ArchivedFavorite Christian filmsright-on. i think the film carries the spirit of the novel, in filmic terms. there is not any more sex and violence in the film than in the book - it simply feels like there is, because sex and violence have greater impact in visual media. it is impossible to make a carbon-copy adaptation of a book like "Last Temptation" (and many people expect movies to be identical to the book); the book is too abstract, too mystical, to idea-oriented. these abstractions, mystical elements, and ideas are created by the book's language. so when filming, a good director (like Scorsese) should convey the same abstractions, mystical elements, and ideas using the language of cinema (ie, images). i believe he does that very, very well. of course, in every adaptation, the author is reinterpreting the vision of the original into his/her own vision. Scorsese certainly does this in "Last Temptation" - but i believe the spirit of the novel can be found in the film. to give you an idea of what i mean: i don't like the word "adaptation." i prefer "translation"...you are translating an artistic expression from one language (literature) to another (cinema). if you want a vibe for what i consider "great translations" of literature to film, here is my quick list of examples: 1. the Shining - Kubrick strays from the plot, but retains the spirit completely. the expression remains the same. an almost perfect translation. 2. the Thin Red Line - The spirit of the novel is conveyed in purely cinematic terms. 3. The Fall of the House of Usher - The sensation of reading the story becomes the same sensation you have watching this film, even though the plot-points are completely changed. 4. Apocalypse Now - I want to call this the greatest cinematic translation from literature to film, but it's not, because Coppolla actually improves on Conrad - Conrad's vision was more suited for film than for literature. |
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