This TV movie is the second part of the season of classic 20th-century literature series launched by the BBC. The other three are the lover of Mrs. Chatterley, The Go-between, Cider with Rosie. It hasn't been finished yet, and it is boldly predicted that this drama will be the most acclaimed drama among the four. Although I watch dramas nowadays more critically, I pay attention to what the characters in the background are doing when the protagonist speaks. This drama is also very good at this point. The facial micro-expression and small body movements of each character are almost impeccable. In addition to the three old drama bones, the performances of a few young actors have also won my heart, especially my daughter. I like the Scottish literary film Shell, which she starred in before, but it is a boring film and the plot lines are very simple; this The emotional changes of the characters in the ministry are more abundant, only to realize that this girl has good performance. There are also actors from Eva, who can see that the play is very wide.
Screenwriter Helen Edmundson is a screenwriter who has won many awards, and I really like the changes she made in this edition. I haven't read other versions of the adaptations, and here is only a specific comparison with the original.
The first is that the lines have been streamlined a lot, and the whole play appears to be smoother. This is of course partly due to the natural advantages of film and television works over stage plays. Many plots can be directly shown to the audience on the screen, without the need for dictation by the role. In addition, cut off the extra dialogue, the plot point ends, no more explanation. It is implicit, but the audience can understand it at a glance. For example, Gerald reacted immediately when the pseudonym Daisy Renton was mentioned. Sheila discovered his anomaly and guessed what happened, and then cut to the topic after a few arguments. The original work is like this:
GERALD (pulling himself together) D'you mind if I give myself a drink, Sheila?
SHEILA merely nods, still staring at him, and he goes across to the tantalus on the sideboard for a whisky.
INSPECTOR Where is your father, Miss Birling?
SHEILA He went into the drawing-room, to tell my mother what was happening here. Eric, take the Inspector along to the drawing-room.
As ERIC moves, the INSPECTOR looks from SHEILA to GERALD, then goes out with ERIC.
Well, Gerald?
GERALD (trying to smile) Well what, Sheila?
SHEILA How did you come to know this girl — Eva Smith?
GERALD I didn't.
SHEILA Daisy Renton then — it's the same thing.
GERALD Why should I have known her?
SHEILA Oh don't be stupid. We haven't much time. You gave yourself away as soon as he mentioned her other name.
GERALD All right. I knew her. Let's leave it at that.
SHEILA We can't leave it at that.
GERALD (approaching her) Now listen, darling —
SHEILA No, that's no use. You not only knew her but you knew her very well. Otherwise, you wouldn't look so guilty about it. When did you first get to know her?
He does not reply.
Was it after she left Milwards? When she changed her name, as he said, and began to lead a different sort of life? were you seeing her last spring and summer, during that time when you hardly came near me and said you were so busy? were you?
after a brief debate continues to the end of the first act. In the second act, the mother-in-law joins and argues again and again. The first is to continue to explain how Gerald reveals his stuff, and the second is to persuade his mother not to struggle, and the supervisor is clear about their details. Compared with the few lines in the TV series, it seems a bit redundant. There are many similar changes, and I like the rhythm of this version better in comparison.
The biggest change in this edition is about the identity of Goole.
Related hints in the original work, one is the name Goole itself, which sounds the same as ghoul, meaning a ghost (derogatory); the other is his ability to predict the future. Therefore, there have been many interpretations of Goole's identity: ghosts, time travellers, gods, messengers of God, and so on.
The tendency of this edition is very obvious. It includes two dialogues about God at the beginning and the end, as well as Eva's unknown companionship before his death. The Birling family even discussed the name Goold, which is completely in the original work. There is no plot (the screenwriter is also daring. After all, this topic is easy to step on the minefield of some people. Maybe it even brings up contradictory topics like predestination vs. free will that most people can’t understand.) These adaptations are compared with the original. There is no difference between good and bad, but I personally prefer this setting and feel it makes sense. And the prophecies of blood, fire and anguish, like the coming battlefield of gunpowder, are more reminiscent of the hell fire in the apocalypse.
The misfortune of an individual is not necessarily due to sin; human beings as a whole should be able to accept the sentence of self-inflicted crime.
It's a pity that Goole's questioning of the Birling family did not bring much change after all. It turned out that what made them tremble was not the realization that they were actually related to this tragedy, but the scandal that broke their career and wealth. Once they found that fame was not threatening, they immediately breathed a sigh of relief and continued to talk and laugh. Yes, you are dead or alive, I didn't break the law anyway. After all, I only paid a little bit lower for driving. If you like to do it, you can do it or not. It is only natural for me to lead the resistance and be fired. I just act according to the rules. Whoever asks you to use such a mother’s reason, dare to take it. With my name, it is understandable for me to use the right to speak a little bit; I just took care of you on a whim for two or three months, it is you who want to go, and I have given you a living allowance for several months. People say that the ignorant are fearless, but this group of people is a vivid portrayal of "I don't know the destiny but are not afraid."
As for the younger generation, even though the son has the intention of repentance, the phrase "I'm going to find her" came too late too late. And the daughter's no longer arrogant attitude towards the maid may indicate that she really wants to change, but as a woman, what can she do?
Unfortunately, on the night Eva decided to give up, she never knew that there was a figure silently guarding her window, with a pair of eyes seeing all her misfortunes, and a pair of hands gently comforting her cold body. With such a compassionate and sad look, every time I see it, I burst into tears.
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