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• W285113471 abstract "How oddly fitting that Harold Pinter, of all people, should have written a screenplay based on Proust's A la recherche du temps perdu. I am not referring now Pinter's proven ability and considerable experience as a screenwriter nor the fact that some of his stage plays have been filmed. 1 Rather what seems fitting is that Pinter, a noted practitioner of the Theater of the Absurd, should have undertaken such an apparently absurd task. One obvious problem is the novel's length, over 3,000 closely packed pages in the Pleiade edition. Yet successful films have been made from long novels-Grapes of Wrath, for example (though the book's 600 or so pages make it seem a mere novella alongside Proust's work). Everyone points John Ford's version as proof that famous novels can be turned into fine films. In this case, the film is better than the book, largely because Ford is a finer artist than Steinbeck, an advantage Pinter surely does not have over Proust. Moreover, this film only gains from its necessary compression of its source. Ford and Nunnally Johnson, who wrote the screenplay, managed leave out most of the book's phony, fulsome, folksy philosophizing, its Oakie trancendentalism-easily excisable because concentrated chiefly in the non-narrative interchapters. That Steinbeck's novel is in fact a traditional narrative, concerned with the linear and epic portrayal of a series of outward events, makes it inherently easier translate the screen than Proust's complex and daedal masterpiece, concerned ultimately with the examination of inner states, in relation which the objective incidents are, in a sense, subordinate, merely grist the mental mill. To retain the key incidents and dialogue of Proust's novel and leave out most of the rest would ,one would think, inevitably maim any film adaptation. But this is what Pinter has done in condensing those 3,000 pages into a script from which a film could be made lasting at most a few hours. Pinter has entirely left out the role and the musings of the novel's narrator, Marcel- a considerable omission indeed. Marcel appears in the screenplay only as the central character and not as the first-person source and end of everything that happens, which is what the narrator is in the book. What led Pinter adopt such tactics? What is he up here? In his Introduction The Proust Screenplay, Pinter admits he was at first baffled as how approach a task of such magnitude. He was certain, however, that it would be wrong attempt make a film centered around one or two volumes- La Prisonniere or Sodome et Gomorrhe, for example. If the thing was be done at all, one would have try distill the whole work, incorporate the major themes of the book into an integrated whole. Pinter, with his collaborators Joseph Losey and Barbara Bray, then decided that the architecture of the film should be based on two main and contrasting principles: one, a movement, chiefly narrative, toward disillusion, and the other, more intermittent, toward revelation, rising where time that was lost is found, and fixed forever in art. Pinter also tells us he wanted convey somehow the novel's unique structural circularity. Marcel's final revelation leads his determination render his experience in a of art- which, we suddenly realize at this point, is the novel we have just read. The end leads the beginning and, in a sense, contains the entire novel, including the end itself. As Pinter declares, Somehow this remarkable conception had be found again in another form. We knew we could in no sense rival the work. But could we be true it?2 For the most part, not only Pinter's strategies for being true the but also the basic differences between script and novel involve matters of narrative point of view, structure and style. And as we shall see, Pinter attempts render Marcel's subjectivity through specifically cinematic means, and to distill the whole work by substituting filmic rapidity, ellipsis and compression for the novel's discursiveness, elaboration and expansion. …" @default.
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• W285113471 date "1982-01-01" @default.
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• W285113471 title "The Proust Screenplay: Temps Perdu for Harold Pinter?" @default.
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