Contents

Chapters in this book

1. Frontmatter i
2. Contents v
3. Preface xi
4. Acknowledgments xxiii
5. Introduction: André Bazin’s Position in Cinema’s Literary Imagination 1
6. Part One. Adaptation in Theory
7. Introduction 45
8. 1. Preview: A Postwar Renewal of Novel and Cinema 51
9. 2. André Malraux, Espoir, or Style in Cinema 52
10. 3. Cinema as Digest 67
11. 4. Critical Stance: Defense of Adaptation 81
12. 5. Cinema and Novel 83
13. 6. Literature, is it a Trap for Cinema? 89
14. 7. A Question on the Baccalaureate Exam: The Film-Novel Problem 95
15. 8. Lamartine, Jocelyn: Should you Scrupulously Adapt such a Poem? 100
16. 9. Roger Leenhardt has Filmed a Novel he never Wrote 106
17. 10. Alexandre Astruc’s Les Mauvaises Rencontres (Bad Liaisons): Better than a Novel 112
18. 11. Colette, Le Blé en herbe: Uncertain Fidelity 115
19. 12. Rereading Stendhal’s Le Rouge et le Noir (The Red and the Black) through a Camera Lens 126
20. 13. Of Novels and Films: M. Ripois with or without Nemesis 132
21. 14. Stendhal’s Mina de Vanghel, Captured beyond Fidelity 147
22. 15. Mina de Vanghel: More Stendhalian than Stendhal 152
23. Part Two. Adapting Contemporary Fiction
24. Introduction 159
25. A. Best Sellers from Abroad
26. 16. On William Saroyan’s The Human Comedy 165
27. 17. Billy Wilder, The Lost Weekend 175
28. 18. Hollywood Can Translate Faulkner, Hemingway, and Caldwell 179
29. 19. John Ford, How Green Was My Valley 182
30. 20. John Ford, The Grapes of Wrath, from Steinbeck 185
31. 21. John Ford, Tobacco Road, from Erskine Caldwell 188
32. 22. Theodore Dreiser’s An American Tragedy becomes A Place in the Sun 190
33. 23. D. H. Lawrence, Lady Chatterley’s Lover 192
34. 24. Has Hemingway influenced Cinema? 195
35. 25. Ernest Hemingway, The Snows of Kilimanjaro 198
36. 26. Ernest Hemingway, A Farewell to Arms 201
37. 27. Graham Greene’s The Power and the Glory becomes John Ford’s The Fugitive 205
38. 28. Graham Greene, Brighton Rock 207
39. 29. Graham Greene and Carol Reed, The Fallen Idol 209
40. 30. Graham Greene, The Heart of the Matter 211
41. 31. Joseph Conrad, Outcast of the Islands, filmed by Carol Reed 214
42. 32. Arthur Miller’s The Crucible and Nikos Kazantzakis’ He Who Must Die are now Two Great French Films 216
43. 33. Franz Kafka on Screen: Clouzot’s Les Espions (The Spies) 219
44. B. Fiction from France
45. 34. Avec André Gide, by Marc Allégret 227
46. 35. The Universe of Marcel Aymé on Screen: La Belle Image 234
47. 36. Colette, Le Blé en herbe: The Ripening Seed . . . has Matured! 236
48. 37. Marguerite Duras, Barrage contre la Pacifique, adapted by René Clément 240
49. 38. Françoise Sagan, Bonjour Tristesse, adapted by Otto Preminger 244
50. Part Three. Adapting the Classics
51. Introduction 249
52. A. The Nineteenth-Century Novel from Abroad
53. 39. Charlotte Brontë, Jane Eyre 255
54. 40. Charles Dickens, Oliver Twist 259
55. 41. Nikolai Gogol, The Overcoat 261
56. 42. Herman Melville, Moby Dick 264
57. 43. Stephen Crane, The Red Badge of Courage 268
58. 44. Leo Tolstoy, Anna Karenina 271
59. 45. Fyodor Dostoevsky, The Brothers Karamazov 273
60. 46. Dostoevsky, Crime and Punishment, alongside Tolstoy, War and Peace 275
61. B. French Classics on the French Screen
62. 47. Abbé Prévost, Manon Lescaut, adapted by Clouzot 279
63. 48. Honoré de Balzac, Eugénie Grandet 284
64. 49. Stendhal, La Chartreuse de Parme (The Charterhouse of Parma) 285
65. 50. Le Rouge et le Noir (The Red and the Black): Tastes and Colors 287
66. 51. Victor Hugo, Les Misérables 290
67. 52. Victor Hugo, Notre-Dame de Paris, alongside Jules Verne, Michel Strogoff 293
68. 53. Zola and Cinema: Pour une nuit d’amour (For a Night of Love) 297
69. 54. Émile Zola, Thérèse Raquin, adapted by Marcel Carné 299
70. 55. Émile Zola’s La Bête humaine becomes Fritz Lang’s Human Desire 305
71. 56. Émile Zola’s L’Assommoir becomes René Clément’s Gervaise 308
72. 57. Guy de Maupassant, Une vie (A Life), adapted by Alexandre Astruc 312
73. 58. Maupassant Stories adapted by Max Ophüls: Le Plaisir 316
74. 59. Maupassant Stories adapted by André Michel: Trois femmes 319
75. 60. French Cinema faces Literature 324
76. Addendum. Two Long Essays on Adaptation, translated by Hugh Gray
77. Introduction 327
78. 61. Journal d’un curé de campagne and the Stylistics of Robert Bresson 331
79. 62. In Defense of Mixed Cinema 354
80. Appendix: Chronological List of Articles 381
81. Index of Films 385
82. Index of Names 397
83. Index of Topics and Concepts 405