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• W130136271 abstract "When critics want to argue against film adaptation they almost universally turn to lira) -)Martin Ritt's 1959 film version of William Faulkner's 1929 novel, Sound and the Fun. Reading this criticism could lead one to conclude that Sound and the Fury is one of the worst adaptations ever made. For example, in a book purporting to defend the process of film adaptation, Joy Gould Boyum argues that the flaws of many films, nothing to do with those of the reductio ad absurdum adaptations of the old days: with the likes, that is, of the Hollywood War and Peace, of Martin Ritt's Sound and the Fury, of Vincente Minnelli's Madame Bovary (21). Faulkner critics in particular have savaged the Ritt film, calling it ludicrous and inept; its relationship to the original novel has been theorized as a mangling, an emasculation, and a betrayal. l I ought to come right out and state the heresy now: I believe Martin Ritt's Sound and the Fun is every bit as important to film and literary criticism as Faulkner's original. However, attention to this potential importance was precluded when a modernist orthodoxy asserted itself during the early Cold War years and produced a monolithic vision of Faulkner's novel. In the wake of this critical canonization, Martin Ritt produced a ludicrous melodramatic version which toppled most of the sacred aspects of the text as emphasized by these modernist critics. modernist orthodoxy persisted within Faulkner studies until roughly the end of the Cold War. At this time, a number of feminist revisionist critics began to revisit Faulkner's novel and question the assumptions about gender made by the modernists. Surprisingly, there is a relationship between the work of these feminist critics and the melodramatic strategies of Ritt's film, produced some thirty years previously: Both activate Sound and the Fury as a text seeking to give voice to its female characters, an interpretive path denied by the Cold War modernist criticism. Adaptation critic Neil Sinyard focuses attention on film's potential literary critical function. In Filming Literature: Art of Screen Adaptation, Sinyard argues that film adaptation at its best involves a practice akin to literary criticism: The best adaptations of books for film can often best be approached as an activity of literary criticism, not a pictorialisation of the complete novel, but a critical essay which stresses what it sees as the main theme. Like a critical essay, the film adaptation selects some episodes, excludes others, offers preferred alternatives ( 117). film version of Sound and the Fur stresses the melodramatic nature of the mother-daughter relationship, eschewing the novel's modernist investigation of brother-sister relationships. My vision of Ritt's Sound and the Fun= pushes Sinyard's theoretical approach to adaptation one step further. Sound and the Fun is what I elsewhere label a deconstructive adaptation.2 By this, I mean a film which, contrary to the canonical interpretation of a novel, takes a different interpretive path in producing its adaptive strategy. I am particularly interested in films which rework modernist novels into melodramatic film narratives.3 Often times, this does not necessarily involve the complete reinvention of the source, as often the novel's own melodramatic codes have merely been excised from our understandings by a dogmatic modernist criticism. Faulkner's novel is a story of the decline of the Compsons, a once-great Southern family. This decline is representationally carried on the back of the Compson daughter, Caddy. novel positions her sexual immorality as the ultimate cause of the family's ill-fortunes. novel is told from the point of view of four narrators: Benjy, Caddy's mentally-handicapped brother; Quentin, Caddy's suicidal brother; Jason, Caddy's scheming brother; and a fourth quasi-objective narrator from outside the diegesis. …" @default.
• W130136271 created "2016-06-24" @default.
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• W130136271 date "1999-01-01" @default.
• W130136271 modified "2023-09-24" @default.
• W130136271 title "Signifying Nothing?: Martin Ritt's The Sound and the Fury (1959) as Deconstructive Adaptation" @default.
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