In 1985, the novel "Perfume" by Patrick Süskind was published. Highly praised by the press, it was on bestseller lists (not only in Germany) for years. It was translated into 46 languages and sold over 15 million copies. Such a successful book was crying out to be made into a film. But actually Grenouille does not correspond at all to the typical cinema heros. Süskind resisted releasing his screenplay for a long time. Ridley Scott, Tim Burton, Steven Spielberg and Bernd Eichinger showed interest in the film version. However, according to rumors, the author hoped that Stanley Kubrick would film his novel.
In 2001, Eichinger finally obtained the rights to "Perfume". It is said that they cost him 10 million euros. Due to the popularity of the novel, the film adaptation of the material was impatiently awaited. In the following I will compare the novel in some points with the film version and go into difficulties with the conversion of the book (representation of the smells, the protagonist etc.). Furthermore, I would like to deal with some film reviews, in order to be able to draw my own summary regarding the cinematic world of Grenouille from the gained knowledge at the end.
Table of Contents
1. Introduction
2. Comparison of the beginning
2.1 The beginning of the book
2.2 The beginning of the film
3. The Narrator
3.1 Süskind's narrator in the book
3.2 Tykwer's narrator in the film
4. The world of fragrances
4.1 Representation of the fragrances in the book
4.2 Representation of the fragrances in the film
5. Grenouille
5.1 Characterization by the book
5.2 Characterization by the film
6. Comparison of the ending
7. General differences between book and film
8. Reception
9. Conclusion
Objectives and Themes
This work examines the intermedial relationship between Patrick Süskind's novel "Perfume" and its cinematic adaptation by Tom Tykwer. It explores how the literary representation of the sense of smell is translated into visual and auditory filmic language, focusing on narrative techniques, character construction, and structural modifications between the two media.
- Analysis of narrative perspective in both book and film.
- Representation of sensory experiences (smell) through literary vs. cinematic devices.
- Psychological characterization of Jean-Baptiste Grenouille.
- Comparison of plot adaptations and ending sequences.
- Evaluation of contemporary film criticism and adaptation theory.
Excerpt from the Book
4.2 Representation of the fragrances in the film
In the film, an odorous wall show is staged in many places, which conveys the effect of the respective fragrances by means of gestures, facial expressions and narration. Stimuli are set starting from cinematic signs, such as counter, gestures or facial expressions, which indicate the activity of smelling. In addition, movement patterns often occur that are closely related to the act of smelling, such as sniffing, smelling, fading, wagging, inhaling or inflating the nostrils. As already mentioned, the viewer is sucked in by Grenouille's nose at the very beginning. In Conrad's film booklet, the perpetual presence of the nose makes the thesis that the actual main character of the film is Grenouille's olfactory organ.
In addition, everything physical plays an important role. There are both ugly bodies, such as Grimal or Madame Gaillard, as well as beautiful ones, such as those of the various girls. Therefore, opposites are always created.
The olfactory process is made visible in the film in the form of spatial movement. " Der Film konzentriert sich auf den Aspekt der räumlichen Entfernung zwischen Nase und Geruchsobjekt, die beim Riechen überbrückt wird." A distinction is made between two different directions. On the one hand, there is the objective direction in which the object "comes" to the nose, and on the other hand, there is the subjective direction that makes the nose "come" to the object. In this process, special attention is paid to the tracking shot that represents these directions.
Summary of Chapters
1. Introduction: Outlines the historical and cultural background of the novel "Das Parfum" and the motivation for this comparative study.
2. Comparison of the beginning: Contrasts the literary introduction of the setting and protagonist with the film's "in medias res" approach that builds immediate tension.
3. The Narrator: Discusses the role of the omniscient literary narrator versus the voice-over technique used in the film to bridge narrative gaps.
4. The world of fragrances: Analyzes how olfactory imagery is conveyed through descriptive language in the novel and through camera work, sound, and lighting in the film.
5. Grenouille: Compares the characterization of the protagonist, highlighting his transformation from an inhuman "scheusal" in the book to a more empathetic, tragic figure in the film.
6. Comparison of the ending: Evaluates the climatic final scenes of both works and how they represent the protagonist's fate.
7. General differences between book and film: Lists specific narrative and plot deviations, such as omitted subplots and character changes made for the adaptation.
8. Reception: Reviews critical responses to the film adaptation and discusses the complexities of comparing literary and cinematic media.
9. Conclusion: Summarizes findings, asserting that the film is an independent aesthetic work that requires interpretation beyond a direct comparison to the novel.
Keywords
Perfume, Patrick Süskind, Tom Tykwer, Intermediality, Adaptation, Grenouille, Literature, Film, Narrator, Sensory perception, Smell, Jean-Baptiste, Criticism, Aesthetics, Character analysis.
Frequently Asked Questions
What is the primary focus of this work?
This academic work focuses on the intermedial comparison between Patrick Süskind's novel "Perfume" and Tom Tykwer's 2006 film adaptation, specifically analyzing how the two media translate complex sensory experiences.
What are the central thematic fields?
The core themes include the narrative perspective, the visualization of the sense of smell, the psychological depth of the protagonist Grenouille, and the artistic differences between literature and film.
What is the research goal?
The goal is to determine how the film succeeds or fails in capturing the essence of the novel, particularly concerning the challenges of adapting non-visual, olfactory descriptions into a visual medium.
Which methodology is used?
The author employs a comparative media analysis, combining film-philosophical perspectives with literary analysis of the original text to evaluate the adaptation process.
What does the main part cover?
The main section covers the narration style, the representation of fragrances, the characterization of Grenouille, and the structural differences in the plot and the final scenes.
Which keywords characterize the work?
The work is characterized by terms such as Perfume, Adaptation, Intermediality, Sensory perception, and Character analysis.
How is the protagonist different in the film versus the book?
While the book depicts Grenouille as a largely inhuman, monstrous figure, the film grants him a more "human" appearance and history, making him a more tragic, understandable character to the audience.
How does the film address the challenge of filming "smell"?
The film utilizes camera movements (tracking shots, close-ups), specific lighting, sound design, and narrative voice-over to create a sensory experience that approximates the reader's imagination from the novel.
- Arbeit zitieren
- Nadine Klein (Autor:in), 2007, Süskind's novel "Perfume" and its film adaptation, München, GRIN Verlag, https://www.grin.com/document/1216457
