This decision makes the special relationship between Hana and Caravaggio in the rest of the film hard to understand.
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Apparently, we're neighbors - my house is two blocks from yours in Montreal. She said I should stop and see if you were alright. 5 As Simpson puts it, "the advent of the nuclear age, blasting nations and people on all points of t (.)ģCinematic licence may be involved in turning Hana and Caravaggio into strangers, and then make up for it in an awkward introduction: "CARAVAGGIO:'I met your friend Mary.4 There is no doubt at all in the film that the Patient is Almásy - as there is in the book (Pesch 1 (.).
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A scene that is logical, coherent, and poetic in the novel has here been adapted into confused scenes that quote action cinéma and its stereotypes. In the novel, the pilot "is flying a rotted plane, the canvas sheetings on the wing ripping open in the speed" (EP: 175), and crashes into the middle of nowhere, where Beduins are the only ones likely to find him. If this is so, why is the burnt man picked up by beduin tribesmen? The logic of the scene has been sacrificed for a cinematic effect. This is absurd: a plane shot down would immediately be inspected by the antiaircraft gunners, especially if there was a parachute. A few scenes situated in Italy are cut in before we return to the desert: "THE PILOT HAS BEEN RESCUED BY BEDUIN TRIBESMEN" (EP-SP: 6). 2 Their plane is shot down by a German anti-aircraft gun (EP-SP: 4) in a most dramatic opening scene which contrasts the peaceful lightness of flight (and song) with the horror of war and gunfire. 3 The critique of the geographer and Sahara specialist Stefan Kröpelin is much more down to earth: h (.)ĢThe film begins with a magic flight over the desert of a woman and a pilot (EP-SP: 3).2 Special thanks to Patrick Hilt (Universität Frankfurt/M.) on a research scholarship in Toronto in (.).This necessitates an occasional re-reading of Ondaatje's novel as well as critical reactions to it. What is intended here is a critical reading of Anthony Minghella's grandiose film in search of patterns of transformation and strategies of adaptation. 1 Any attempt at a line-by-line comparison and critique of an adaptation does not make much sense, for it would be asking the film to do what the novel has done already, almost like Borges 'ideal' translator of Don Quixote (see Bassnett 1997). To expect fidelity of a film to the novel on which it is based is as absurd as expecting a faithful translation-faithful to what standard? imposed by whom? (McFarlane 1996: 8-10). If that starting-point is a complex work of art, the transformation cannot but change, alter, adapt that work into something it is not, and this fact has long since been accepted in film studies (Beja 1979: 80-88). Nonetheless, by necessity any writer of screenplays will treat the work of fiction on which his idea is based as a starting-point for a new creation. 1 Ondaatje agrees in his comments on the screenplay (EP-SP: xv-xvi).ġTranslating a novel into film may not be what Oscar Wilde had in mind.Bill Morey as General of the Army George C.JSTOR ( May 2019) ( Learn how and when to remove this template message)Įnola Gay: The Men, the Mission, the Atomic BombĮnola Gay: The Men, The Mission, The Atomic Bomb is a 1980 American made-for-television historical drama film about the B-29 mission that dropped the atomic bomb on Hiroshima, Japan at the end of World War II.Unsourced material may be challenged and removed.įind sources: "Enola Gay: The Men, the Mission, the Atomic Bomb" – news Please help improve this article by adding citations to reliable sources.
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