Adaptation Analysis: Graham Greene’s and Neil Jordan’s The End of the Affair

My film adaptation series continues on my Cinematic Syntax with an examination of Graham Greene’s The End of The Affair and Neil Jordan’s adaptation. Surprisingly, this is the first novel I have written an adaptation analysis on and I am not disappointed with the novel chosen. For useful information, I use John Desmond’s chapter on “The Novel” in his book (Adaptation: Studying Film and Literature) throughout the piece, and make it clear that it is necessary to cut when adapting a novel because of the sheer amount of content. A film sticks to an average run-time of two hours, give or take, so it cannot fully contain the immensity of a novel. Without further delay, here is The End of the Affair.

The adaptation of Graham Greene’s The End of The Affair successfully portrays the story’s general themes. Some themes in both versions are the struggles with religious belief and unbelief, the effect of the miraculous, the power of love, and marriage as safety. In an interesting move, director Neil Jordan omits Greene’s references to love and hate inextricably tied as two sides of the same coin. Although the film opens: “this is a diary of hate,” which is truncated compared to Bendrix, who is the main character, and his constant rumination: “So this is a record of hate far more of love…” (1) it does not seem to connect love and hate as much as Greene’s original.  In contrast to the original, the film’s ending is reordered with scenes that occur earlier in the novel. Although Jordan keeps Bendrix as a writer in the film, Greene’s novel solidifies the writer’s process, lifestyle, and routine. Greene’s reference to many aspects of writing seems to be his personal meditation on the profession. However, for Jordan’s he chose to visually emphasize the style and sounds associated with his character’s trade (typewriter, zooming into a sheet of paper, and clicking). One of the most notable choices for the novel is its use of the temporal. Greene cleverly switches between different stages of WW2— all shown through various stages of an affair. To comment on this, Jordan uses cinematic techniques to interrupt the present with flashbacks of the past. 

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Spangler’s From Sentence to Screen: Interview With the Vampire

Interview with the Vampire is a 1994 American gothic horror film directed by Neil Jordan and stars Brad Pitt, Tom Cruise and, Kirsten Dunst. The movie is based on the 1976 novel of the same name by Anne Rice. The movie starts in present-day San Francisco California where the main character, Louis de Pointe du Luc (Pitt), is being interviewed by a reporter Daniel Molloy (Christian Slater) at nighttime. Louis claims to be a vampire but Daniel does not believe him, until Louis starts telling his story. The vampire’s story starts in 1791 Louisiana after the death of his wife in childbirth, which has thrown him into a deep depression , making him want to die. One night while drunk he is attacked by the vampire Lestat de Lioncourt (Cruise), who sees Louis’s dissatisfaction with life and gives him the choice to become a vampire. Louis accepts but soon comes to regret his decision when he finds out that he must kill humans to survive. Instead, Louis chooses to drink on animal blood. Lestat persistently attempts to make Louis feed on humans, which causes them to get into a fight. After their altercation, Louis starts to aimlessly walking the streets of New Orleans intending to leave Lestat. During this he discovers a young girl named Claudia (Dunst) whose mother has died of the plague, and being unable to resist anymore he feeds on  her almost to the point of death. Lestat finds Louis doing this which causes the younger vampire to run away in shame, but seeing the effect on Louis, Lestat takes Claudia back to their home and turns her into a vampire. He tells Louis she is their daughter now and therefore can not leave them, so the three live together for many years until Claudia begins to realize that she will never age. This makes her curious of vampirism and resentful of Lestat for changing her, which sets in motion a number of events including multiple attempts to kill Lestat, as well as Claudia and Louis’s travels in Europe. The whole time the story is being told the audience is also seeing bits of the present with Louis and Daniel, who is slowly starting to believe that the man is truly a vampire. In this blog post I will be looking at how the filmmakers changed the character of Louis and certain parts of the story.

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