RCL NiveauC1 U3 Littérature et cinéma

Summary

Thierry Frémaux discusses the complexities of adapting literature to film, arguing that cinema and literature are distinct forms of expression. He highlights Sergio Leone's 'Once Upon a Time in America' as a successful interpretation of Proust's themes, while noting that certain literary works, like Céline's 'Voyage au bout de la nuit,' resist adaptation due to their intrinsic literary nature. Frémaux also touches on the challenges of adapting Malraux's 'La Condition Humaine' and reflects on Orson Welles' serendipitous creation of 'The Lady from Shanghai,' emphasizing the difference between literary merit and cinematic achievement.

Takeaways

• 📚 The best literary adaptations often diverge from the source material, as cinema and literature are different languages.
• 🎥 Thierry Frémaux believes that Sergio Leone's 'Once Upon a Time in America' is the best adaptation of Proust's work.
• ⏳ Adapting Proust's 'In Search of Lost Time' is particularly challenging due to its complex flow of words and extensive volumes.
• 🎬 Raoul Ruiz's film was mentioned but deemed less relevant compared to Leone's approach.
• ❓ Costa-Gavras notes that there isn't a perfect film adaptation of a great literary work.
• 📖 Céline's 'Journey to the End of the Night' is a prime example of a literary work that is nearly impossible to adapt into film.
• 🎭 The cinematic adaptation of Malraux's 'The Human Condition' is more feasible due to its narrative structure.
• 🌪️ 'Gone with the Wind' serves as an example of a commercially successful film that isn't based on a critically acclaimed literary work.
• 📖 Not all bestsellers translate into significant literary achievements, yet some make excellent films.
• 🎩 Orson Welles' anecdote about adapting 'The Lady from Shanghai' demonstrates the creative process behind cinematic adaptations.

Q & A

What does Thierry Frémaux suggest about literary adaptations in cinema?

Frémaux argues that a good adaptation often involves a level of betrayal of the original text, as cinema and literature are fundamentally different languages.

Which film does Frémaux cite as the best adaptation of Proust's work?

Frémaux claims that Sergio Leone's 'Once Upon a Time in America' is the best adaptation of Proust, highlighting its exploration of time and the nature of memory.

Why does Frémaux find it difficult to adapt 'In Search of Lost Time' into a film?

He believes capturing the flow and depth of Proust's extensive prose in a visual format is nearly impossible due to its complex structure and literary style.

What examples does Frémaux provide of literary works that are hard to adapt into films?

He mentions Céline's 'Journey to the End of the Night' and Malraux's 'Man's Fate' as examples of pure literary works that resist adaptation.

What specific aspect of 'Man's Fate' did American director Michael Cimino attempt to adapt?

Cimino had ambitions to adapt 'Man's Fate,' but he struggled to bring the project to fruition despite its fascinating storyline.

How does Frémaux characterize the adaptation of 'Gone with the Wind'?

He views it as more of a producer's project than a filmmaker's vision, suggesting that it was driven by David O. Selznick's ambition to create a cinematic equivalent of Margaret Mitchell's novel.

What does Frémaux imply about the relationship between the quality of a book and its film adaptation?

He points out that sometimes films derived from best-selling books that may not be considered great literature can still be excellent films.

Can you provide an example of Orson Welles' adaptation work mentioned in the transcript?

Frémaux shares a story about Welles, who supposedly developed the script for 'The Lady from Shanghai' on the spot after seeing the book title in a bookstore, demonstrating his spontaneous creativity.

What does Frémaux mean by saying that adaptations must not seek to be literal?

He suggests that successful adaptations should instead aim to capture the essence and themes of the original work rather than attempting to replicate it verbatim.

How does Frémaux view the challenge of adapting complex literary works?

He acknowledges that translating complex literature into film is challenging due to the differences in narrative style, structure, and the nature of both mediums.