaginative adaptation”. SIGHT AND SOUND Vol.2 No.1. May 1992, pp.52-53 press articles Guides: CINEMA PAPERS No.89. August 1992, pp.32-35 Howards End, by Lizzie Francke VILLAGE VOICE ce 17 March 1992, p.21 Literature-film connections: three Noting that HOWARDS END is films reviewed, by Brian McFarlane regarded as Forster’s “finest work” Howards End, by Georgia Brown Francke’s review examines how Sour Starting off with an Orson Welles the very themes of the novel of While praising the performances,

+ quote: “I believe you must say inheritance and social disenfran- Brown is scathing in her review of something new about a book, oth- chisement are at odds with the the film as a whole, describing it erwise it is best not to touch” assumptions at the heart of the as “grating” and “oppressive”. 16 McFarlane reviews three films, MY heritage film industry that Forster OWN PRIVATE IDAHO (loosely based adaptations are usually associated on Shakespeare’s Henry IV parts 1 with. DAILY MAIL and 2), EDWARD II and HOWARDS 27 March 1992, pp.32-33 END, believeing the first two too be much more adventurous and SCREEN INTERNATIONAL The secret passions that smoulder therefore “exciting as films”. In No.856. 8 May 1992, p.1 behind the windows of Howards comparison with the two other End, by Shaun Usher films, HOWARDS END is criticised A note on how HOWARDS END has for being “a scrupulous guided “shattered” the box-office records Describing HOWARDS END as E.M. tour of the novel” at its only London venue, the Forster’s “masterpiece”, this is a Curzon Mayfair. Also includes brief behind-the-scenes report on

BFI National Library 9 the making of the film, including DAILY TELEGRAPH E.M. Forster’s prose, Brown states an interview with Antony Hopkins. 30 April 1992, p.14 that the Merchant Ivory team tend to get it right, where others A triumph of period passion, by (notably David Lean in A PASSAGE ama TIMES Hugo Davenport TO INDIA), get it wrong. 30 March 1992, p.5

Dr An enthusiastic review of the film, And now, an Oscar for the wallpaper, in which Davenport notes that the GAY TIMES by Nicole Swengley darker tone of HOWARDS END May 1992, p.68 “takes it far beyond the dubious Focusing on how Merchant Ivory attractions of a gratuitous wallow [no title or writer given] achieve the ‘look’ of their films, in nostalgia”. this article looks at the wallpaper Though not disputing the quality and fabric company Sanderson, of HOWARDS END, the author of

Costume who specialises in being able to EVENING STANDARD the piece questions the relevance recreate period designs. 30 April 1992, p.30, 39 of such period drama to modern day Britain, with funding being Edwardian Emma tops the class, given to films that ignore “harsh”

And DAILY TELEGRAPH by Alexander Walker social realities of 1990’s Britain. 4 April 1992, p.9 In Walker’s review, he sees the film A home movie starring Antony as being faithful to E.M. Forster’s DAILY MAIL

Film Hopkins, by James Delingpole original text and applauds the 1 May 1992, p.34 cast. He ends his review claiming This interview with the owners of that Merchant Ivory’s adaptation Fine probe into past prejudices, by ge one of the houses used in the film- gives us “fidelity to the art of the Shaun Usher ing of HOWARDS END gives an novel, truthfulness to the film’s interesting insight into one of the craft”. Describing it as “one of the better aspects of the filmmaking process kinds of British film” the reviewer lavishes much praise on the film. Herita

FINANCIAL TIMES , TIME OUT 30 April 1992, p.19 29 April 1992, p.62 TODAY Prose and passion personified, by 1 May 1992, p.24 Howards End, by Mark Sanderson Nigel Andrews Ivory coasts through feast of An ambivalent review of the film. Though noting that the film Forster, by Sue Heal While the reviewer offers some “sometimes slides towards cliché” ptations praise for the film, the overall tone Andrews, instead prefers to view Though complimentary about seems to be one of indifference. Merchant Ivory films as “prismatic HOWARDS END, this reviewers visions of past times coloured, iro- ambivalence towards Merchant Ada nised and toughened by a modern Ivory films becomes apparent. WHATS ON sensibility”, in a review that prais- 29 April 1992, p. 61 es the Merchant Ivory production of HOWARDS END. INDEPENDENT ON SUNDAY Homes and gardens, by David 3 May 1992, p.19 McGillivray THE GUARDIAN End to the Ivory trade in whimsy, Guides: Describing Forster as a “master 30 April 1992, p.26 by Anthony Lane storyteller”, McGillivray praises the ce Merchant Ivory adaptation as Howards End, by Derek Malcolm A critical review of both the novel being a “colossal achievement”. and the film, Lane goes on to In a fairly tongue-in-cheek review describe HOWARDS END as “an odd designed to poke fun at detractors mix of the galumphing and the Sour WHATS ON IN LONDON of Merchant Ivory films, (particu- delicate”.

+ 29 April 1992, pp.17-18 larly Alan Parker, who describes them as the “Laura Ashley school A truly flourishing plant, by of film-making”) Malcolm praises INDEPENDENT ON SUNDAY 16 Mansel Stimpson HOWARDS END, describing it as 3 May 1992, p.21 “the best the team has made”. An interview with Ismail Merchant Only connect! England saved by about the Merchant Ivory partner- an ideal home, by Blake Morrison ship, and their production of TIMES HOWARDS END. 30 April 1992, p.3 Morrison attributes the sudden interest in E.M. Forster and the Passion amid period props, by popularity in adapting in his Geoff Brown works to the English mood of nos- talgia, but that also that there is Starting his review by noting the less surface appeal in Forster’s potential difficulties of adapting themes, which are as relevant to

BFI National Library 10 audiences today, as they were are successfully transferred to the inspiration for the fictional when the books were first pub- film. An article well-worth reading Howards End, and that her mother lished. A thoughtful examination for its insights into HOWARDS END. may have been the model for the of Forster’s motivations and themes. character of Mrs Wilcox. ama DAILY TELEGRAPH

Dr MAIL ON SUNDAY 5 May 1992, p.12 MAIL ON SUNDAY 3 May 1992, p.39 28 March 1993, p.3 A love affair with E.M. Forster, by Period piece making its own histo- David Holloway Your Oscar is no big deal, by ry, by Tom Hutchinson Cynthia Heimel An article examining why Forster’s This ecstatic review of the film novels have become popular Primarily an article about how immediately proclaims that the sources for adaptation, focusing even if she wins an Oscar for

Costume film, HOWARDS END “is an instant especially on the Merchant Ivory HOWARDS END, Emma Thompson national treasure” and that this adaptations. An article that pro- will still not make it into the time Merchant Ivory and Ruth vides useful insights for anyone American consciousness, because Prawer Jhabvala (who adapted the studying this subject. “Virtually no one in America has

And novel into the screenplay) have seen Howards End”. A rather con- “landed an emotional punch to fusing statement considering that back up (the) pretty pictures”. SPECTATOR by British standards HOWARDS Hutchinson ends his review by 9 May 1992, p.37 END did well at the American box

Film stating that for once, in turning to office. the past, Merchant Ivory have Cosily connected, by Vanessa Letts come up with something “relevant ge and contemporary”. A mixed-blessing of a review. TIMES Letts begins by stating that 29 March 1993, p.3 HOWARDS END is Merchant Ivory’s OBSERVER “greatest success so far” but that America plays down British Oscar 3 May 1992, p.52 this was only because “the stan- hopes, by Ben Macintyre Herita

dards are so low” describing the , Be-all and end-all for triumphant, by novel as “an earnest if naïve An article about how the British Philip French polemic” and the film version as dominance in the nominations at lacking “bite”. that year’s Oscar ceremony was In his review for HOWARDS END causing anxiety in certain sections French asserts that most criticisms of the American film industry, aimed at Merchant Ivory films are NEW STATESMAN AND SOCIETY compounding “Hollywood’s recent “cheap and false” and that they 29 May 1992, pp.32-33 and profound attack of self- ptations are in fact “literate, vibrant, intel- doubt”, and causing a certain lectually urgent”. Our kind of people, by Anne amount of resentment in the run Billson up to a “quintessentially American Ada show”. SUNDAY TIMES A scathing review that questions 3 May 1992, pp.10-11 why the film has gained so much critical praise. Billson at various DAILY TELEGRAPH All the best connections, by Iain points in her review calls 7 October 1995, p.3 Johnston HOWARDS END a “sub-standard slice of British heritage”. Also in Period drama with a proven pedi- Guides: Partly an appreciation of the countering the view that the film gree, by Quentin Falk Merchant Ivory partnership (usual- holds a mirror up to the iniquity of ce ly in collaboration with Ruth the time, Billson counters this A review that concisely highlights Prawer Jhabvala), and also a review with “If Howards End is supposed the length of the partnership of HOWARDS END. The article end, to be an indictment of snobbery between Ismail Merchant, James “All three are foreigners, yet they and greed, it fails, because it revels Ivory and Ruth Prawer Jhabvala, Sour seem to be better at examining in the snobbish and greedy way of and the background to the produc-

+ our nation’s social history than life…The qualities of such illus- tion of HOWARDS END including any other contemporary film mak- trated English Lit are not cinemat- quotes from Anthony Hopkins. ers”. ic, but are those of the Edwardian 16 theme park”.

NEW YORKER 4 May 1992, pp.74-76 INDEPENDENT 30 May 1992, p.38 The current cinema: yes, but by Terence Rafferty A womb with a view

An in-depth critique of both the An article about a childhood friend novel and the film that explores of E.M. Forster’s, the composer Forster’s narrative style and Elizabeth Poston, whose family themes and to what extent these home, Rook’s Nest House was the

BFI National Library 11 jane austen (1775-1817) ama Sheen’s “‘Where the garment METRO

Dr gapes:’ faithfulness and promiscu No.106. 1996 pp. 14-20 ity in the 1995 BBC PRIDE AND PREJUDICE.” Desperately seeking Mr Darcy, by Maila Stivens

MAYNE, Judith The article discusses the success Private novels, public films. of the BBC serial PRIDE AND PREJU- Georgia: University of Georgia Press, DICE and specifically the appeal of

Costume 1988. Colin Firth’s Darcy to women view- ers. Stivens considers the various Chapter two: Two narratives of pri- interpreations of Darcy’s appeal, as vate and public life: PRIDE AND well as the popularity of various

And PREJUDICE and Fantasies of Austen adaptations today. Darcy’s Reconciliation are the ones to look masculinity is analysed in terms at. This gives a reading of the of patriarchy and feminism, and novel in the context of the separa- the series’ connection with popu- tion of “private” and “public” in the lar culture and high cul- Film Pride and narrative arts, and the relationship ture/literary criticism, is also Prejudice to middle-class culture (pp 43-67). examined. ge (GB/US. BBC Television/Arts & Entertainment Network. BBC1 tx 24/09/1995-29/10/1995) SIGHT AND SOUND journal articles Supplement. Money. Single Issue. September 1996. p21.

Herita books LITERATURE/FILM QUARTERLY

, Vol. 27. No.2. 1999, pp. 142-148 PRIDE AND PREJUDICE: The Cost of BIRTWISTLE, Sue and CONKLIN, Dressing Up. Susie Pride and Prejudice: on A & E The making of Pride and visions and revisions, by A. Sue Article discusses the cost of TV Prejudice. Parrill classic serials, focusing on the London: Penguin/British 1995 production of PRIDE AND PREJ- Broadcasting Corporation, 1995. The author discusses the BBC 6- UDICE. Discusses the raising of ptations hour version of PRIDE AND PREJU- finance, distribution deals, and Provides a lot of detail on the pro- DICE, which was aired on the Arts time involved in shooting and post duction process, with a chapter on and Entertainment network in the production. Provides figures relat-

Ada the content of the script and com- U.S. She argues that this is the ing to specific costs of PRIDE AND parison with the novel. Very useful definitive treatment of the novel, PREJUDICE and TV audiences in the sections on food, costume, music, as it develops the characters truth- UK. dance, and how these inform the fully, creates the world of the overall work. A classic example of novel imaginatively, and is visually the tie-in. striking. She notes that Austen’s SIGHT AND SOUND omission of specific physical Vol.6. No.9. Sept 1996, p.32 Guides: details of people, clothes, and BLUESTONE, George places helps give the filmmaker Article discusses the frequency of ce Novels into film. free reign visually. Darcy’s expand- TV adaptations and asserts that Baltimore: John Hopkins Press, 1957. ed role in this version is discussed: costume drama is more revealing in the novel, we hear Elizabeth of the time when it is made than Focus on the 1940 version of PRIDE almost exclusively and in some the period the drama is set in. Sour AND PREJUDICE, but might provide earlier film versions, Darcy is Discusses the often limited nature useful contrasting or comparative of modern TV series and points to

+ rarely seen. But here, he even insight. Discourses include: point appears alone in several scenes. the popularity of PRIDE AND PREJU- of view; dialogue; description of The film also shows scenes of ser- DICE as an indicator of audiences’ 16 characters; dance. (pp 114-146). vants and housekeepers, who are interests today. not as prominent in the novel. These scenes with members of the GIDDINGS, Robert working class give the viewer METRO The classic novel from page to another way of interpreting the No.106. 1996 pp. 4-12 screen. scene/character. Manchester; New York: Manchester Remarks on Jane Austen and the University Press, 2000. Period Film, by Gabrielle Finnane

An anthology of articles on adap- Finnane analyses various recent tations of Forster, Dickens, Eliot, Austen adaptations within differ- Wharton, etc. Includes Erica ent frameworks of historical per-

BFI National Library 12 ception. Within her discussion she film version (1940) on microjacket. stills, details of cast, the full uses Nietzche’s descrptions of his- screenplay, and then diaries which tory to reveal how the recent BBC gives a detailed account of the version of PRIDE AND PREJUDICE EVENING STANDARD production. Some of the details ama presents a critical view of history 25 September 1996 are perhaps a little too domestic in contrast to PERSUASION, which (the cast having to change hotels

Dr focuses on individuals acting and Stop messing about with our Jane, to accommodate a wedding party striving. Uniting both adaptations by Rachel Cusk that had already booked) but there however, is the representation of is much here that sheds light on women which delivers them from The writer argues that Austen the production. the past rather than confines adaptations, like PRIDE AND PREJU- them within the perimeters of DICE tend to miss the point about their historical time. the author’s work. journal articles Costume CINEMA PAPERS INDEPENDENT CREATIVE SCREENWRITING No.110. June 1996, pp. 30-31, p60 19 July 1996, p.4 Vol.4. No.2. Summer 1997 pp.74-82

And Verbal Concepts, Moving Images. A discussion about the PRIDE AND SENSE AND SENSIBILITY. A script Brian McFarlane continues his PREJUDICE industry. review, by Beverly Gray analysis of novel into films The article investigates how Film The article discusses the prolifera- Sense and Thompson adapted and drama- tion of British films in the mid- tised Austen’s novel for a modern 1990’s which are based on literary audience. Gray shows Thompson ge adapatations. He comments on the Sensibility (dir. Ang Lee, 1995) using a screenwriters’s license to recent interest in Jane Austen and enhance certain characters, eg TV adaptations, includling the Margaret, the third sister, and cut 1996 production of PRIDE AND PREJ- books others. With able economy she UDICE and the film of PERSUASION compresses the main stories in the Herita

which was originally made for TV. novel, sometimes into single , CARTMELL, Deborah Although positive about the lead scenes. The difficulties Thompson Adaptations: from text to screen, perfomances in PRIDE AND PREJU- encountered in producing a filmic screen to text. DICE, McFarlane criticises the structure and incorporating all London; New York: Routledge, 1999 internal coherence of the serial. In neccessary plots, are also consid- contrast, he sees PERSUASION as ered and extracts from Covers adaptations from an intelligent and rigorous film, Thompson’s own shooting diary Shakespeare through which remains faithful to the ptations are included to clarify many of her Trainspotting, and includes sec- novel, focusing on character and concerns. tions on how writers incorporate relationship, whilst using the cinematic elements in their work. resources of the screen with

Ada ‘Conservative Austen, radical imagination. The article also dis- SCREEN Austen’ discusses SENSE AND SEN- cusses other Austen adaptations, Vol.43 No.1. Spring 2002, pp. 41-56 SIBILITY. in particular SENSE AND SENSIBILI- TY by Ang Lee, which McFarlane Crossing over: performing as a argues has produced popular, lady and a dame, by Christine DIXON, Rod mature and resourceful cinema. Geraghty Sense and Sensibility: study Guides: guide. Geraghty argues that just as gang- London: Film Education, 1996. MOVING PICTURES INTERNA- ster films have allowed male ce TIONAL This contains tasks which tie it No.16. March 1996, p.9 specifically to the video (or tele- vision screening). It includes Discusses the interest in Austen Sour stills; looks at the “novel of sen- adaptations within the American timent”, makes comparisons

+ market and how this stemmed from text to screen, looks at the from Heckerling’s CLUELESS, based moral lesson, and focuses on the on Austen’s novel Emma. Also 16 character of Willoughby. There provides details of the popularity is also an extract from the of the BBC series PRIDE AND PREJU- screenplay. DICE in the US, as well as the criti- cal reception of SENSE AND SENSI- BILITY. THOMPSON, Emma Jane Austen’s Sense and Sensibility: the screenplay and press articles diaries. London: Bloomsbury Books,1995. The BFI National Library also holds cuttings relating to the 1980, 1967 Rather lavish presentation with and 1952 versions and the earlier Pride and Prejudice

BFI National Library 13 actors to enjoy ‘putting on a show’, Sensibility. Though Ang Lee brings TIME OUT adaptations have given actresses, a classical visual perception to the 7 - 14 February 1996, pp.20-21 particularly British ones, the film, Fuller claims the adaptation opportunity to draw attention to is Thompson’s romantic triumph. Austen maestro, by Elaine ama their acting skills. Describes Paterson. Emma Thompson and Kate

Dr Winslet in SENSE AND SENSIBILITY, SIGHT AND SOUND With romance, love and confusing along with other roles. Geraghty Vol.6 No.3. March 1998 pp.50-51 courtship all part of the picture makes the point that classic nov- being played out by Emma els are often filmed more than Credits, synopsis and review by Thompson and Kate Winslet. once, and the availibility of differ- Claire Monk, of SENSE AND SENSI- ent versions allows the viewer to BILITY, directed by Ang Lee Other articles as follows: see that there is more than one way to tell the story. Adaptations Arguing that Ang Lee is an appro- DAILY MAIL

Costume also allow the viewer to see that priate director of the film, Monk 23 February 1996 p.44 actors are giving real performanc- praises Thompson’s feminist-revi- DAILY MAIL es in particular roles. sionist satirical script. She also 2 March 1996 p.59 points out how Thompson re- INDEPENDENT ON SUNDAY

And invents the third sister Margaret, 25 February 1996 p.11 FILM CRITICISM ironically presents the romantic OBSERVER Vol.26 No.1. Autumn 2001, pp. 42-55 hero Willoughby, and focuses on 31 March 1996 p.15 the laws of inheritance at the OBSERVER PREVIEW

Film Crouching sensibility, hidden time. The review ends by suggest- 18 - 24 February 1996 p.4 sense, by William Leung ing the film may well appeal to TIMES men as well as women. 22 February 1996 p.31 ge Discusses Ang Lee’s CROUCHING TIMES (WEEKEND) TIGER, HIDDEN DRAGON, which was 16 December 1995 p.9 described by its producer/co- VILLAGE VOICE scriptwriter as a kind of ‘SENSE press articles 19 December 1995 p.76 AND SENSIBILITY’ with martial There are quite extensive produc- Herita

arts. Describes Lee’s use of the tion notes held on microjacket at , Chinese Wuxia genre, a narrative the BFI National Library, along form in which traditional ideas with newspaper cuttings including Emma (dir. Douglas McGrath, 1996) about good and evil are played out those listed below. Cuttings are in the adventures of skilful yet also held for the 1971 and 1981 spiritually attuned warriors. Lee’s BBC versions. books feminisation of the genre may be due to his work with Austen’s text. EVENING STANDARD ptations BIRTWISTLE, Sue and CONKLIN, Describes the cultural conflicts of 27 February 1996, p.23 both films—Romanticism v. Susie The making of Jane Austen’s Rationalism in SENSE AND SENSI- The man who told Em not to look

Ada Emma. BILITY and Confucianism v. Taoism so old, Roger Clarke London: Penguin, 1996. in CROUCHING TIGER. Discussion with Ang Lee about the Provides useful and entertaining mixture of brutality and t’ai chi information on the script, cast, SIGHT AND SOUND brought to the film. design, and costumes, with exten- Vol.6. No.3. March 1996, pp.20-22 sive illustrations and photographs. Guides: About half the book is taken up by Cautionary Tale. Ang Lee’s version DAILY TELEGRAPH the screenplay. of SENSE AND SENSIBILITY may be Arts 27 January 1996, p.A1 ce his best film, but for its Austen adaptor and star, Emma Austen viewed from Mars, by LAURITZEN, Monica Thompson, it’s a personal psy- Michael Pye chodrama, by Graham Fuller. Jane Austen’s Emma on television. Sour A study of a BBC classic serial. An interview with director of Goteborg, Sweden: Acat Universitatis

+ Fuller considers the recent crop of SENSE AND SENSIBILITY, Ang Lee, Gothoburgensis, 1981. (Gothenburg Austen adaptations and mentions on capturing the essence of Studies in English 48). how TV versions are usually con- Englishness for the film. 16 sidered a medium for the writer in Using the 1972 (so be careful) contrast to film versions. In adaptation this is a study of the Thompson’s adaptation however, DAILY TELEGRAPH “classic” serial on television. The Fuller argues that Thompson is not 22 February 1996, p.14 production of this version is set only the auteur and driving force, against Austen’s situation when but that the script relates to her Kate shoots into a league of her writing the book; plot comparisons personal biography. Using scenes own, by David Gritten. are made; and there are genre to project the story’s themes and comparisons between the novel highlighting the restrictive lives of A focus piece on Kate Winslets’s and the tv serial. the women involved, Thompson’s performance. script embodies the dialectic between rationality and Romantic

BFI National Library 14 Emma bishness of the original novel. Another personality focused inter- Though unmannered and well view. acted, Mathews argues the film is not as successful or coherently ama adapted as Thompson’s SENSE AND GUARDIAN SENSIILITY Section 2, 3 September 1996, pp.8-9 Dr A cute accent, by Lesley O’Toole

press articles Primarily a look at the career The BFI National Library also holds progress of Gwyneth Paltrow, who some cuttings on the 1972 version plays the title role. of EMMA. The following are selec- TROOST, Linda and GREENFIELD, tive; further newspaper reviews Sayre are held on the microjacket. Costume Jane Austen in Hollywood NEW STATESMAN 13 September 1996, p.39 Lexington: University Press of ASIAN AGE Kentucky, 1998; second edition, 2001. 24 September 1996, p.14 Review by Boyd Tonkin. And Focuses on the mid-1990s boom in About Neck and Neckability, by Austen adaptations: PRIDE AND Mark Stein PREJUDICE, SENSE AND SENSIBILITY, TIMES 10-15 Supplement, 31 August 1996, EMMA, and PERSUASION, as well as The reviewer gets excited about

Film p6-7 CLUELESS. Several chapters discuss Ms Paltrow’s neck and the direc- feminist issues, and one describes tor’s obvious interest in it! the impact of class on American Northam uproar, by Louise ge audiences. Second edition includes Johncox an extra chapter on Patricia ASIAN AGE Rozema’s MANSFIELD PARK. General piece on the film worked 10 September 1996, p.14 around an interview with Jeremy Northam who plays Mr Knightley.

Herita Hollywood’s Austenmania reaches

, journal articles the end of the line, by Todd McCarthy Persuasion PREMIERE (US) Critical review of the film suggest- (1995, dir. Roger Michell) Vol.10 No.1. September 1996, pp.74- ing that the production is rather 77, p.117 less assured and compelling than other adaptations of similar kinds journal articles Raising Jane. The Diary of the ptations appearing at the time. Making of EMMA, by Douglas CREATIVE SCREENWRITING McGrath. Vol.4 No.2. Summer 1997 pp.62-73

Ada DAILY TELEGRAPH License and Liability. Collaborating In diary format, McGrath describes 7 September 1996, p.17 how he finished the script, cast with Jane Austen, by Nancy Hendrickson the film with Gwyneth Paltrow The older woman, by E. Jane and directed the film himself. Dickson Discussing the problems of casting Hendrickson concentrates on a number of film and TV adapta- the minor character and of the Greta Scacchi interviewed about tions of Austen’s works, comment- Guides: costumes, he records his experi- her role as Mrs Weston, former ing on the screenplays and how ences as the film progresses governess. towards completion. they contrast to the original nov- ce els. She discusses how faithful a screenwriter should be to create a DAILY TELEGRAPH successful drama. Within a com- SIGHT AND SOUND 16 October 1995, p.21 Vol.6 No.9. September 1996, p.40 parison of the 1971 BBC produc- Sour A match made in Hollywood, by tion of PERSUASION, with the + Credits, synopsis and review by David Gritten recent 1995 production, she finds Peter Mathews of EMMA, directed both hold shortcomings in their by Douglas McGrath interpretations. Likewise, the BBC’s

16 BBC1’s PRIDE AND PREJUDICE is seen as a foretaste of an Austen 1985 production of PRIDE AND PREJ- Mathews’ review concentrates on avalanche in this interview with UDICE and the recent adaptation the possible pitfalls of adapting Douglas McGrath, the writer-direc- by Andrew Davies, are perceived as Austen for today’s audiences and tor of one of the versions of EMMA. failing to convey all of the original yet feels many of the recent ver- humour and tone of the novels. sions have restored the hard hit- Attempts to update the characters, ting themes within Austen’s work. EVENING STANDARD make the humour accessible and In this EMMA, he considers how 14 August 1996, p.22 include a 20th century social con- the director tries to extend the science, Hendrickson argues, social margins of the novel by Forget Darcy fever, here’s detract from the quality and suc- depicting less fortunate classes, Knightley passion... by Shane cess of Austen’s own writing. and addressing the inherent snob- Watson BFI National Library 15 LITERATURE/FILM QUARTERLY Deepak Nayar, producer of BRIDE translate the script across into an Vol.30 No. 2 2002, pp. 104-110 AND PREJUDICE, discusses bridging Indian setting. the divide between the very differ- Persuasion and Cinematic ent film industries and audiences ama Approaches to Jane Austen, by of the East and West. EASTERN EYE Sidney Gottlieb 23 July 2004, p. 22 Dr Discusses how critics have limited SCREEN INTERNATIONAL Bride idea, but will it be a hit? by our appreciation of recent film No.1471. 8 October 2004, p. 28 Asjad Nazir adaptations of Jane Austen by emphasizing the ‘literary’ aspects Bride And Prejudice, by Geoffrey Reviewer suspects that this will be of adaptation and narrowing the MacNab a film audiences will either love or genre to the so-called heritage hate, drawing attention to the fine film, while paying little attention MacNab claims that this is one of performances from the cast while

Costume to the inventive cinematographic the most ambitious attempts to describing the music as being very styles of these films. The author combine Western filmmaking with forgettable. urges broadening the literary Bollywood, suggesting that if it approach to Austen films by focus- succeeds it may be followed by

And ing on how they create powerful numerous imitators. The article GUARDIAN visual/emotional effects, establish includes details and trivia on the 8 October 2004, pp.14-15 complex structural and formal films release. patterns, and evoke cinematic My big fat Indian wedding, by

Film codes and contexts that take us Peter Bradshaw far away from the reality of the SCREEN INTERNATIONAL ‘authentic literary adaptation’. To No.1488. 11 February 2005, p. 31 Bradshaw is of the opinion that ge illustrate his point, Gottlieb con- the subtlety of Austen’s novel has centrates on a few key cinematic Box office analysis: Under the been lost in this new adaptation, aspects of Roger Mitchell’s PERSUA- influence, by Leonard Klady describing it as a “low-octane and SION. glassy-eyed Bollywood romp.” The article considers the limited Herita

commercial success that , Bollywood films have had outside SUNDAY TELEGRAPH REVIEW press articles the country, despite India?s annu- 10 October 2004, p. 7 al output of over 800 films. Klady INDEPENDENT ON SUNDAY suggests that Chadra’s Bollywood Review, by Jenny McCartney 23 April 1995, p.20 adaptation of Pride and Prejudice may prove to be a model for While describing many of The fine art of “Persuasion”, by Indian producers seeking success Chadha’s interpretations as being ptations Alison Pearson outside their traditional interna- ingenious, the reviewer concludes tional markets. that the film doesn’t sit easily in A positive review making some the Bollywood genre and misses Ada comparisons about changing times out on much of the dry wit dis- and mores, and how this affects SIGHT AND SOUND played in Austen’s novel. productions of this sort. Vol.14 No.10. 1 Oct 2004, pp. 43-44

Other articles as follows: Reviews, by Naman Ramachandran THE TIMES 2 October 2004, p. 20 DAILY TELEGRAPH A generally favourable review and Guides: 7 April 1995 aside from a few minor quibbles Miss Bennet in Bombay, by Nicola DAILY TELEGRAPH the reviewer describes BRIDE AND Christie ce 12 April 1995 PREJUDICE as a “madly enjoyable RADIO TIMES ride”, notable for its affectionate About time!? enthuses Christie, 21 April 1995 tributes to Bollywood. pleased to see something new coming out of all the screen adap- Sour tations. She describes the

+ Bollywood appeal of Austen as Bride and press articles glaring and draws attention to the similarities between the Bollywood 16 Prejudice ASIAN AGE tradition and Austen’s novel. (2005, dir. Gurinder Chadha) 31 July 2004, p. 24

Ballroom Dandiya, by Aditi THE TIMES journal articles Khanna 7 October 2004, p. 12

SCREEN INTERNATIONAL Describes the film as a “perfect The Bolly goes flat, by James No.1432. 5 December 2003, p. 6 package of kitsch, song and dance Christopher routines” and quotes Chadha’s People: UK: When two cinema comment that Jane Austen must While admitting that in theory the industries collide, by Adam Minns have been a Punjabi due to the idea of a Bollywood musical ver- ease with which she was able to sion of Pride and Prejudice is “an

BFI National Library 16 ingenious literary steal”, the FILM REVIEW SIGHT AND SOUND reviewer is unimpressed with the No.661. 1 September 2005, pp. 52-60 Vol.15 No.11. 1 November 2005, p. 8 finished film. Sugar & spice, by Anwar Brett and The numbers: Austen power, by ama Bride and Prejudice David Grove Charles Gant

Dr Keira Knightley discusses her A short analysis of literary-based recent roles as the character of costume dramas at the UK box Elizabeth Bennet in PRIDE & PREJU- office including PRIDE & PREJUDICE DICE and that of model-turned- and its opening figures. bounty hunter in Tom Scott’s DOMINO. press articles

Costume FILM REVIEW The following newspaper articles No.667. 1 March 2006, pp.110-111 and reviews can be found in the PRIDE & PREJUDICE (2005) micro- Why, Mr Darcy! By Nikki Baughan jackets held in the bfi National

And Other reviews as follows: Library. Matthew MacFayden discusses his ASIAN AGE portrayal of Mr Darcy, a role made DAILY TELEGRAPH 11 March 2003 p.12 famous by Colin Firth in the 1995 10 September 2005, pp. 19-20

Film EASTERN EYE TV mini-series adaptation of PRIDE 8 November 2002, p. 7 & PREJUDICE. How I changed Pride and EASTERN EYE Prejudice, by Deborah Moggach ge 18 July 2003 p. 7 EASTERN EYE SCREEN INTERNATIONAL Deborah Moggach writes about the 30 July 2004, pp. 6-7 No.1524. 18 November 2005, p. 35 daunting task of writing the EVENING STANDARD screenplay for Jane Austen’s best- 15 July 2004, p. 23 Come out with Pride, by Jeremy loved novel and the problems it Herita

TIME OUT Kay posed for a modern audience. , 21-28 January 2004 TIME OUT The article contains a brief 22-29 September 2004, p. 24 account of the marketing and box DAILY TELEGRAPH THE TIMES office revenues in the United 16 September 2005, p. 23 7 October 2004, p. 14 States of Joe Wright’s PRIDE & PREJ- UDICE. A jolly romp to nowhere, by Sukhdev Sandhu ptations

Pride & SCREEN INTERNATIONAL Sandhu writes that despite the No.1525. 25 November 2005, pp. 14-17 film being “competently scripted, Ada Prejudice competently shot and competently (2005, dir. Joe Wright) The art of film-making, by Mike acted” it still fails to excite. Goodridge journal articles Comments from some of the fron- EVENING STANDARD trunners for the 2005 Academy 18 August 2005, p. 23 EMPIRE Awards Craft category on their Guides: No.196. 1 October 2005, pp. 114-116 work, including Jacqueline Durran And starring…the English country (costume designer for PRIDE & house, by Rowan Moore ce “We set out to reinvent the cos- PREJUDICE). tume drama”, by Joe Wright A brief discussion of the locations and architecture used in the film, Director Joe Wright recalls some SIGHT AND SOUND claiming that the setting of the Sour moments from the making of Vol.15 No.10. 1 October 2005, p. 83 film is an “extended fantasy of

+ PRIDE & PREJUDICE. English architectural poshness, Pride & Prejudice, by Jessica firmly in the tradition of costume Winter drama”. 16 FILM IRELAND No.109. 1 March 2006, pp. 36-38 A favourable review, which sug- gests that Wright’s film distin- INDEPENDENT REVIEW From Hampstead to Hollywood, by guishes itself from earlier adapta- 16 September 2005, pp. 6-7 Edel Brosnan tions through its evocative cine- matography and production Review Novelist and screenwriter Deborah design. Moggach talks about her most The reviewer feels that the film- recent work, the adaptation of makers have taken a cautious Jane Austen’s PRIDE & PREJUDICE. approach with the film, noting that while there is nothing much to dislike, neither is there much to

BFI National Library 17 get excited about. charles dickens TIMES (1812-1870) ama 15 November 2005, p. 5 Great Dr Why new Pride & Prejudice is shorter in Britain, by Chris Ayres Expectations and Jack Malvern (dir. David Lean,1946 & dir. Alfonso Article discusses the controversy Cuaron, 1997) surrounding the two different end- ings of the film as released in the books UK and US. Costume DICKENS, Charles THE TIMES Great Expectations. The book of 15 September 2005, p. 22 the film.

And London: World Film Publications, Scenes and sensibility, by Deborah 1946. Moggach Scriptwriter for the film PRIDE AND PREJUDICE Moggach Contains some facts about the books production, along with details of Film discusses the “perils and pitfalls”of adapting the novel for the big cast (with portraits) and some screen. FAWCETT, F Dubrez stills from the film, but perhaps of ge Dickens the dramatist. On screen, more use as a memory jogger than Other reviews as follows: stage and radio. for its insight. London: W.H.Allen, 1952. SUNDAY TELEGRAPH 28 Aug 2005, p.17 Primarily a broad-brush - and GIDDINGS, Robert, SELBY, Keith & Herita WENSLEY, Chris

DAILY MAIL rather dated - picture of Dicken’s , 6 Sep 2005, p. 3 work, with a chapter “Dickens on Screening the novel. The theory THE TIMES the Screen” which confines itself and practice of literary dramatiza- 15 Sep 2005, p. 18 to the cinema screen. There is a tion. INDEPENDENT ON SUNDAY fairly skimpy history of the films New York: St Martin’s Press, 1990. 11 Sep 2005, p. 23 (up until 1952). (p 105). GUARDIAN (MUSIC AND FILM) As well as an overview of the liter- 16 Sep 2005, p. 9 ature/screen debate, there are two ptations SUNDAY TELEGRAPH REVIEW NAREMORE, James. chapters specifically on GREAT 18 Sep 2005, p. 7 Film adaptation. EXPECTATIONS (and also on INDEPENDENT ON SUNDAY New Brunswick, NJ: Rutgers Thackeray’s Vanity Fair). Both film Ada 18 Sep 2005, p. 7 University Press, 2000. and television are covered and DAILY TELEGRAPH there is a helpful chapter on the 27 Sep 2005, p. 19 Contains a selection of writings, “classic” serial tradition. EVENING STANDARD some new, some reprinted, that 15 Sep 2005, p. 29 explore the economic, cultural, INDEPENDENT and political issues of adaptations. McFARLANE, Brian Divided into two parts, the first set Novel to film: an introduction to

Guides: 15 Nov 2005, p. 3 of essays discusses the theory of the theory of adaptation. adaptation, and the second pro- Oxford: Clarendon Press, 1996. ce vides case studies, ranging from Dickens to William Burroughs. Concentrates on the way the film GREAT EXPECTATIONS addresses itself to the novel’s first-person

Sour POINTER, Michael narration. Structures are com- Charles Dickens on the screen. pared, character-functions are + The film, television and video looked at, and questions of adap- adaptations. tation, realism and symbolism; 16 Lanham, Maryland: Scarecrow tropes; and the reflec- Press, 1996. tive/grotesque all feature (pp103- 136). Extremely useful for identifying the various moving image versions of Dicken’s novels and stories; MANVELL, Roger there are also some brief general The cinema. pieces, including some analysis of Harmondsworth, Middlesex: GREAT EXPECTATIONS and DAVID Penguin, 1952. (Pelican Books). COPPERFIELD. Chapter 1, British Screenwriting (pp19-29) has an extract from the

BFI National Library 18 LITERATURE/ FILM QUARTERLY journal Vol.20 No.1. 1992, pp.68-76

articles David Lean’s GREAT EXPECTATIONS ama - Meeting Two Challenges, by Brian JOURNAL OF McFarlane. Dr POPULAR BRITISH CINEMA The article discusses how Dickens No. 4. 2001. pp.72-80 is the most filmed classic author and how Lean responds to two of Literary adapta- the main challenges of adapting tions and cultural GREAT EXPECTATIONS for the fantasies, by David screen - its first person narration Great Expectations (1946) Lusted and its rhetorical power.

Costume Analysing how the experiences of GREAT EXPECTATIONS script, and a Lusted presents a textual analysis Pip are filtered through the voice page and a half of David Lean talk- of the different adaptations of over of the mature Pip, McFarlane ing to Roger Manvell about the GREAT EXPECTATIONS, discussing notes the passive representation of And film. the role of spectacle in the realist Pip and how closely Lean stays tradition and in the heritage film with the events and perspective of and describing how spectacle has the novel. The second half of the MOYNAHAN, Julian connections with the politics of article focuses on the ways in

Film Seeing the book, reading the social class. Mentions PRIDE AND which Lean visually adapts movie. PREJUDICE briefly as well. Dickens’ verbal style and repre- [in The English novel and the sents the Dickensian quality of the ge movies; edited by Michael Klein and novel in filmic terms. Gillian Parker. New York: Ungar, FILM REVIEW 1981.] No.604 April 2001, pp. 70-75 LITERATURE/FILM QUARTERLY A discussion of the cinematic Great expectations, by Howard Vol.20. No.1. 1992, pp.77-100 Herita qualities of Charles Dickens, with Maxford , Dickens’s visual semiotic illustrat- Doing Time: Undoing Tim: Plot ed for you (pp 143-154). In the Discusses how director David Lean Mutation in David Lean’s GREAT same book is an article by George wanted to move away from his EXPECTATIONS, by Guerric DeBona Lellis and H. Philip Bolton, on the earlier series of Noel Coward adap- 1940 film version of Jane Austen’s tations and try something differ- DeBona comments on and lists the PRIDE AND PREJUDICE. ent. Lean and produc- high number of film adaptations er/screenwriter Ronald Neame of Dickens’ novels and analyses ptations began working on the GREAT the connections between film and PERKINS, W.H. EXPECTATIONS screenplay while in fiction. Focusing on the first scene Learning the liveliest art. A film pre-production on BRIEF in the film, DeBona discusses how Ada and TV course for senior students. ENCOUNTER. Lean and Neame Lean shapes the visual and audito- Hobart, Australia: Fullers Bookshop, decided to adapt the screenplay ry to produce the narrative, and 1968. themselves, but found it challeng- highlights the fact the film is an ing; Kay Walsh, Lean’s then-wife, adaptation. The article continues Although intended for teachers to devised the ending. Specific film- to discuss the fairy tale plot of accompany (and be read prior to) ing details are recounted; for Miss Havisham and Estella, and study of the film, students will concludes that Pip straddles both a

Guides: example, the scene when Pip tried find some basic prompts that to smuggle Magwitch out of the mythical and social world. should help them get started on a country was originally filmed in Although Dickens struggled with ce comparative analysis between bright sunshine, but when the these opposing worlds in his book and film (pp115-127). weather changed for the worse, novel, DeBona argues that Lean [There is also some material on the scene was reshot and became integrates them successfully with- the 1934 version of David far gloomier. in the film. Sour Copperfield in this book] + AMERICAN CINEMATOGRAPHER LITERATURE/FILM QUARTERLY SINYARD, Neil Vol.81 No.3 March 2000, p.136 Vol.13 No.2. 1985, pp.127-134 16 Filming literature. The art of screen adaptations. Wrap shot, by Douglas Bankston A Novel’s Journey into Film: The London: Croom Helm, 1986. case of GREAT EXPECTATIONS, by Article focuses on the work of cin- Carol Hanbery MacKay Covers an enormous range - ematographer Guy Green, especial- Shakespeare to Pinter - but one ly his work on GREAT EXPECTA- Hanbery MacKay discusses the chapter includes discussion on TIONS, for which he won an process of adapting a novel into a Dickens and the chapter on adap- Academy Award. Includes a still film and refers to the techniques tation as criticism include GREAT photo of Green and director David Lean used to present Pip’s subjec- EXPECTATIONS. Lean. tive viewpoint and experience. The film contains additions and deletions to the novel in order to

BFI National Library 19 produce continuity. But Hanbery McCarthy feels Cuaron’s GREAT argues, especially contains the MacKay argues that original EXPECTATIONS lacks resonance, Dickensian themes of imagination authorial intention has been partly replacing Dicken’s social detail and social indignation. sacrificed by these alterations. with magical realism to the detri- ama The absence of Orlick from the ment of the adaptation. While film simplifies the nature of evil describing the plot of the film and FILMS IN REVIEW

Dr portrayed in the book, together how Cuaron has updated and Vol.40 No 1. January 1989, pp.26-27 with related themes. The happy altered Dicken’s novel to some ending also conflicts with Dickens’ effect, the reviewer feels the plot From ‘New Directors, New Times, ambivalent ending and his multi- has been pared down so that it Part II’ by Richard Greenbaum. ple endings, which often conflict appears akin to yet another suc- with the reader’s own expecta- cess story. Ethan Hawke as Finn Admitting he is no admirer of tions. However, Hanbury MacKay Bell, the Pip character, lacks weight Dickens, Greenbaum describes his argues that Lean prepares us for and Bancroft’s performance as a lack of enthusiasm for Edzard’s

Costume the new ending which contains modern Miss Havisham, is per- adaptation of LITTLE DORRIT. artistic integrity in its own terms. ceived as predictable. Arguing that atmosphere and minute characterization take the place of action, he finds the char-

And MONTHLY FILM BULLETIN acters boring and unsympathetic Vol.13 No.156. December 1946, p.166 Little Dorrit and the plot unconvincing. (dir. Christine Edzard, 1987) Credits, synopsis and review of

Film GREAT EXPECTATIONS book MONTHLY FILM BULLETIN Vol.54 No. 647 Dec 1987, pp.371-373 Praising Lean’s film of the Dickens’

ge Little Dorrit. A story told in two novel as a unique and reassuring films from the novel by Charles Credits, synopses for Part 1 and British film, the article states that Dickens. Part 2 of LITTLE DORRIT and the first half hour of the adapta- London: Sands Films, 1987. review by Verina Glaessner. tion contains ‘some of the finest cinema yet made in Britain’. Produced to accompany the 1987 In the review, Verina Glaessner Herita

Although the film contains many film, giving a plot resumé, with acknowledges that the film is , tense and horrific scenes, it also some discussions of the perform- intended to be a ‘tract for the includes humour and sincere feel- ances. Also (briefly) talks about the times’ and notes the degree of ing. Various performances are differences between novel and authenticity in the production. praised, including John Mills as film, which of course is why we Though the film is told through Pip, Alec Guiness as Herbert Pocket are here. Excellent stills and some the eyes of LITTLE DORRIT, replicat- and Martita Hunt as Miss dialogue extracts. ing Dickens’ narrative technique in Havisham the novel, Glaessner argues that ptations the plot within the two parts is not coherent and that Edzard avoids SIGHT AND SOUND journal articles dramatically aligning capitalism Ada Vol.8 No.5. May 1998, pp.44-45 and patriarchy, though these CINEMA PAPERS themes are present if not fully Credits, synopsis and review of No.27. March 1989, pp.20-24 apparent within her adaptation. GREAT EXPECTATIONS (1997), by John Wrathall. LITTLE DORRIT. Christine Edzard’s Cuaron’s recent adaptation uses LITTLE DORRIT is the most recent STILLS only the bare bones of Dickens’ No.26 April 1986, pp.36-39 Guides: adaptation of a Charles Dickens novel and relocates the story to novel and it has been hailed as a the late 1990’s. Though not a truly ‘Dickensian’ work. Report by Big Dorrit. In a small, self suffi- ce straight adapatation, Wrathall sees Neil Sinyard. cient studio in London’s dockland, the film as exciting and imagina- Charles Dickens’ novel LITTLE tive, with an opening scene com- Sinyard comments on the rele- DORRIT - a vast and mordant satire parable to Lean’s 1946 version. on corruption, degradation and

Sour vance of Dicken’s novel today and However, the reviewer notes the on how Edzard’s adaptation relates greed - is being turned into an

+ film’s lack of emotional weight to British society in the 1980’s. undiluted, four and a half hour and its lurch into melodrama with Divided into 2 parts, the film high- double feature by dedicated film- the reappearance of Robert de Niro makers. By Graham Fuller.

16 lights the novel’s duel themes: near the end, as Lustig. poverty versus riches, morality verus money, two nations etc. The The article comprises an interview article discusses how various crit- with writer-director Christine VARIETY ics have perceived the adaptation Edzard and co-producer Richard 19 Jan 1998, p88, p92 and Sinyard makes his own Goodwin, and gives details of response to criticism by the histo- where the film is being shot. After Credits and review of GREAT rian Raphael Samuel. Finally, after providing an outline of the themes EXPECTATIONS (1997), by Todd seeing LITTLE DORRIT as a continu- of the film and the problems of McCarthy ation of former Dickens’ adapta- raising finance, Edzard explains tions, Sinyard compares the film how LITTLE DORRIT relates to Although praising the film’s to MONA LISA and also to MY social realities in the 1980’s and images and vividly realised scenes, BEAUTIFUL LAUNDRETTE, which, he how she has adapted the novel.

BFI National Library 20 TIMES ED. SUPP Combs press articles 25 December 1987,p23 TIMES LIT. SUPP Argues that faithful adaptation DAILY TELEGRAPH December 1987,p1378 isn’t necessarily the right option, 8 December 1987, p.10 ama and the extra invention that film- makers can bring to bear has its ‘Little Dorrit’ exceeds all expecta- Dr place. tions, Charles Osborne. Mystery Of

Very favourable review, making Edwin Drood TIMES some broad comparisons with (dir. Timothy Forder, 1993) 29 April 1993, p.35 other filmed versions of Dickens classics. journal articles Tackling Dickens raises great expectations, by Stephanie Billen Costume GUARDIAN EMPIRE A general article on the cinematic 19 February 1988, p.23 No.47. May 1993, p38 adaptation of Dicken’s novel. Little Dickens, by Raphael Samuel And THE MYSTERY OF EDWIND DROOD (1993), by Angie Errigo WHAT’S ON IN LONDON The writer argues that the film 28 April 1993, pp.16-17 sets out neither to shock nor dis- The review disparages this adapta- turb, but to please and in so doing tion, calling it mediocre and more Film Drood Awakening, by Anwar Brett removes the very essence of what akin to the works of Barbara Dickens intended - and achieved - Cartland than Dickens. Although An interview with the filmmakers ge in the book. Robert Powell’s performance is who “resolved” the mystery of the praised, the reviewer wonders how lack of an ending to the novel on the production ever reached the which the film is based. GUARDIAN big screen. 7 April 1986, p.11 Herita

, A tale of two tough cookies, by SIGHT AND SOUND Martin Derek Malcolm Vol.3 No.5. May 1993, p.54 Chuzzlewit A fairly general article suggesting Credits, synopsis and review of (Tx. BBC 2. 07/11/1994 - that cinema history - at least as THE MYSTERY OF EDWIN DROOD, 12/12/19941994, dir. Pedr James) far as handling Dickens is con- by Philip Kemp cerned - was being made when ptations LITTLE DORRIT was in production Kemp asserts that director press articles at Rotherhithe. Timothy Forder fails to meet the challenges of adapting the half fin- DAILY TELEGRAPH

Ada ished novel of Dickens’ last work. 5 November 1994, p.13 OBSERVER Not only does Forder fail to recre- 20 December 1987 ate the atmosphere of the novel in The means streets of King’s Lynn, cinematic terms, but also to pro- by Steve Clarke. Showbiz miracle in Rotherhithe, vide a satisfying conclusion to the by Michael Davie mystery. Arguing that the last half Describes a visit to the set of MAR- hour results in a Dickens’ pastiche, TIN CHUZZLEWIT. Guides: Background article on the produc- Kemp wonders that the film got tion, and the people behind it. made at all. ce OBSERVER Review 4 September 1994, pp.8-9 WHAT’S ON 9 December 1987, pp.60-61 press articles Visions of Victoriana, by David

Sour Lodge Dickens of a time, by Phillip DAILY TELEGRAPH + Bergson 18 August 1992, p.10 Describes the making of MARTIN CHUZZLEWIT which was the BBC’s

16 Quite detailed discussion of the The last hope of summer? by big costume-drama hope for that film, seeing it in the context of David Gritten Autumn season. British film production at the time. Sets the production in the context Other reviews as follows: Other articles as follows: of this being the only all-British film then in production. DAILY MAIL DAILY MAIL October 1994 p.3 24 November 1987,p 24 GUARDIAN INDEPENDENT GUARDIAN 29 October 1994 p.31 10 December 1987,p16 Section 2, 10 June 1993, p.8 INDEPENDENT SUNDAY TIMES MAGAZINE 1 November 1994 p.17 November 1987,p 66 Keeping the faith, by Richard

BFI National Library 21 INDEPENDENT series adaptation of BLEAK HOUSE. Davies for his effortlessly watch- 13 December 1994 p.21 able adaptation that has remained INDEPENDENT II TELEVISUAL true to the spirit of Dickens’ inten- 27 June 1994 p.19 August 2005, pp.22-24 tions. ama TIMES April 1994 p.7 Do it like Dickens, by Christina

Dr TIMES Pishiris GUARDIAN 8 November 1994 p.47 10 October 2005, p.2 (Media section) This article looks at the making of BLEAK HOUSE and contains com- The BBC’s new cockney soap, by ments from those involved in the Stephen Moss Our Mutual production of the series Despite the omission of fog from Friend the opening sequence, the review

Costume (GB/CA. BBC2 tx 09/03/1998- VARIETY applauds this prime-time produc- 30/03/1998. BBC TV in association 23 January 2006, p.30, 36 tion advertised by BBC1 as soap with Canadian Broadcasting Corp. opera Dickens. 4 eps. x 90 mins, dir. Julian Farino) A slow-building but sleek “Bleak”

And on PBS, by Brian Lowry GUARDIAN (G2) press articles A review of BLEAK HOUSE following 28 October 2005, p.28 its screening on PBS in America

Film TIMES where it featured over six weeks. Last night’s TV, by Nancy Banks- 10 March 1998 Smith ge As far as anyone can tell, it looks Discussing Davies opening promising, by Joe Joseph press articles departure from Dickens’ novel, the The following newspaper articles review goes on to describe the Slightly politicised review, but and reviews can be found in the casting as adventurously diverse. opens with the premise that the BLEAK HOUSE (2005) microjackets Herita

production was so dimly lit that held in the BFI National Library. , whilst it was probably another INDEPENDENT classic series it was hard to see. DAILY TELEGRAPH 5 October 2005, p.3 (ARTS AND BOOKS) Other articles as follows: 8 October 2005, p.7 What the Dickens! BBC rebuilds “Bleak House” for the “Hollyoaks” DAILY TELEGRAPH Bleak House was a Dickens of a generation, by Ciar Byme (YOUNG TELEGRAPH) job, by Andrew Davies ptations 14 March 1998 p.14 Scriptwriter Andrew Davies, dis- INDEPENDENT ON SUNDAY Davies discusses the various chal- cusses his new serialization of 15 March 1998 p.9 lenges he faced working on the BLEAK HOUSE, hoping that it will Ada OBSERVER REVIEW adaptation of BLEAK HOUSE for have the same appeal as teen soap 15 March 1998 p.7 television. opera HOLLYOAKS and encourage children to read Dickens for them- selves. DAILY MAIL (WEEKEND) Bleak House 15 October 2005, pp.24-25 (BBC 2005, dir. Justin Chadwick) THE TIMES Guides: What the Dickens, by Andrew 28 October 2005, p.31 Davies ce journal articles Davies cuts through the Speculating that if Dickens were Dickensian fog, by Ian Johns ARIEL alive today he would surely be 18 October 2005, pp.8-9 writing for television creating his The review commends Davies’ Sour own larger than life epics, Davies adaptation of BLEAK HOUSE for Leave them wanting more + discusses how BLEAK HOUSE fits plunging straight into the perfectly into today’s modern labyrinthine plot, recognizing that A behind the scenes feature in 15 world addicted to soaps. the “strange metaphoric life” of 16 parts on the making of the 2005 Dickens’ descriptions work only on BBC adaptation of BLEAK HOUSE. the page. EVENING STANDARD 25 November 2005, p.39 BROADCAST (SUPPLEMENT) THE TIMES HD Guide 2005, p.19 Dickens with cliffhangers, by 29 October 2005, p.27 Victor Lewis- Smith Bleak House Hard times for fans faithful to Notwithstanding his general Dickens, by Jack Malvern Producer Nigel Stafford-Clark com- antipathy towards televised ver- ments on working with high defi- sions of Charles Dickens’ novels, A short article that draws atten- nition technology for the BBC the reviewer compliments Andrew tion to several discrepancies in

BFI National Library 22 BLEAK HOUSE in particular the adaptation of OLIVER TWIST, draw- GUARDIAN (Film & Music) introduction of new characters by ing a parallel between his child- 16 September 2005, p.5 scriptwriter Andrew Davies. hood and that of the character Oliver in Charles Dickens’ novel. A regular right-down good ’un, by ama Other reviews as follows: John Irving

Dr DAILY TELEGRAPH SIGHT AND SOUND Irving praises the writer-director 28 October 2005, p. 9 Vol.15 No.10. 1 Oct 2005, pp.20-26 collaboration between Ronald EVENING STANDARD Harwood and Roman Polanski, 10 October 2005, p. 31 Roman Polanski: the insider, by adding that Polanski seems to GUARDIAN Mark Cousins and Patrick Fahy have been born to make this “soar- 17 January 2005, p. 10 (Media) ing and accomplished” film. GUARDIAN The article provides a substantial 20 June 2005, p. 2/7 assessment of Polanskis career

Costume GUARDIAN and includes a two-page report SUNDAY TELEGRAPH 12 November 2005, p. 35 with photographs from the set of 2 October 2005, p.5 GUARDIAN OLIVER TWIST. 14 November 2005, p. 35 Review, by John Sutherland

And INDEPENDENT ON SUNDAY 30 October 2005, p. 39 SIGHT AND SOUND In this review Sir Ben Kingsley SUNDAY TELEGRAPH Vol.15 No.10. 1 Oct 2005, pp.80, 82 comments on how he handled 30 October 2005, p. 10 playing the role of Fagin in Roman

Film SUNDAY TELEGRAPH Oliver Twist, by Philip Kemp Polanski’s OLIVER TWIST. 4 September 2005, p. 9 TELEGRAPH MAGAZINE Considers Roman Polanskis ge 1 October 2005, p. 52, 54, 56 recent version of OLIVER TWIST in SUNDAY TELEGRAPH the context of earlier adaptations, 9 October 2005, p.7 most notably David Lean’s film (1948) and Carol Reed’s film of Review, by Jenny McCartney Oliver Twist Lional Bart’s musical OLIVER!

Herita (2005, dir. Roman Polanski)

(1968). McCartney describes Polanski as , being well suited to the task of journal articles rediscovering the essential bleak- ness of Dickens’ novel, which over press articles the years, she argues has devel- AMERICAN CINEMATOGRAPHER The BFI National Library also holds oped a “patina of jollity”. Vol.86 No. 9. 1 Sept 2005, pp.30-38, cuttings related to the 1922, 1932, 40-41 1948, 1961, 1985, 1997, and 1999 ptations versions of OLIVER TWIST on THE TIMES (Magazine) A boy’s will, by B. Benjamin microjackets. 16 October 2004, p.62-65

Ada Provides a discussion between DAILY TELEGRAPH A tale of two boys, by Marilyn Cole director Roman Polanski and cine- 7 October 2005, p.23 Lownes matographer Pawel Edelman on the production and technical Please, sir, can we have more The reviewer describes her time choices made in Polanski’s OLIVER heart?, by Sukhdev Sandhu on the set of OLIVER TWIST talking TWIST. to cast members and watching Describes Polanski’s dark adapta- Polanski at work. The article also Guides: tion as being loyal to the spirit of refers briefly to the director’s POSITIF Dickens’ novel, but overall lacking childhood in the Krakow ghetto ce No.536. 1 October 2005, pp.34-38 in heart. during the second world war in Nazi-occupied Poland. Roman Polanski, by Eithne ONeill EVENING STANDARD & Alexandre Tyyski 29 September 2005, p.33 Other reviews as follows: Sour In French. Article includes a review

+ Review, by Norman Lebrecht EVENING STANDARD of Polanski’s OLIVER TWIST, also 23 September 2005, p.25 focusing on the theme of child- Discusses the portrayal of Fagin in EVENING STANDARD 16 hood in the director’s overall body Roman Polanski’s OLIVER TWIST 28 September 2005, p.23 of work. and commends the director for GUARDIAN shedding the anti-Semitic stereo- 10 September 2005, p.3 type that has usually been associ- GUARDIAN (Film and Music) PREMIÉRE ated with this character. 7 October 2005, p.7 No.344. 1 October 2005, pp.88-95 INDEPENDENT 10 September, 2005, p.5 Portfolio: Oliver et moi, by Roman INDEPENDENT ON SUNDAY Polanski 9 October 2005, p.11 INDEPENDENT REVIEW In French. Director Roman 7 October 2005, p.6 Polanski reminisces about his film THE TIMES (II) 6 October 2005, p.16

BFI National Library 23 george eliot (1819-1880) ama RICE, Jenny and SAUNDERS, Carol INDEPENDENT Consuming Middlemarch: the con- 9 January 1994, p.5 Dr struction and consumption of nos- talgia in Stamford. Prepare for the long MIDDLE- [in Pulping Fictions, by Deborah MARCH, by Josephine Balmer Cartmell et al.] London: Pluto Press, 1996. Discussion about the BBC produc- tion of a “monument of English The whole business of repackaging Literature” a novel for television and how this Costume plays with repackaging culture as nostalgia is the central tenet of OBSERVER this analysis. 9 January 1994, p.5 And Good grounding in the classics, by press articles Alan Plater Middlemarch Argues that the success or other-

Film (BBC 2. 12/01/1994 - 16/02/1994, dir. DAILY TELEGRAPH wise of the MIDDLEMARCH produc- Anthony Page) 8 January 1994, p.12 tion, described as the most expen- ge sive at the time could be critical to Who’d be Dorothea today? by the future of the genre. books Lyndall Gordon

BARRON, Jane A dissection of marriage as pic- SUNDAY TIMES

Herita Middlemarch: a viewers guide. tured in MIDDLEMARCH with some 16 January 1994, p.6

, London: BBC Education, 1994. reference to modern views, and some cross-reference to Victorian Question: who is the real author Full colour study of the pro- novels. of MIDDLEMARCH? by Margaret gramme, discussing the novel (the Driscoll greatest ever in the English lan- guage?); its filming; period back- DAILY TELEGRAPH A look at the role of Andrew ground; morality; Eliot and the 12 January1994, p.21 Davies who “plundered the story ptations women’s movement; and inter- for its spine”, in his role as views with some of the crew about A mismatch to watch, by Victoria scriptwriter. bringing the novel alive. Glendinning

Ada Other articles as follows: Review that rather gives away the BAZELGETTE, Cary and James, use of mismatched couples as one DAILY TELEGRAPH Christine of the devices central to the plot. 8 January 1994, p.13 Screening Middlemarch. 19th cen- EVENING STANDARD tury novel to 90’s television. 6 January 1994, p.28 London: British Film Institute, 1994. EVENING STANDARD GUARDIAN

Guides: 2 February 1993, p.25 13 January 1994, p.7 This is part of a resource pack by NEW STATESMAN AND SOCIETY In bed with George Eliot, by ce experts which is intended to help 14 January 1994, p.34 students understand the processes Andrew Davies OBSERVER through which books are adapted 16 January 1994, p.28 for television. The complete pack Davies talks about how he came to SUNDAY TELEGRAPH

Sour includes video extracts and an terms with the characters and how 16 January 1994, p.6 audiotape. he has interpreted Eliot’s novel SUNDAY TIMES, Section 9 + and added extra scenes which he 16 January 1994, p.9 feels she would be sympathetic to. SUNDAY TIMES

16 NELSON, Robin 30 January 1994, p16 TV drama in transition. Forms, TIMES values and cultural change. GUARDIAN 8 January 1994, p.5 Houndmills, Basingstoke: MacMillan, Section 2, 5 January 1994, pp.6-7 TIMES 1997. 13 January 1994, p.35 By George, he’s done it, by Tom TIMES Chapter 6 “Framing the Real”, cov- Sutcliffe 20 January 1994,p.14 ers aspects of realism in television TV TIMES drama in relation to 3 different Focuses on the role of Director 14 January 1994, p.16 programmes. In order to illustrate Anthony Page. “the national flagship piece with an eye to overseas sales”, MIDDLE- MARCH is used.

BFI National Library 24 edith wharton (1862-1937) ama SCORSESE, Martin and COCKS, Jay METRO The Shooting Script: The Age of No.105. 1996, pp. 37-42 Dr Innocence London: Nick Hern Books, 1996. The Age of Innocence: Scorsese meets Edith Wharton and Edith In addition to the shooting script Wharton meets her match, by of THE AGE OF INNOCENCE this Brian McFarlane book includes a fascinating intro- duction by Jay Cocks on the cre- A very approachable article which ative process of writing the looks at the use of mise-en-scène Costume screenplay with Martin Scorsese. in the film. The writer shows con- He suggests that because the two siderable insight into how the use scriptwriters were not “born to” of period artefacts helps to dis- the adaptation of this kind of cos- close aspects of character. And tume drama they could come to it without an agenda. LITERATURE/FILM QUARTERLY Vol.26 No.3. 1998, pp. 162-165

Film STERN, Lesley The Scorsese Connection Re-creating Edith Wharton’s New London: BFI Publishing, 1995 York in Martin Scorsese’s The Age ge Indiana University Press Of Innocence, by Charles H. Helmetag The Age Of Chapter seven: Time’s covetous- ness is worth taking a look at. The A useful concise article in which Innocence author gives an imaginative inter- the author, who himself worked as

Herita (dir. Martin Scorsese, 1991)

pretation of the film particularly an extra in some of the opera , featuring the use of flowers as a house scenes, details the lengths books motif. to which Scorsese went to achieve The text is interspersed by a num- a sense of period authenticity. ber of quotations, most notably BRUZZI, Stella from the writings of Undressing cinema: clothing and filmmaker Maya Deren, on the SCREEN identity in the movies nature of the film (pp. 222-228). Vol.43. No.1. Spring 2002, pp. 5-18 ptations London: Routledge, 1997 Classic adaptations, modern rein- Chapter two: Desire and the ventions: reading the image in the Ada Costume Film is of particular journal articles contemporary literary film, by interest. Stella Bruzzi discusses Belén Vidal Villasur theories of fetishism in relation to SIGHT AND SOUND three costume dramas notably THE Vol.3 No.12. December 1993, pp.6-9 A detailed analysis of contempo- AGE OF INNOCENCE. She also pro- rary classic adaptations focusing vides approachable readings on Dread and Desire, by Amy Taubin on THE AGE OF INNOCENCE and particular costumes worn by char-

Guides: THE HOUSE OF MIRTH, directed by acters at key moments of the nar- A review of the film which uses Terence Davies. The writer rative (pp. 35-63). biographical details to explain explores what has happened to ce Scorsese’s empathy with the novel. the period film “post-heritage”. The writer also discusses how COOPER, Nick events in the Edith Wharton’s life The Age of Innocence: a study may have influenced her depiction Sour guide of the three main characters. press articles London: Film Education, 1994 + GUARDIAN A short introductory guide which METRO

16 Section 2, 14 January 1994, pp. 8-9 has a tendency to focus on No.97. Autumn 1994, pp. 3-9 accounts of Edith Wharton’s liter- Mean feats, by Jonathan Romney ary career. However there are The Age of Innocence: A Bloodless some interesting notes on the Feast, by Lorraine Mortimer. An interview with Martin Scorsese film’s “look” and the casting of in which there is discussion as to predominantly British actors. A fascinating and contentious arti- whether THE AGE OF INNOCENCE cle by a writer who was apparently contrasts with his gangster movies unimpressed by the film. She sug- such as GOODFELLAS. gests that Scorsese’s work here seems unusually deferential and that possibly he succeeds best with films that “draw blood”.

BFI National Library 25 TIMES 27 January 1994, p.33 Websites

Scorsese paints his masterpiece, by and ama Geoff Brown, Contact

Dr Claiming that THE AGE OF INNO- CENCE is far from being just a peri- Addresses od film the writer suggests that it compares favourably with the Jane Austen Society work of Merchant Ivory. Carton House Medstead Alton OBSERVER Hampshire Costume 30 January 1994, p.4 GU34 5PE www.janeaustensoci.freeuk.com Proper affairs of the heart, by (they produce a GCSE study pack) Philip French And The reviewer suggests that The Dickens Fellowship Scorsese is on familiar territory Dickens House, and argues that the kind of social 48 Doughty Street

Film web depicted in MEAN STREETS London has much in common with that of WC1 N 2LF THE AGE OF INNOCENCE. ge www.dickensfellowship.org

The Age of Innocence George Eliot Fellowship 71 Stepping Stones Road

Herita Coventry

, Warwickshire CV5 8JT www.george-eliot-fellowship.com ptations Ada Guides: SUNDAY TIMES Section 9, 30 January 1994 pp. 12-13 ce Drools of the game, by Julie Burchill

Sour The writer suggests that the film

+ links back to the best work of director Douglas Sirk in the 1950s. She comments that the visual 16 opulence of the film makes Merchant Ivory “seem like stern minimalists”.

BFI National Library 26 french adaptations BARBIER, Benoit VINCENDEAU, Ginette ama Edmond Rostand Cyrano de Bergerac, d!après l!oeu- Stars and stardom in French (1868-1918) vre d!Edmond Rostand: les photos cinema. Dr du film de Jean-Paul Rappeneau. London; New York: Continuum, 2000. Paris: Edition 1; Ramsay, 1990. xii, 275p.; illus. bibliog. index.

In French. Colour stills from the Chapter 9. Gérard Depardieu: the film act as storyboard axiom of contemporary French cinema, pp.215-240

CHUTKOW, Paul In this chapter the author analyses Costume Depardieu: a biography. Gérard Depardieu!s impact on London : Harper Collins, 1994. French cinema and the perform- ances which brought about his Chapter 15. Cyrano, pp.227-238 popularity. One distinct grouping And is that of his “cultural super-pro- Professor Jean-Laurent Cochet ductions”, films which “foreground instructed Depardieu in the art of French culture and history for a acting. He recalls “In working with mainstream audience”: Le RETOUR Film the texts [of great authors], he dis- DE MARTIN GUERRE, DANTON, JEAN covered, first and foremost, the DE FLORETTE, Le COLONEL

ge real happiness, the pure sensual CHABERT, GERMINAL, CAMILLE pleasure of words and of all the CLAUDEL, TOUS DE BERGERAC; and Cyrano De ideas and feelings they could con- his recent highly successful televi- vey.” (p.130) It is not surprising sion productions: Le COMTE DE Bergerac then that Depardieu has starred in MONTE CRISTO and BALZAC . (1990, dir. Jean-Paul Rappeneau)

Herita so many of the classics and made

, them his own. Here Chutkow books reports on the production and HAYWARD, Susan and VINCEN- reception for Jean-Paul DEAU, Ginette (eds.) Rappeneau!s CYRANO DE French film: texts and contexts. ROSTAND, Edmond; BURGESS, BERGERAC. The author ends the [2nd ed.] London; New York: Anthony chapter by stating that following Routledge, 2000. (translated & adapted by) the release of the film “the rich- Cyrano de Bergerac. ptations ness of Cyrano!s story and the Chapter 20. Versions, verse and London : Nick Hern, 1991. poetry of his language would still verve: Jean-Paul Rappeneau!s belong to Edmond Rostand, but Cyrano de Bergerac (1990), by ? This is Anthony Burgess transla- the voice, the feelings, and the Julianne Pidduck, pp.281-296 Ada tion of Rostand’s play. It was com- universal grandeur of CYRANO DE missioned by the Royal BERGERAC would now belong for- The author offers an analysis of Shakespeare Company and first ever to Depardieu.” Rappeneau’s CYRANO DE BERGERAC staged ni 1983. It was also used in and places the film in context of the 1985 RSC televised production its importance to French national starring Derek Jacobi. GRAY, Marianne cinema, also looking at Gérard

Guides: Depardieu. Depardieu’s portrayal of the title London: Sinclair-Stevenson, 1991. role. RAPPENEAU, Jean-Paul and 194p. illus. filmog. bibliog. ce CARRIÈRE, Jean- Claude Chapter 18. Château and Cyrano, LANZONI, Remi Fournier Cyrano de Bergerac, d!après pp.159-167 French cinema: from its begin- l!oeuvre d!Edmond Rostand. nings to the present. Sour Paris: Edition 1; Ramsay, 1990. The author offers us some lovely New York; London: Continuum, 2002.

+ insights on reaction to the film, In French. The screenplay of the both domestic and international, Chapter 8. The last decade and 1990 version of CYRANO DE BERG- beyond, pp.349-418

16 by relating a collection of stories. ERAC. Please note there are no For example, he refers to “War of illustrations in this edition. the Noses”, “Depardieu style”, and In the subsection entitled “Period Depardieu’s own wine Cuvée dramas: Patrice Chéreau, Alain CyraNo. Corneau, Jean-Paul Rappeneau, and Patrice Leconte” (pp.382-399) the author analyses four of the most successful films of the genre produced in the 1990s: La REINE MARGOT (1994), TOUS LES MATINS DU MONDE (1991), CYRANO DE BERGERAC (1990), and RIDICULE (1996).

BFI National Library 27 Cyrano de Bergerac FILM FRANÇAIS SIGHT AND SOUND No.2285. 16 Feb 1990, pp.34-38 Vol.15 No.12. Dec 2005, pp.20-22

“Cyrano de Bergerac”: a fabulous Script special: I was Buñuel’s dou- ama gamble, by Marie-Claude Arbaudie; ble, by Adam Preston Jean-Paul Rappeneau:“the mystery

Dr of Cyrano”; “The magic of Cyrano” A career profile of prolific screen- writer Jean-Claude Carrière, high- In English. Article in three parts: lighting his long-term partnership pp.34-35, production and location with director Luis Buñuel and his report; p.36-37, the director talks storytelling craftmanship. Plus a about the film; and p.38, Gérard note on each of his most memo- Depardieu talks about the role of rable script adaptations. Carrière CyraNo. talks briefly about the research he

Costume undertook for CYRANO DE BERGER- AC. MONTHLY FILM BULLETIN Vol.58, No.684. January 1991, pp.14-15 And Cyrano de Bergerac, by Philip press articles journal articles Strick The following newspaper articles and reviews can be found in the

Film The reviewer applauds this adap- CYRANO DE BERGERAC (1990) micro- CINÉASTE tation for remaining faithful to the Vol.18 No.2. 1991, pp.37-39 jackets held in the BFI National original play, in action and in Library. ge verse; for its English subtitles Film Reviews: Cyrano de Bergerac, devised by Anthony Burgess; and by Joan M. West for bringing the character of TIME OUT Cyrano to life visually and emo- West feels France!s favourite hero 21 January 1991, pp.14-16 tionally outside the confines of a

Herita has reappeared “to rally the coun-

theatre. Nice one Cyrano, by Geoff Andrew , try!s beleaguered nationalism”, and thus serves a similar purpose to his first appearance during Interview with Gérard Depardieu PREMIÈRE Rostand’s time. whose portrayal of CYRANO DE No.157. Apr 1990, pp.10-11 and 66-79 BERGERAC leaves the author with no doubt that the actor is “set to Cyrano: le coup de maître: Le EMPIRE conquer, once and for all, the swing de Rappeneau, by Jean- movie-going world”. ptations No.19. January 1991, pp.36-41 Claude Loiseau; Depardieu grandeur nature, by Oliver Dazat; One from the heart..., by Phillipa Anne Brochet: L’echappee belle, by OBSERVER

Ada Bloom Jean-Jacques Bernard 13 January 1991, p.53 Reports on the making of Jean- In French. Review (pp.10-11), and Wordmaster, by Philip French Paul Rappeneau’s version of CYRA- special feature on CYRANO DE NO DE BERGERAC, furnishing BERGERAC (pp.66-79). Jean- Claude details on the efforts it took to find In his review of CYRANO DE BERG- Loiseau interviews Jean-Paul the finance for the film, the design ERAC Philip French delivers the Rappeneau who talks about adapt- Guides: of ?the nose?, and the challenge of advertiser’s dream tag line. He ing Rostand’s work and establish- preserving Rostand’s verse. describes the film as “visually and ing a rhythm, "swinguer!, for the verbally dazzling with a gritty ce film (pp.68-71). Oliver Dazat, who sense of period and magnificently has written a book on Depardieu FILM FRANÇAIS staged battle scenes.” and edited the actor’s "Lettres No.2332. 11 Jan 1991, pp.6-7 volées!, chooses five films to depict

Sour René Cleitman: Il faut autoriser la the five important “acts” in publicité pour le cinéma à la CITY LIMITS

+ Depardieu’s career and speaks to télévision, by Marie-Claude 10 January 1991, p.28 the actor about his role of Cyrano Arbaudie (pp.72-78). The final brief article is Roxanne revisited, by Jonathan 16 on Anne Brochet (p.78) In French. Producer René Cleitman Romney talks about his work and what he Jean-Paul Rappeneau talks about, has learnt from producing CYRANO SCREEN INTERNATIONAL amongst other things, his decision DE BERGERAC for Hachette No.790. 18 Jan 1991, p.1 Première et Cie. to portray a visual reality and not use backdrops, as was originally CYRANO DE BERGERAC (1990) breaks suggested by Ezio Frigerio; also UK box office record for opening of how Cyrano probably appeals as a foreign-language film. Beauty and the Beast character, ugly on the outside but beautiful on the inside.

BFI National Library 28 FINANCIAL TIMES VARIETY 10 January 1991, p.17 12 November 1990, p3,83 Alexandre

Nigel Andrews! critical review of France’s costly Cyrano? out to win Dumas, père ama Rappeneau’s CYRANO DE BERGER- global hearts, by Richard Gold (1802-1870) AC. He describes the film as “fancy

Dr dress neo-realism, neither grubby The author gives a breakdown of enough to qualify as verismo nor funding sources and amounts for surreal enough to startle our eyes CYRANO DE BERGERAC, comment- from slumber”. ing on the fact that the film will have to find an international mar- ket as well as domestic success if THE TIMES it is to justify the faith of its 10 January 1991, p.19 investors, escpecially as it cost

Costume more to produce than JEAN DE FLO- Vintage connection with a fine RETTE and MANON DES SOURCES nose, by Andrew Lucre combined.

And Jean-Claude Carrière talks about seeing the story from Roxane!s Le NOUVEL OBSERVATEUR point of view, and about the film’s 13 July 1989, pp.56-58 “deep heart”. Andrew Lucre places

Film CYRANO DE BERGERAC within the Cyrano superstar, by Alain Riou context of the screenwriter’s career and offers his surprise that In French. Interview with La Reine ge “a period film, in verse, where the Rappeneau about the production two main characters die virgins” of CYRANO DE BERGERAC, and Margot (1954, dir. Jean Dréville) should be the most popular film in review of the film. France. books Herita

Other reviews as follows: , THE TIMES 10 January 1991, p.19 MORNING STAR GRAY, Marianne 11 January 1991, p.5 La Moreau: a biography of Jeanne Full-blooded affairs of passion, by DAILY TELEGRAPH Moreau. London : Little, Brown, 1994. Geoff Brown 10 January 1991, p.15 EVENING STANDARD A brief (pp.31-32) but interesting Favourable review. 10 January 1991, p.27 ptations reference to La REINE MARGOT in THE TIMES relation to expectations of the film 10 January 1991, p.19 and the public!s reactions to it. The WHAT!S ON IN LONDON TODAY

Ada authorsuggests that Moreau “came 9 January 1991, pp.12-13 10 January 1991, p.26 away from the project saying she TIME OUT would not care to play in films like From stage to screen, by Phillip 9 January 1991, p.27 Margot again.” Bergson WHAT’S ON IN LONDON 9 January 1991, p.72 Meeting Rappeneau just after the INDEPENDENT ON SUNDAY 3rd European Cinema Awards LANZONI, Remi Fournier

Guides: 6 January 1991, p.20 where despite nominations in six French cinema: from its begin- categories CYRANO DE BERGERAC nings to the present. ce received just one award, the direc- New York; London: Continuum, 2002. tor talks to Philippe Bergson about adapting the classic play, his Chapter 8. The last decade and choice of actors – he reveals beyond, pp.349-418 Sour Isabelle Adjani was first choice for In the subsection entitled “Period

+ the role of Roxane – and more. dramas: Patrice Chéreau, Alain Corneau, Jean-Paul Rappeneau,

16 VILLAGE VOICE and Patrice Leconte” (pp.382-399) 20 November 1990, p.74 the author analyses four of the most successful films of the genre French habits, by Georgia Brown produced in the 1990s: La REINE MARGOT (1994), TOUS LES MATINS DU MONDE (1991), CYRANO DE The author, unimpressed with BERGERAC (1990), and RIDICULE CYRANO DE BERGERAC, feels the (1996). real sympathy should be directed at the character of Christian, but graceously accepts that “the French are fond of their CyraNo.”

BFI National Library 29 surrounded her declaration of eth- Film Festival. The author argues journal articles nicity – being French of German that the director, Patrice Chéreau, and Algerian parentage. In La wants “to provoke a physical L’AVANT-SCÈNE DU CINÉMA REINE MARGOT, for which she won engagement between audience ama No.459. February 1997, pp.[whole a César in 1995 for her portrayal of and spectacle”, and “question the issue] Margot, her white face and cos- heritage genre by drawing parallels

Dr tume mark her out from the between historical horrors and the In French. The whole issue is blood-streaked mob of the St attrocities of the twentieth centu- devoted to Jean Dréville!s film La Bartholomew’s Day Massacre. She ry… through modelling his REINE MARGOT and contains the has moved from darkness to light. imagery on war photograhps and Abel Gance script, several images news footage”. from the film, reviews from the French press, and an article detail- CHÉREAU, Patrice and THOMPSON, ing Dréville’s career. Danièle

Costume La Reine Margot: un film de journal articles Patrice Chéreau. MONTHLY FILM BULLETIN Paris: Grasset & Fasquelle, 1994. CINÉMACTION Vol.25 No.294. July 1958, p.91 No.107. 2003, pp.109-113

And In French. Pubished screenplay of La domination maternelle, by La Reine Margot (Woman of Evil) the Patrice Chéreau and Danièle Mariange Thompson adaptation of the Ramozzi- Doreau Brief, scathing review. “Badly con- Alexandre Dumas novel.

Film structed, and never more than In French. On the portrayal of the competently acted…” dominating mother in Patrice LANZONI, Remi Fournier Chéreau!s La REINE MARGOT, ge French cinema: from its begin- Stephen Frears? The GRIFTERS, and PREMIÈRE nings to the Marco Ferreri’s RÊVE DE SINGE. No.206. May 1994, pp.80-83 present. New York; London: Continuum, 2002. La Reine Moreau, by Jean-Jacques FILM FRANÇAIS Herita

Bernard Chapter 8. The last decade and No.2583. 3 November 1995, pp.21-24 , beyond, pp.349-418 In French. A detailed article about Les outils de la reconquête, by Dréville’s film and Jeanne In the subsection entitled “Period Gilles Renouard Moreau’s portrayal of the title role. dramas: Patrice Chéreau, Alain Corneau, Jean-Paul Rappeneau,and In French. The article considers the Patrice Leconte” (pp.382-399) the position of French cinema in TÉLÉRAMA authoranalyses four of the most Europe in relation to distribution ptations No.2312. 7 May 1994, p.149 successful films of the genre pro- and promotion. La REINE MARGOT, duced in the 1990s: La REINE MAR- amongst other contemporary In French. A short review, with GOT(1994), TOUS LES MATINS DU French films such as CYRANO DE Ada credits, emphasizing the lightness MONDE (1991), CYRANO DE BERGER- BERGERAC, INDOCHINE and DELI- and humour in the film. AC (1990), and RIDICULE (1996). CATESSEN are examined within this context.

PIDDUCK, Julianne La Reine La Reine Margot (Patrice Chéreau, SIGHT AND SOUND 1994). Vol.5 No.7. July 1995, pp.30-32 Guides: Margot London; New York : I.B.Tauris, 2005. (1994, dir. Patrice Chéreau) (Ciné-files: the French film guides) Unsettling Memories, by Ginette ce Vincendeau books In-depth analysis of La REINE MAR- GOT (1994). The article discusses the growth in popularity of French costume dra- Sour AUSTIN, GUY mas at the time of its publication. Stars in modern French film. POWRIE, Phil (ed.) + Vincendeau looks at how adapta- London : Arnold, 2003. The cinema of France. tions of Dumas! La REINE MARGOT London : Wallflower Press, 2006. (24 and Balzac’s Le COLONEL CHABERT 16 Chapter 8. Foreign bodies: Jean frames) engage with contemporary ques- Seberg and Isabelle Adjani. pp.92- tions of French national identity, Chapter 22. La Reine Margot / 106 and at the status of these films as Queen Margot, by Alison Smith, “heritage products”. She examines pp.227-235 This chapter investigates the issue both Jean Dréville!s 1954 version of of race and stardom. The author La REINE MARGOT and Patrice An essay on the 1994 version of La charts the rise of Isabelle Adjani Chéreau!s 1994 film. The article REINE MARGOT, a film its produc- and asserts that her whiteness is also mentions Bertrand Tavernier!s crucial to her star image, and is er, Claude Berri, intended to La FILLE DE D!ARTAGNAN (1994), a become the flagship French pro- emphasised verbally in articles pastiche of Dumas? novels. and visually in posters and stills. duction of the year and showpiece He then looks at the events which for French cinema at the Cannes

BFI National Library 30 SIGHT AND SOUND THE DAILY TELEGRAPH Vol.5 No.1. January 1995, p.55 13 January 1995, p.18 Gustave

La Reine Margot, by Chris Darke Bodices and bloodstains, by Hugh Flaubert ama Davenport (1821- 1880) The reviewer is complimentary

Dr about the performances of Virna The review is generally favourable, Lisi, Jean-Hugues Anglade and highlighting in particular the film’s Isabella Adjani, and also the direc- “grand visual sweep.” tor’s efforts in making this “shock- ing, slightly cold but undeniably powerful apotheosis of the French THE NEW STATESMAN AND heritage film”. SOCIETY 13 January 1995, p.83 Costume UNIFRANCE FILM INTERNATION- The joy of excess, by Jonathan AL NEWSLETTER Romney No.2. [1995], pp.16-17

And The review concerns itself with Queen Margot: a worldwide hit, by the film!s visceral nature and rich Thomas Sonsino visual textures. The writer finds that,despite the distancing effect

Film In French. La REINE MARGOT has the film’s historical setting may Madame Bovary been successful worldwide (2.6 have on its audience overall, there (1991, dir. Claude Chabrol) million admissions) and in France are still times when the director ge (2 million admissions). Includes manages to go “to the viewer’s gut list of distributors by country, with too.” books release date, estimated admissions BIGNELL, Jonathan (ed.) and and number of prints. COHEN, Alain(contributor) TIME OUT Writing and cinema. Herita Harlow: Longman, 1999.

11-18 January 1995, p.23-26 , press articles Isabelle époque, by Geoff Andrew A collection of essays divided into The following newspaper articles four sections, which explore the and reviews can be found in the La An in depth interview with links between written and cine- REINE MARGOT (1994) microjackets Isabelle Adjani, star of La REINE matic communication. The third held in the BFI National Library. MARGOT. Adjani discusses her pol- section deals specifically with itics, particularly in relation to the adaptations, including one chapter ptations echoes of “religious, political and on Madame Bovary. Cohen looks in THE INDEPENDENT racial conflicts in the modern detail at the Renoir (1933), Minnelli Metro Supplement, 17 Feb 1995, p.9 world” that abound in Chéreau’s (1949) and Chabrol (1991) versions, Ada film. An overview of her career is employing at points a shot-by-shot La Reine Margot, by John Little printed alongside the article. approach while at others focusing on narrative construction. The Ball A short, sarcastic take on the film, scene in all three films is subject mirroring Chéreau’s dark aesthetic THE TIMES to particularly close scrutiny. with its own dark humor: “It!s not 10 January 1995, p.41 so much a blood bath, more a Guides: blood jacuzzi.” Maverick with an epic touch, by BODDAERT, François David Robinson Autour d?Emma: Madame Bovary ce un film de Claude Chabrol avec THE MAIL ON SUNDAY An interview with the director Isabelle Huppert. 15 January 1995, p.27 Patrice Chéreau, which focuses on Paris: Hatier, 1991. his versatility as a director for the- Sour Queen of tarts, by William Leith atre and opera as well as film. In French. This book explores the making of Chabrol’s 1991 version + Chéreau discusses his influences A positive but slightly tongue-in- in making the film, hislong term of MADAME BOVARY. There are cheek review focusing on the vio- collaboration with production some lovely small colour illustra- 16 lence in the film, which, the writer designer Richard Peduzzi, and the tions from the set and behind the comments, “spreads with all the roots that his film work has in the scenes. The text consists of inter- hysteria of a contemporary theatre. views with Chabrol as well as American thriller.” members of the cast and there are closing chapters on the character of Madame Bovary as a Romantic heroine and on Flaubert himself.

BFI National Library 31 PAULY, Rebecca M. a similar time to Chabrol’s The transparent illusion: image journal articles MADAME BOVARY. He finds Forder’s and ideology in French text and film, despite its flaws, superior film. FILM FRANÇAIS because of it!s imaginative ama New York: Peter Lang, 1993. (Ars No.2343. 29 Mar 1991, pp.17-33 approach, whereas Chabrol “fails interpretandi the art of interpreta- to give us a modern Madame

Dr tion; Vol.3) In French. Special feature and pro- Bovary because he fails to connect duction report on MADAME imaginatively with Flaubert’s.” The chapter on MADAME BOVARY BOVARY which includes interviews focuses on the version of the film with the producer Marin Karmitz, directed by Renoir in 1934. Pauly the director Claude Chabrol, and SPECTATOR explores the difficulties in repre- the costume designer Corinne 5 June 1993, pp.44-45 senting the nature of Emma!s Jorry. inner turmoil and personal feel- Wrung out dishcloth, by Vanessa

Costume ings in a visual and therefore Letts external image provided through LITERATURE/FILM QUARTERLY the medium of film. She sets out Vol.31 No.3. 2003, pp.162-168 A short and entirely negative an analysis of some key scenes to review which finds fault with

And illustrate how Renoir attempts to Being Madame Bovary, by Cheryl every possible aspect of the film, achieve this in his adaptation. Krueger from the design, to the acting, to the screen play. Studying two cinematic adapta-

Film SHEPARD, Jim (ed.) and BARNES, tions of Madame Bovary, Vincente Julian Minelli’s 1949 film and Claude SUNDAY TIMES (contributor) Chabrol’s 1991 film, the author Section 8, 30 May 1993 ge Writers at the movies. examines the role of conscience in London: Marion Boyars, 2003. the aesthetics of adaptation. Flaubert’s Turkey, by Gillian Adair

An anthology by contemporary fic- This reviewer remains unim- tion writers and poets, celebrating REVUE DU CINÉMA/IMAGE ET pressed by rich visual aspects of Herita individual movies which have fas- SON Chabrol’s film, and finds it to be , cinated them in some way. In his No.471. May 1991, pp.32-34 lacking “anything that remotely chapter, Julian Barnes (author of resembles a reading” of Flaubert’s Flaubert!s Parrot, 1984) discusses Madame Bovary - la plume et la text. At the end of the piece, Adair Chabrol’s MADAME BOVARY (1991) caméra, by Jacqueline Nacache lists four criteria for the successful but also alludes to Minnelli!s 1949 filmic adaptation of a classic and Renoir’s 1933 versions. Barnes In French. The author focuses in novel, of which she finds MADAME has interviewed Chabrol about his detail on Chabrol!s MADAME BOVARY satisfies only one. ptations film making process and there are BOVARY, but also refers briefly to several quotes from the director. the Renoir and Minnelli versions. The essay concludes with a DAILY TELEGRAPH Ada thoughtful interrogation of what a 28 May 1993, p.20 film’s fidelity to a work of litera- ture really means: “Are faithful press articles Madame Bovary, by Hugo adaptations inherently unfaith- There are quite extensive produc- Davenport ful?- indeed, the more faithful, the tion notes held on microjacket at more unfaithful?” the BFI National Library, along An extremely dissatisfied reviewer who decries the “dead hand of Guides: with newspaper cuttings including those listed below. Cuttings are passionless prettiness” he finds STAM, Robert also held on microjacket for sever- everywhere in evidence in ce Literature through film: realism, al other film and television ver- Chabrol’s film. This short piece magic, and the art of adaptation. sions of MADAME BOVARY (1934 also criticises the acting, and finds Malden, MA; Oxford: Blackwell [FR] 1937 [DE]; 1949 [US]; 1964 [GB, inconsistencies between the film’s Publishing 2005. BBCTV]; 1970; 1975 [BBCTV]; and use of voice over and the corre- Sour 2000 [GB/USA]. sponding images on screen. The book highlights key moments + and trends in the history of the novel, and also looks at how these GUARDIAN INDEPENDENT 16 texts have been “re-read” through Section 2, 10 June 1993, p.8 28 May 1993, p.16 the medium of film. A detailed chapter on Madame Bovary Keeping the Faith, by Richard Quite simply, not boring enough, describes Flaubert’s novel as “pro- Combs by Adam Mars-Jones tocinematic,” and discusses five filmic adaptations. As well as the A short piece which muses over This reviewer argues that more obvious references to Renoir, the problem of film adaptations Chabrol’s film is so visually rich Minnelli and Chabrol, an Indian being so faithful that they begin to and enjoyable as a period piece, version, KetanMehta’s MEMSAAB lack any directorial creativity. that it does not convey the dis- (1992) and the Portuguese film Combs compares The MYSTERY OF comfort and dissatisfaction that VALE ABRAÃO (1997) by Manoel de EDWIN DROOD, (Timothy Forder, Emma Bovary experiences, thus Oliveira, are included. 1993) a film adaptation released at missing the point of Flaubert’s

BFI National Library 32 original text. OBSERVER (MAGAZINE) cinema, pp.215-240 18 October 1992, pp.34, 37-38 In this chapter the author analyses FINANCIAL TIMES Films, Flaubert and fidelity, by Gérard Depardieu’s impact on ama 27 May 1993 Julian Barnes French cinema and the perform- ances which brought about his

Dr Madame Bovary, by Nigel Andrews An interview with Chabrol at his popularity. One distinct grouping house in Gennes, in which Chabrol is that of his “culturalsuper-pro- A mixed review, in which the discusses his interest in Flaubert’s ductions”, films which “foreground writer praises Isabelle Huppert novel from adolescence onwards. French culture and history for a highly for her performance on the In the second half of the article mainstream audience”: Le RETOUR one hand, whilst criticising the Barnes reviews the film very DE MARTIN GUERRE, DANTON, JEAN cinematography and the screen- favourably, asserting that it “estab- DE FLORETTE, Le COLONEL play on the other. lishes a new level of fidelity CHABERT, GERMINAL, CAMILLE

Costume between book and screen.” CLAUDEL, TOUS LES MATINS DU MONDE, and CYRANO DE WHAT’S ON IN LONDON BERGERAC; and his recent highly 24 May 1993, p.34 successful television productions:

And Honoré de Le COMTE DE MONTE CRISTO and Old Wave, by Mansell Stimpson Balzac BALZAC . This short review situates (1799 – 1850) VISY, Gilles

Film Chabrol’s film within the wider Le Colonel Chabert au cinéma. context of his career, and suggests Editions Publibook Université, 2003. that he has turned his back some- ge what on the New Wave of French In French. A thesis on two filmic filmmakers from which he adaptations of Honoré de Balzac’s emerged. The tone is ambivalent, novel. finding the work “not wholly life- less,” but as the review progresses Herita

it becomes increasingly unenthu- , siastic. journal articles

MOVING PICTURES INTERNA- EVENING STANDARD TIONAL 12 May 1992, p.17 No.3. November 1994, p.15

Sex, Shopping and Madame Jean-Louis bets on le spectacle, by ptations Bovary, by Fay Weldon Bethany Haye

A full page article written after a Jean-Louis Livi, president of Film Ada visit to the set whilst Chabrol was Le Colonel Par Film believes French cinema shooting the film. Weldon uses a can be a success by making more contemporary study written by films with spectacle but without Chabert sacrificing intellect. Louise Kaplan entitled Female (1994, dir. Yves Angelo) Perversions: The temptations of Emma Bovary to highlight the con- temporary relevance of Flaubert’s SIGHT AND SOUND

Guides: books “archetypal female”. Vol.5 No.7. July 1995, pp.30-32 BARON, Anne-Marie ce Unsettling memories, by Ginette Balzac cineaste. GUARDIAN Vincendeau Paris: Meridiens Klincksieck, 1990. Section 2, 6 May 1993 The article discusses the growth in

Sour In French. A study of La comédie Flaubert, c’est moi, by Ronald popularity of French costume dra- humaine, in particular, as an mas at the time of its publication. + Bergan example of Balzac’s cinematic Vincendeau looks at how adapta- style which the author claims was An interview with Chabrol that tions of Dumas! La Reine Margot

16 inspired by living in the age of the attempts to draw some autobio- and Balzac’s Le Colonel Chabert magic lantern, the kaleidoscope graphical connections between his engage with contemporary ques- and other such inventions. life and his work. Bergan does not tions of French national identity, review MADAME BOVARY specifical- and at the status of these films as ly but refers to several of Chabrol’s “heritage products”. She examines VINCENDEAU, Ginette films in more general terms, offer- both Jean Dréville!s 1954 version of Stars and stardom in French ing some insights into the direc- La REINE MARGOT and Patrice cinema. tor’s recurring themes and motifs. Chéreau!s 1994 film. The article London; New York : Continuum, also mentions Bertrand Tavernier’s 2000. xii, 275p.; illus. bibliog. index. La FILLE DE D’ARTAGNAN (1994), a pastiche of Dumas? novels. Chapter 9. Gérard Depardieu: the axiom of contemporary French

BFI National Library 33 STUDIO MAGAZINE WHAT!s ON IN LONDON stantial part of the book dedicated No.90. September 1994, pp.70-75 19 April 1995, p.32 to a comprehensive filmography assembled by various directors La voix du Colonel, by Christophe All about Yves, by Mansel and critics and containing credits ama D?Yvoire Stimpson and notes for each of Renoir!s films including NANA.

Dr In French. Interview with sound Stimpson reports on his interview engineer Pierre Gamet about his with first-time director Yves work, particularly on Le COLONEL Angelo in which the latter discuss- SESONSKE, Alexander CHABERT and the voice of Gérard es his move from cinematography Jean Renoir: the French films, Depardieu. to direction; his selection of actors 1924-1939. for Le COLONEL CHABERT and Cambridge, MA; London : Harvard Gérard Depardieu’s influence in University Press, 1980. 463p. illus. TÉLÉRAMA adapting Balzac. In his review of bibliog. index.

Costume No.2332. 21 Sep 1994, pp.34-38 the film Stimpson, despite the positive tone of the article itself, Contains a detailed description of Le Colonel Chabert, by Pierre finds the film “acceptable, but less all of Renoir’s French films, includ- Murat, Philippe Piazzo, François gripping and less distinguished ing NANA, supported by hundreds

And Granon, and Claude-Marie Trémois than it should be.” of frame enlargements taken directly from the films. In French. Short individual articles and an interview with Fanny Other reviews as follows:

Film Ardant about her role in Le COLONEL CHABERT. SUNDAY TELEGRAPH (Review) journal articles 23 April 1995, p.8 ge SUNDAY TIMES (Section 10) POSITIF press articles 23 April 1995, p.54 No.537. November 2005, pp.84-100 The following newspaper articles DAILY MAIL and reviews can be found in the Le 21 April 1995, p.46 Dossier: Jean Renoir, by Olivier COLONEL CHABERT (1994) micro- EVENING STANDARD Curchod and Claude Gauteur Herita

jackets held in the BFI National 20 April 1995, p.32 , Library. INDEPENDENT Dossier on Jean Renoir, including 20 April 1995, p.25 an essay on André Bazin!s analysis INDEPENDENT ON SUNDAY of the director!s cinematic style; 23 April 1995, p.18,21 interview with Davide Pozzi on the film restoration of NANA; retran- Gérard Depardieu, an often reluc- Emile Zola script of a radio speech given in tant interviewee, talks to Kevin (1840 –1902) the US in December 1942. ptations Jackson about Le COLONEL CHABERT and his passion for Balzac. Ada press articles The BFI National Library also holds OBSERVER cuttings related to the 1955, 1968, Review Section, 23 April 1995, p.8 1970, 1982 and 1983 versions of NANA on microjackets. Philip French writes that in Le COLONEL CHABERT Yves Angelo Guides: Programme Notes, by Tom Milne has made “an exquisite movie, a undated, p.[5] costume picture about our own ce times”. Contains a 1938 article by Renoir in which he writes about his early development and NANA. The pro- GUARDIAN gramme notes suggest that all of Sour Section 2, 20 April 1995, p.11 the characteristics of Renoir!s later

+ work are visible in NANA, the Derek Malcom!s uncomplimentary Nana director’s second film. review of Le COLONEL CHABERT. (1926, dir. Jean Renoir) 16 books TIME OUT Germinal 19-26 April 1995, p.65, 66 (1993, dir. Claude Berri) BAZIN, André and TRUFFAUT, Trevor Johnston finds Le COLONEL François (ed) CHABERTto be “a stylish, stimulating Jean Renoir. books adaptation of a Balzac story” and talks New York : Simon & Schuster, 1973. to Yves Angelo about the importance 320p. illus. filmog. index. ASSOULINE, Pierre of the director!s collaboration with his Germinal: L’aventure d’un film. actors and the very different methods André Bazin surveys the work of [France] : Fayard, 1993. 394p. [24] of preparation each has. director Jean Renoir with a sub- plates. bibliog.

BFI National Library 34 In French. Includes a diary account film GERMINAL. THE TIMES of 146 days of filming Berri’s GER- SIGHT AND SOUND 4 May 1994, p.35 MINAL with black and white Vol.4 No.5. May 1994, pp.24-5 photographs of the director and Taking the overalls view, by David cast. Germinal: Keeping it in the Robinson Family, by Jill Forbes The reviewer talks to director BERRI, Claude Brief study of the films of Claude Claude Berri on what drew him to Autoportrait. Berri, which present a historical make GERMINAL. [s.l.] : Editions Léo Scheer, 2003. 363p. perspective of French society, referring in particular to In French. In his first book, Self- GERMINAL. DAILY TELEGRAPH portrait, Berri writes about his life Arts and Books Section, and cinema. 30 April 1994, p.2-3

Germinal Why France spent millions on LANZONI, Remi Fournier Zola, by Suzanne Lowry French cinema: from its begin- nings to the The reviewer argues that GERMI- present. NAL was the perfect example of a New York; London: Continuum, 2002. movie that would never have been made without subsidies. Chapter 8. The last decade and beyond, pp.349-418 THEATRE CRAFTS In the subsection entitled “The INTERNATIONAL Epics: Régis Wargnier and Claude April 1994, pp.32-35 Berri” (pp.376-382) the author examines the popularity of epic Germinal, by Ellen Lampert- productions in the 1990s. In partic- Gréaux ular, that of INDOCHINE (1992) and GERMINAL (1993). This illustrated feature looks at the set used for GERMINAL, Berri’s big-budget adaptation of Zola’s POWRIE, Phil (ed.) novel, which became one of the French cinema in the 1990s: conti- most expensive French films with nuity and difference. SIGHT AND SOUND the sets alone costing US$4.6 mil- Oxford : Oxford University Press, Vol.4 No.5. May 1994, pp.42-3 lion. 1999. Germinal, by Keith Reader Chapter 2. The Heritage Film and THE TIMES Cultural Politics: Germinal (Berri, Review, credits, and full plot sum- 10 December 1993, p.18 1993), by Russell Cousins, pp.25-36 mary of GERMINAL. Where did French films go wrong? Critique and comparision of Zola’s by Charles Bremmer original work and Berri’s adapta- STUDIO MAGAZINE tion of the novel. The film is No.73. May 1993, pp.50-59 The article discusses the film placed within the cultural and against the backdrop of the GATT political background at the time of Renaud - putain de destin, Jean- negotiations. its release, and the author rein- Pierre Lavoignat forces the idea that despite this adaptation being “unexeptional as Interview with Renaud about his VARIETY a heritage product” it served as “a role in Claude Berri’sGERMINAL. 4 October 1993, p.33, 36 national cultural icon in the midst of the [GATT] negotiations”. Berri looks to mine gold with press articles Germinal, by Michael Williams The BFI National Library also holds Describes the big-budget film and 16 + Source Guides: Adaptations, 16 Heritage And Film + Costume Adaptations, Source Guides: Drama journal articles cuttings related to the 1913, 1962 how Berri had to rely almost and 1970 versions of GERMINAL on exclusively on private funding. SCREEN INTERNATIONAL microjackets. No.917. 23 July 1993, p.4 DAILY TELEGRAPH THE TIMES French govt examines regional 10 May 1994, p.14 27 September 1993, p.16 funding, by Patrick Frater The eternal co-star, by Robert French films fight back, by Charles About the government inquiry into Chalmers Bremner the regional funding system in France since the inequal amount In his last interview, Jean Carmet The article discusses how GERMI- of regional funding afforded the talks about his role in GERMINAL. NAL is being seen in France as an

BFI National Library 35 answer to Hollywood epics. STAM, Robert and RAENGO, Marcel Proust Alessandra (eds.) (1871 – 1922) Literature and film: a guide to the GUARDIAN theory and practice of film adapta- 11 September 1992, p.24 tion. Malden, MA; Oxford : Blackwell, A heart of coal, by Luc Honorez 2005.

The reviewer visits the set of GER- Chapter 4. In search of adaptation: MINAL before filming begins. Proust and film, by Melissa Anderson, pp.100-110

DAILY MAIL “The key to a successful cinematic 6 May 1994, p. 37 rendering is reconfiguring how to DAILY TELEGRAPH approach adaptation”. With this in 6 May 1994, p. 20 mind the author looks at three DAILY TELEGRAPH adaptations of À la recherche du 28 September 1993, p. 15 temps perdu: Un AMOUR DE EVENING STANDARD SWANN (1983), Le TEMPS RETROUVÉ 27 July 1994, p. 29 (1999), and La CAPTIVE (2000). EVENING STANDARD 5 May 1994, p. 41 FINANCIAL TIMES Un Amour de 29 December 1993, p. 3 journal articles FINANCIAL TIMES Swann 12 May 1994, p. 18 (1983, dir. Volker Schlöndorff) L’AVANT-SCÈNE DU CINÉMA GUARDIAN No.321/322. February 1984, whole 29 September 1993, p. 8 issue GUARDIAN books 26 April 1994, pp. 4-5 (section 2) In French. The issue is devoted to GUARDIAN Proust and in particular Un AMOUR KRAVANJA, Peter 5 May 1994, p. 6 (section 2) DE SWANN. It includes interviews Proust à l?écran. INDEPENDENT with producer Nicole Stephane Bruxelles : La Lettre Volée, 2003. (pp.5- (pp.11-17); and with execu- 1 October 1993, p. 16 (Collection Palimpsestes; 22) MAIL ON SUNDAY tive producer Margaret Menegoz 8 May 1994, p. 26-27 In French. Analysis of five adapta- (pp.18-23). Three attempts to bring MORNING STAR tions of À la recherche du temps Proust to the screen, by Visconti, 7 May 1994, p. 7 perdu: the unrealised version writ- Losey and Schlöndorff are dis- NEW STATESMAN AND SOCIETY ten by Harold Pinter, and Visconti’s cussed in an article (pp.24-6). This 6 May 1994, p. 33 unrealized version La RECHERCHE; is followed by credits to the film SUNDAY TELEGRAPH Un AMOUR DE SWANN (1983), Le (pp.31-2); the script (pp.33-89); and 8 May 1994, p. 6 TEMPS RETROUVÉ (1999), and La a note on the music used in the SUNDAY TELEGRAPH REVIEW CAPTIVE (2000). film (p.91). 1 May 1994, p. 7 SUNDAY TIMES 8 May 1994, Section 10, p. 15 MOELLER, Hans-Bernhard and LEL- FILM AND HISTORY TODAY LIS, George Vol.15 No.4. December 1985, pp.91-92 6 May 1994, p. 37 Volker Schlondorff’s cinema: The Bostonians and Swann in VILLAGE VOICE adaptation, politics, and the Love: a note on the new misogyny, 8 March 1994, p. 54 “movie-appropriate”. by Robert Zaller Carbondale and Edwardsville, IL : Southern Illinois University Press, A short article in which the author 2002. voices his concern about a per- ceived trend in the portrayal of Part Four. Chapter 18. Swann in women, quoting Un AMOUR DE Love, pp.206-215 SWANN and The BOSTONIANS as examples. Schlöndorff’s adaptation uses only 16 + Source Guides: Adaptations, 16 Heritage And Film + Costume Adaptations, Source Guides: Drama a single volume from Proust’s multi-volume novel À la recherché FILM CRITICISM du temps perdu (Remembrance of Vol.12 No.3. Spring 1988, pp.33-45 things past) for its narrative. In this chapter the authors try to Marketing history: Swann in Love, offer an interpretation of the film by Phil Powrie which gives it some defence against the criticisms directed at After examining the promotional it. literature for Un AMOUR DE SWANN and reading reviews which repeat the view that Proust is diffi- cult to adapt, the author asks why

BFI National Library 36 adapt him? He concludes that acknowledge the enormity of start to finish. Milne admits near market factors exert a great influ- Schlöndorff’s task, welcoming his the end of his article that SWANN ence in the decision. contribution as an opening gambit IN LOVE is “difficult to sum up crit- that Shattuck hopes will inspire ically,” concluding that the film is ama “further exploration” of Proust on “a failure, maybe, but one that LITERATURE/FILM QUARTERLY screen. demands to be seen”. An interest-

Dr Vol.15 No.3. 1987, pp.169-174 ing piece if only for demonstrating some of the difficulties faced by “The persistence of Proust, The DAILY TELEGRAPH critics in engaging with Proust on resistance of film”, by William V. 6 June 1984, p.17 film. Costanzo Remembrance of Swann’s romance, by Patrick Gibbs The author examines the potential DAILY EXPRESS 6 April 1984, p.25 for filming Proust, quoting several Costume A fairly in-depth review with a aborted projects. He looks in detail generally positive opinion of the Gripping Passion, by Ian Christie at what is, in his opinion, Volker film. The author expresses particu- Schlöndorff!s unsuccessful lar interest in the cinematography, A short, positive write up in which attempt to film part at least of And and offers only a few reservations the reviewer credits the film with Remembrance of things past in Un about the “touches of vulgarity” in inspiring him to re-attempt read- AMOUR DE SWANN. a few of the sex scenes. ing Remembrance of Things Past.

Film SIGHT AND SOUND GUARDIAN TIMES Vol.53 No.3. Summer 1984, pp.221- 5 June 1984, p.11 6 April 1984 p.15 ge 222

Alas, poor Swann. Un Amour de Coming home to Proust, by Derek Magical fragment of Swann, by Jill Forbes Malcom remembrance, by David Robinson A measured response to the film The film is praised for its set, cos-

Herita Although the reviewer honours

which suggests that, while it may tume and casting in particular.

, Schlöndorff for his intentions in adapting Proust, she feels she can- not satisfy the purists, Schlöndorff Schlöndorff is also given credit for not do so for his achievement. has produced a modest work of going beyond direct illustration of exhibiting imagination and com- the book and providing new com- petence. mentaries and perspectives on the press articles source material. TIMES LITERARY SUPPLEMENT ptations The following articles are taken 27 April 1984 SUNDAY TIMES MAGAZINE from the Un AMOUR DE SWANN 1 April 1984, p. 51 microjacket in the BFI National Sexually Scenic, by Malcom Bowie

Ada Library. The microjacket also con- Swann in Love, by Peter Kemp tains the press book that accom- A complementary review which panies the film, including exten- sums the film up as “consistently A complementary review which sive notes by the director. intelligent.” A useful article in that describes the adaptation as “vigor- it offers a reading of some ele- ous and sensitive.” ments of Proust’s original text NEW YORK REVIEW OF BOOKS alongside its analysis of the film. Guides: 16 August 1984, pp.40-43 SUNDAY TIMES 25 March 1984 p.39 Not Swann’s Way, by Roger ce TIMES EDUCATIONAL Shattuck SUPPLEMENT Proust goes to the movies, by 13 April 1984, p.26 Claire Tomalin An important, indepth article for

Sour the study of this film, which Unattainable Goal, Robin Buss The reviewer remains unsatisfied moves from a broad enquiry into

+ by the film, finding it lacking the the nature of the relationship While giving a nod to the casting, sense of irony and fluidity found between the novel and cinema to a the script and the photography, in the original.

16 focused analysis of Schlöndorff’s overall this short review finds that film. An overview is given of the the magic of Proust’s prose will work of various film theorists, never be fully captured on film. DAILY TELEGRAPH including references to Sergei 22 February 1984 p.15 Eisenstein and André Bazin. Shattuck then provides a form of OBSERVER Irons in Proust’s Fire, by Michael review taking on three voices: a 8 April 1984, p.21 Field movie goer, an arts critic, and a scholar of Proust (which he is), and Grappling with Proust, by Tom A short piece which offers no responds to SWANN IN LOVE Milne strong opinion on the overall film, accordingly. The overall reception but instead points to a number of of the film is negative, but it does An entirely mixed review from particulars such as Schlöndorff’s

BFI National Library 37 attention to period detail, Hans LAGEIRA, Jacinto Werner Henzer’s music, and Raoul Ruiz: entretiens. journal articles quotes from Jeremy irons on his Paris: Hoebeke, 1999. experience of playing Swann. L’AVANT-SCÈNE DU CINÉMA ama In French. Jacinto Lageira and No. 482.May 1999, [whole issue] Gilles A. Tiberghien interview Ruiz

Dr NEW YORK TIMES on the making of Le TEMPS In French. Issue devoted to Le 24 July 1983, p.1, 15 RETROUVÉ, in March 1999. The TEMPS RETROUVÉ, including an director discusses the concept of interview with and filmography for Proust is filmed at last, by Arthur time in Proust’s novel and how he the director, detailed credits, Holmburg has translated this into his film. script, articles on Paulo Branco!s Gemini Films and World War I. A detailed article which opens by charting producer Nicole LANDIS, Deborah Nadoolman

Costume Stéphane’s journey towards get- Costume design. ENTHUSIASM ting the film made. Quotes from Switzerland: RotoVision, 2003. No.2. Summer 2000. pp.6-15 the director provide some interest- (Screencraft) ing insights into the process he Time regained: Bruno Barde talks

And went through to bring Proust to Interview with Gabriella Pescucci to Raúl Ruiz, Bruno Barde; Meeting the screen. (pp.82-91) about her career in with Ruiz, by Gilles Taurand; which she briefly mentions how Bruno Barde talks with Gilles she enjoyed working on Le TEMPS Taurand, by Bruno Barde

Film STANDARD 24 June 1983, p.7 Le Temps Retrouvé ge Will Proust ever reach the screen?

The article first reflects upon a number of previous failed attempts to bring Proust’s work to Herita

the cinema. It then considers the , casting choices, in particular that of Jeremy Irons as Swann.

Other articles as follows:

FINANCIAL TIMES 10 April 1984, p17 ptations SUNDAY TIMES 8 April, 1984, p.55 NEW STATESMAN Ada 6 April 1984, p.41 STANDARD RETROUVÉ as the design encorpo- Article in three parts on Le TEMPS 5 April 1984, p.21 rated elements of South American RETROUVÉ. Raúl Ruiz discusses his fantasy. method of adapting Proust (pp.6- 9), Taurand talks about working with Ruiz on the script for the film Le Temps STAM, Robert and RAENGO, (p.10) and also his approach to Guides: Alessandra (eds.) adapting Proust (p.11-15). Retrouvé Literature and film: a guide to the ce (1999, dir. Raúl Ruiz) theory and practice of film adapta- tion. FILM COMMENT books Malden, MA; Oxford : Blackwell, 2005. Vol.36 No.4. Jul/Aug 2000, pp.57-60 Sour Chapter 4. In search of adaptation: Memory loves company, Phillip

+ KRAVANJA, Peter Proust and film, by Melissa Lopate Proust à l! écran. Anderson, pp.100-110 Bruxelles : La Lettre Volée, 2003. Analysis of Le TEMPS RETROUVÉ. 16 (Collection Palimpsestes; 22) “The key to a successful cinematic rendering is reconfiguring how to In French. Analysis of five adapta- approach adaptation”. With this in POSITIF tions of À la recherche du temps mind the author looks at three No.463. September 1999, pp.66-73 perdu: the unrealised version adaptations of À la recherche du written by Harold Pinter, and temps perdu: Un AMOUR DE Réflexions sur “Le temps retrou- Visconti’s unrealized version La SWANN (1983), Le TEMPS RETROUVÉ vé”, by Guy Scarpetta RECHERCHE; Un AMOUR DE SWANN (1999), and La CAPTIVE (2000). (1983), Le TEMPS RETROUVÉ (1999), In French. Analytical critique of and La CAPTIVE (2000). Raúl Ruiz’s adaptation of the unfilmable Proust. Discusses the use of flash-back, metaphors and

BFI National Library 38 memory, and the representation of GUARDIAN GUARDIAN character. Section2. 7 January 2000, p.8-9 Section 2. 14 May 1999, p.27

The Raul thing, by Jonathan The Proust of the pudding, by ama SIGHT AND SOUND Romney Jonathan Romney Vol.10 No.1. January 2000, pp.30-33

Dr Romney writes about Ruiz’s career The author feels that with Le Masque of the living dead, by and why this filmmaker’s attempt TEMPS RETROUVÉ Raúl Ruiz, the Jonathan Romney at filming Proust may be the first Chilean surrealist director, comes to succeed. as close as he’s been to convention On director Raúl Ruiz’s adaptation but still retains his inimitable of Proust’s À la recherche du style. temps perdu. In his TIME EVENING STANDARD REGAINED, he has successfully 6 January 2000, p.31 Other reviews as follows:

Costume filmed a difficult multi-layered work of literature. Best of times, by Neil Norman OBSERVER Review Interview with Ruiz who admits to 9 January 2000, p.7

And having spent twenty years trying SUNDAY TELEGRAPH press articles to make Le TEMPS RETROUVÉ. Review, The following newspaper articles 9 January 2000, p.9 and reviews can be found in the FINANCIAL TIMES

Film Le TEMPS RETROUVÉ (1999) micro- EVENING STANDARD 6 January 2000, p.24 jacket held in the BFI National 6 January 2000, p.29 TIME OUT Library. 5-12 January 2000, p.75 ge Marcel marks time, by Alexander Walker GAY TIMES “For heaven!s sake, go!” Alexander Victor Hugo January 2000, p.81 (1902 - 1885) Walker urges his readers. Herita

Time Regained, by Mansel , Stimpson TIMES Finds the adaptation disappoint- 6 January 2000, p.43 ing, unable to capture the essence of Proust. Le Temps Retrouvé, by Adam Mars-Jones ptations EVENING STANDARD “An elegant curiosity, a poetic par- 11 January 2000, p.7 aphrase of a prose monument with a strong atmosphere and Ada After 100 years Proust’s Time has some very striking moments”. come as film makes his book a top seller, by Geraint Smith TIME OUT The title of the article is self- 5-12 January 2000, p.74 explanatory. Memory Man, by Tom Charity Guides:

INDEPENDENT ON SUNDAY Raúl Ruiz talks about reading Notre-Dame de ce (CULTURE) Proust from an early age, about his 9 January 2000, p.3 choice of cast, and about memory Paris in Proust being “unwilling memo- (1956, dir. Jean Delannoy) And it’s not just for Proustians, by ry”. Sour Gilbert Adair

+ books Having announced his partiality to INDEPENDENT Raúl Ruiz due to friendship, the Review. 3 September 1999, p.13 PONZI, Mauricio and CURTO, Shula 16 author favourably reviews Le Atil by Geoffrey TEMPS RETROUVÉ. He asserts that Proust: time-waster? The films of Gina Lollobrigida. as Proust!s novel “can be interpret- Macnab Secaucus, NJ : Citadel Press, 1982. ed as one endlessly long ending – the ending of an era, of a society, The reviewer sees Ruiz!s film, Le NOTRE-DAME DE PARIS (pp.90-92). of a once immutable accretion of TEMPS RETROUVÉ, as more daring Cast and credits, black & white values, prejudices and traditions, than Schlöndorff’s Un AMOUR DE illustrations, synopsis and a sec- of the narrator!s own youth and SWANN and its screenplay strik- tion entitled “background and apprenticeship” Ruiz shows fideli- ingly similar in approach to Harold reviews”. We are told that ty to the spirit of Proust by filming Pinter’s adaptation. He concludes Lollobrigida made the film at a the end of the novel. that the film is proof that Proust’s time in her career when it was monumental novel can be filmed. important to find roles which

BFI National Library 39 would help her remain a star. MONTHLY FILM BULLETIN Unfortunately the film was not Vol.24 No.279. April 1957, p.48 press articles well received. The following newspaper articles Nortre-Dame de Paris (The and reviews can be found in the ama Hunchback of Notre Dame) Les MISÉRABLES (1933) held in the QUINN, Anthony and PAISNER, BFI National Library.

Dr Daniel Review. One man tango: an autobiography. SPECTATOR London : Headline, 1995. 1 March 1957 Les Misérables TIMES (1933, dir. Raymond Bernard) Quinn describes his inexplicable 25 February 1957 physical transformation whilst SUNDAY DISPATCH preparing for the role of books 24 February 1957 Quasimodo and how reading Nikos SUNDAY TIMES

Costume Kazantzakis cured him of his ail- 24 February 1957 BEYLIE, Claude ment and helped him redirect his DAILY TELEGRAPH Anthologie du cinéma: tome XI. life. 23 February 1957 Paris : Editions de L’Avant-Scène, DAILY WORKER 1983. (L’Anthologie du cinéma, tome And 23 February 1957 XI) journal articles MANCHESTER GUARDIAN In French. Jacques Salles on 23 February 1957 Raymond Bernard’s life and career NEWS CHRONICLE Film CAHIERS DU CINÉMA (pp.177-208). A section on Les 22 February 1957 Vol.12 No.67. January 1957, p.55 MISÉRABLES describes how the cast EVENING NEWS 21 February 1957 ge was chosen for the film. Hélas ! : Notre-Dame de Paris, by EVENING STANDARD André Bazin 21 February 1957 Brief critical review praising journal articles Delannoy!s adaptation of the novel Herita Guy de

but questioning the set design and , 1895 decision to colourize the film. No.38. October 2002, pp.198-208 Maupassant (1850 – 1893) Des compositeurs de musique CINÉMACTION viennent au cinéma: le ?Groupe No.119. 2006, [whole issue] de Six?, by François de la Bretèque Le Victor Hugo des cinéastes, by ptations In French. On the contribution of Mireille Gamel and Michel Serceau classical composers to French cin- ema in the 1920s and1930s, and in In French. Issue devoted to the

Ada particular Arthur Honegger, Darius adaptation of Victor Hugo!s work Milhaud and Georges Auric, and on the screen and in the theatre, their specific contribution to La focusing on NOTRE-DAME DE PARIS, Le DERNIER JOUR D’UN CONDAMNÉ, ROUE, NAPOLÉON, Les L’HOMME QUI RIT, RUY BLAS, QUA- MISÉRABLES and REGAIN. TRE VINGT-TREIZE, and French and Hollywood versions of Les Guides: MISÉRABLES. CINEMA QUARTERLY Vol.3 No.2. Winter 1935, p.11

ce Les Misérables, by Charles Davy Partie de CINÉMACTION No.98. 2000, pp.134 Review. Campagne (1936, dir. Jean Renoir)

Sour Notre-Dame de Paris: Prévert et SIGHT AND SOUND + Hugo, memes combats, by Arnaud books Laster Vol.2 No.2. June 1992, p.25 BRAUDY, Leo

16 In French. An analysis of Jean Unkindest of cuts, by Lenny Borger Jean Renoir: the world of his films. New York : Doubleday, 1972. Delannoy’s NOTREDAME DE PARIS (1956) drawing comparison with Note about the drastic cuts that Chapter 2. The necessities of Wilhelm Dieterle’s film The were made to the film until its nature, pp.24-64 Braudy feels that HUNCHBACK OF NOTRE DAME final restoration in 1977. there are two basic elements in (1939). Renoir’s work, with repercussions in theme and method: nature and theatre. Une PARTIE DE CAMPAGNE, a film which emphasises the influ- ence of nature and passion on the individual, is discussed in more

BFI National Library 40 detail in this chapter. A revised O’SHAUGHNESSY, Martin for A Day in the Country later.! edition of this title was published Jean Renoir. Then, when the time came, I was in 1989. Manchester; New York : Manchester in a jam and couldn!t do it. And University Press, 2000. (French film then came the war.” (p.88) ama directors) CURCHOD, Olivier

Dr Partie de campagne - Jean Renoir: Chapter 4. The Popular Front years: SMITH, Greg M. etude critique. The imprisoning social frame, Film structure and the emotion Paris : Nathan, 1995. (Synopsis) pp.116-123 system. Cambridge : Cambridge University The book includes a scene by Analysis of Jean Renoir’s films Press, 2003. scene guide, a chapter on adap- divided into chronological periods. tatin from Maupassant to Renoir, Une PARTIE DE CAMPAGNE was Chapter 7. Lyricism and uneven- further chapters on the structures abandoned unfinished as Renoir ness: emotional transitions in

Costume within the film, the characters and moved to Les BAS-FONDS (1936). Renoir’s A Day in the Country and themes. It wnds with an analysis Both are analysed in this chapter. The Lower Depths, pp.122-137 of one specific sequence (Henriette The author looks at the production on the swing), and a bibliography. history, the role of society and the The author seeks to examine how

And way it relates to nature, and the these two films, made around the imagery of the film. same time by the same director, DURGNAT, Raymond differ in the way they shift their Jean Renoir. emotional tone and thus appeal to

Film London: Studio Vista, 1975. PEREZ, Gilberto the audience!s emotions. The material ghost: films and Chapter 30. Partie de Campagne, their medium. ge pp.132-6 Baltimore; London : Johns Hopkins University Press, 1998. journal articles The first chapters cover Jean Renoir at work, how he is per- Close analysis of the film and ART ET ESSAI ceived by others, and his private Renoir’s technique. The author No.1. April 1965, pp.43-64; no. 2. May Herita looks at nature, acting styles, the

life. From then on each chapter is 1965, pp.33-50; no.3. June 1965, pp.46- , devoted to a film. We are told that representation of seduction and 50 Renoir made Une PARTIE DE CAM- innocence, compares a scene in PAGNE because he wanted to the film to paintings of women on Partie de campagne, by Jacques experiment with the form of a swings, and praises the editing tal- Prévert short story film, one which would ent of Marguerite. “The film is sim- combine with another short story ple only in its plot, small only in Feature-length treatment with dia- film to make a feature. We also its short running time, effortless logue, written at the request of ptations find out about the film’s compli- only because it has the technique Pierre Braunberger, for Une PARTIE cated and fraught production his- to take the risks it takes.” (p.216) DE CAMPAGNE in the anticipation tory before the author moves to that the film would then be com- Ada his analysis. plete, and nearer to a feature film. RENOIR, Jean Renoir on Renoir: interviews, FAULKNER, Christopher essays and remarks. L’AVANT-SCÈNE DU CINÉMA Jean Renoir: a guide to references Cambridge : Cambridge University No.21. December 1962, p.29 and resources. Press, 1989. (Cambridge studies in Boston, MA; London : G.K. Hall; film) The screenplay found here is that Guides: George Prior, 1979. (Reference publi- of the dialogue reported in full. cation in film) “A Day in the Country didn!t force Shots are roughly indicated by a ce anything on me. It only offered me bare description of their nature. A critical view as well as a guide to an ideal framework in which to There are also eight press arti- the literature available on Jean embroider.” (p.232) “I had the idea cles/reviews printed, and a previ- Renoir. of working with this Maupassant ously unpubilshed note by Andre Sour short story because I saw things in Bazin. it to say that would work well with + NAREMORE, James (ed.) her [Sylvia Bataille] voice.” (p.250) Film adaptation. “The sound was recorded on loca- CAHIERS DU CINÉMA 16 New Brunswick, NJ : Rutgers tion. We were determined to do No.299. April 1979, p.39-40 University Press, 2000. (Rutgers the film without postsynchroniz- depth of field series) ing the dialogue and without En revoyant Une Partie de sound effects. When the film was Campagne…, by Jean-Louis Landscape and Fiction: A Day in finished, I had to go shoot The Comolli the Country, by Gilberto Perez, Lower Depths immediately, pp.129-153 because the rain had extended the In French. Review. shooting an inordinate amount of Comparison of Maupassant and its time.” (p.87) “They were all films filmic adaptation, leaning more that were very dear to me, each MONTHLY FILM BULLETIN towards a critical essay on the and every one, and every time I Vol.14 No.166. October 1947, p.144 film. said, "Goodness, I’ll do the editing Review.

BFI National Library 41