This paper has the purpose to find out about the general topic of adaptation, it will name reasons why certain sections of the novel “Brighton Rock” by Graham Greene have been altered in favor of the movie adaptation and it will show the effects created by decisions the screenwriter of the movie and the novel´s author, Graham Greene himself has made.
By using both, adaptation proper as well as transfer in “Brighton Rock”, I am going to examine in how far the film is different from the novel. Furthermore, with the help of a summary, a story/plot- as well as character analysis, I will show that that certain things can be transferred and other things have to be altered/ adapted during the process of adaptation.
Film adaptations have always been a point of criticism for those who previously read the novel. They feel prompted to comment on the work directors, producers and the cast have done. The majority of people do not like the fact that something new is presented. They only want to determine in how far their own conception of the novel has been transposed.
Table of Contents
1 Introduction to movie adaptations
2 Brian McFarlane´s theory of adaptation – how a novel can be transferred to screen
3 Theoretical approach in practice – The Boulting´s and Greene - “Brighton Rock”
4 Conclusion
5 Bibliography
Objectives and Topics
This paper explores the complex process of adapting literature into film, using Graham Greene's "Brighton Rock" and its 1947 screen adaptation as a primary case study to analyze narrative shifts and character development.
- Theoretical foundations of film adaptation according to Brian McFarlane.
- Comparative analysis of plot progression between the novel and the 1947 film.
- The influence of "Film Noir" genre conventions on cinematic storytelling.
- Character evolution and adaptation strategies for visual media.
- Challenges in transposing complex literary themes into a time-constrained cinematic format.
Excerpt from the Book
Story/ Plot Analysis
It makes most sense to start off with the content and have a closer look towards the chronological order of events (plot) as well as the time-shifted events (story) within novel and movie. In general, there are many events that have been altered but I will focus on three major events that have been adapted: the beginning/ the death of Hale, the way Ida is investigating and the end of the story/Pinkie´s death. These three events are what McFarlane calls cardinal functions and signify major changes within the movie.
The movie begins with the death of William Kite so the viewer is getting involved in the story right away. As already mentioned above, it is very typical for movies from the 40s and 50s that a murder is the first scene of a movie. The producers might have decided to start with Kite´s murder in order to create tension. The viewer knows that something has happened which could be crucial for the understanding of the story. In contrast to the movie, Kite´s death is mentioned after Charles Hale / the Kolley Kibber has been briefly introduced in the novel. Thus, the main difference is that the reader feels tension after reading the passage in which a mob is said to be after Hale and that he thinks that he is about to be killed. In the novel, the reader at first glance doesn´t really know if something is to happen to Hale. After Hale is left alone for two minutes, Ida finds him gone (Greene, Brighton Rock, Novel, p.18). There is no further description of what happened, neither of the act of killing nor are there any details. In the movie though, Hale tries to kill time while waiting for Ida and he decides to enter a roller coaster. Pinkie jumps in as well. The viewer can see Pinkie choking Hale before finally pushing him off the roller coaster during the ride. The producers might have changed Hale´s death from not being mentioned at all to a definite murder with Pinkie being the suspect because it is very obvious to the viewer that Pinkie is the murderer.
Summary of Chapters
1 Introduction to movie adaptations: This chapter introduces the general challenges of film adaptation and the common criticisms raised by readers when literary works are translated into visual media.
2 Brian McFarlane´s theory of adaptation – how a novel can be transferred to screen: This section details the theoretical framework, specifically distinguishing between "transfer" and "adaptation proper," and discussing how narrative functions shift between print and film.
3 Theoretical approach in practice – The Boulting´s and Greene - “Brighton Rock”: This chapter applies the previously established theory to the specific case of "Brighton Rock," comparing the novel and the 1947 film across plot structures, character traits, and genre influences.
4 Conclusion: The concluding chapter synthesizes the findings, highlighting how the constraints of time and the requirements of the Film Noir genre necessitate significant narrative changes during the adaptation process.
5 Bibliography: This chapter lists all cited academic sources and primary materials used for the analysis.
Keywords
Brighton Rock, Graham Greene, Film Adaptation, Brian McFarlane, Narrative Functions, Film Noir, Plot Analysis, Character Analysis, John Boulting, Adaptation Theory, Literature vs Film, Cardinal Functions, Pinkie Brown, Ida Arnold, Cinematic Codes
Frequently Asked Questions
What is the primary objective of this academic paper?
The paper aims to investigate the process of adapting a novel into a film by examining the specific alterations made in the 1947 adaptation of Graham Greene’s "Brighton Rock" based on Brian McFarlane's theories of adaptation.
What are the central thematic areas of the research?
The research focuses on the transition of narrative functions from text to film, the adaptation of character arcs, the pressure of genre conventions like "Film Noir," and the impact of time constraints on storytelling.
Which scientific methodology is utilized in this study?
The author employs a comparative literary and media analysis approach, utilizing Brian McFarlane's adaptation theory and Roland Barthes' concept of "cardinal functions" to evaluate shifts between the original novel and the film version.
What is the core research question?
The study examines how and why specific sections of the novel "Brighton Rock" were altered or adapted for the screen and what the resulting effects are on the narrative tension and viewer engagement.
What aspects are covered in the main section of the paper?
The main section covers a detailed theoretical background on film adaptation, followed by a comparative summary of the novel and the film, and a specific "Story/Plot" and "Character" analysis.
Which keywords best characterize the work?
Key terms include Brighton Rock, Film Adaptation, Brian McFarlane, Film Noir, Adaptation Theory, and Narrative Functions.
Why does the film version start with a murder, unlike the novel?
The paper explains that this is a convention of the 1940s "Film Noir" genre, used to create immediate tension and "black mood" for the audience right from the opening scene.
How does the character of Ida Arnold differ between the media?
Ida is analyzed as a highly capable, professional female detective in both versions, though the film accelerates her investigation process to suit the faster pacing of cinematic storytelling.
What is the significance of the "voice recording" in the film's finale?
The recording serves as a crucial narrative device where a malfunction leaves a looping "I love you," altering the impact of Pinkie's final message to Rose compared to the novel's original ending.
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- Clemens Dölle (Autor:in), 2019, How a novel can be transferred to screen, München, GRIN Verlag, https://www.grin.com/document/1001063
