Notion: Myths & Heroes
Topic: Myths & Heroes in American Cinema: Screening American Novels.
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Documents étudiés / sources :
Forrest Gump (film) - directed by Robert Zemeckis (1994). Forrest Gump (novel) - written by Winston Groom (1984). Jurassic Park (film) - directed by Steven Spielberg (1993). Jurassic Park (novel) - written by Michael Crichton (1990). Mystic River (film) - directed by Clint Eastwood (2003). Mystic River (novel) - written by Dennis Lehane (2001). Capote (film) - directed by Bennett Miller (2005) In Cold Blood (novel) - written by Truman Capote (1965) |
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1- 'Forrest Gump'
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“Run Forrest!” (rédigée par les Terminales L1)
This is the story about Forrest Gump who is a 'slow man' (not to say stupid) with a very interesting life. This book was adapted and put on screen by Robert Zemeckis starring Tom Hanks as Forrest Gump. Both the book and the film begin with the same sentence “life is like a box of chocolates , you never know what you gonna get “. In his life he went to a nut school where he met his friend Jenny (who became his kind of girlfriend), he played football at college, he joined the army, he was awarded by the president and he became a celebrity across the US. What is striking is that the book is written just like the way he speaks with plenty of mistakes. |
Télécharger l'extrait du roman étudié en cours:
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2 - Jurassic Park
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Extrait N°1: 'Welcome to Jurassic Park'.
Michael Crichton’s book is entitled Jurassic Park and was adapted by Steven Spielberg - one of the biggest cineaste of all time. However some changes needed to be done to make it more attractive on screen. One of the most striking examples is the old crude hand-painted sign reading “Welcome to Jurassic Park” which was replaced by a line uttered by the owner of the theme park. A soundtrack can be heard in the background with an ascending rhythm reaching its climax when the scene comes to an end. Unfortunately, the actor playing Grant shows a pretty bad actor’s performance. He’s overreacting when he discovers the dinosaurs and it undermines the dramatic effect on the audience. Something else can be noticed as well: the characters need to speak to themselves since we can’t hear their internal thoughts. |
Télécharger l'extrait du roman étudié en cours:
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Extrait N°2: 'DNA Extraction: How Did They Bring Dinosaurs Back to Earth?'
The challenge here resides in the fact that the director needs to explain a very complicated scientific concept and put it on-screen. In the novel, we can read a rather boring dialogue between two scientists. The theory is far-fetched and difficult to grasp because of the numerous scientific terms. In the movie, however, Spielberg turned this passage into something more ‘childish’ and attractive for a larger audience. He transformed the dialogue into a short animation film to illustrate the explanations. It is more understandable for everybody. |
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Extrait N°3: 'Nedry's Plan Goes Awry'
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3- Mystic River
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Trailer
Mystic River: The Plot We’ve just seen the trailer of Mystic River by Clint Eastwood in which hints are given to the audience about the plot. It deals with a murder case: the main character played by Sean Penn found out his daughter has been killed. It turns out that the cop in charge of the investigation has been friend with the main character since childhood. It’s not only the both of them but a third person is also involved. The three of them are friends which make the case even more complicated. Indeed, Dave looks suspicious because on Saturday night – the night when the girl was killed- he came back home with blood on his hands. Since that day his wife has seemed afraid of him. |
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The Opening Scene
We’ve just seen an extract of Mystic River after reading the novel version of it. This is actually the opening scene. We saw that the kids were playing hockey in the street together when two cops pulled over and started talking to them. We assume that they were policemen because they were wearing a gold badge and a suit. In the novel, the kids were fighting while in the movie they were writing their names on the fresh sidewalk (pavement). One of the kids seemed tougher than the others (Jimmy) and Dave looked fragile and weak. The cop was scanning the neighborhood to make sure no one was witnessing the scene. Dave was about to burst into tears when he was told that he would be taken back home. We begin to have doubts regarding the two police officers when we hear them swear and be rude. Indeed, they looked rather threatening and specially the one in the car with his Christian ring and the crooked grin on his face. Their car was full of trash (garbage). Eventually, we understand that Dave was being kidnapped with his two friends looking at him driving away. |
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The Police Investigation
In this extract we’ve seen that the two cops are leading a police interview with Dave who is suspected of Katie’s murder. The police stole Dave’s car and pretended it was jacked by kids. They looked inside and found two different types of blood. The blood in the front seat is B- and matches with Dave. Nonetheless, the blood in the trunk (boot) matches with Katie. Dave said he was playing wiffle ball (baseball) with his son in the backyard. The ball was thrown in the other side of the fence, so he climbed it and sliced himself. A moment later, he had to pick up / collect / fetch his other son at school and so he must have left blood on the seat. However, the police officers cannot prove it because Dave recalls / reminds them that the car wasn’t in his possession. |
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4- In Cold Blood / Truman Capote
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Vous trouverez ci-dessous trois fichiers téléchargeables:
1) Le texte étudié en cours. (Il s'agit du premier chapitre, première page). 2) Les questions qui portent sur cet extrait. 3) La correction de ces questions.
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5- Lolita - Vladimir Nabokov
Chapter 1 & 3 : Introduction
Kubrick’s version
Kubrick’s version of Lolita is known for being quite tame and with almost no sexual innuendos at all. The first thing the audience might notice when they watch the film adaptation by Kubrick is the lack of details about Humber Humbert’s past and background. In the book, the very first chapters give us information about his background and the loss of his beloved Anabelle when he was a teenager back in France. All this background is cut out in Kubrick’s film which immediately starts at the end (with the murder of Quilty).
Nabokov spends close to 50 pages detailing the background of Humbert’s life. He delves deep into his mind. The content of this part of the novel is impossible to recreate on a film. Nabokov’s book is also fairly renowned for its beautiful prose style. The rhythm and flow of the book is song-like and the reader becomes fully immersed in Humbert’s mind. Moreover, in the book Nabokov addresses the readers as if they were members of a jury. He is pleading guilty and defending his case. Hence the beautiful - but convoluted - writing style that the narrator employs in order to embellish the story and coax the reader into understanding him. The psychological aspect of the first chapters as well as the very special writing style are impossible to recreate on a film. Therefore, Kubrick has to move the film into another direction. Kubrick is aware that he must seize and hold the audience’s attention and to do so he starts with the most action pack scene of the text (Humbert murdering Quilty), albeit at a slow pace.
In the novel, long before Lolita shows up, we are well acquainted with Humbert and when she appears the reader knows that he will be tempted. In Kubrick’s movie there is only a hint of foreshadowing of what may come. Indeed, when Humbert shows up at Quilty’s house to murder him he refers to Lolia but the audience doesn’t know who this Lolita is. If we haven’t read the book, we might imagine that she is a girlfriend or his daughter but we certainly would not assume that she used to be his 12-year-old lover. In Kubrick’s film the audience is left in suspense as to what will happen between this Lolita and Humbert. Kubrick hides Humber’s liking – sexual, emotional, and intellectual – from the audience. On the contrary, Nabokov ushers the readers into Humbert’s mind.
One of Nabokov’s great talents as a writer was his elegant and very bright in colour writing style. The novel thoroughly describes the beauty of the American landscape with its grassy backyards and tree lined suburban streets. However, Kubrick’s motion picture was entirely filmed in England due to difficulty with censorship and production at the time. As a consequence almost all the action that takes place outside must take place inside in the film.
Kubrick’s version of Lolita is known for being quite tame and with almost no sexual innuendos at all. The first thing the audience might notice when they watch the film adaptation by Kubrick is the lack of details about Humber Humbert’s past and background. In the book, the very first chapters give us information about his background and the loss of his beloved Anabelle when he was a teenager back in France. All this background is cut out in Kubrick’s film which immediately starts at the end (with the murder of Quilty).
Nabokov spends close to 50 pages detailing the background of Humbert’s life. He delves deep into his mind. The content of this part of the novel is impossible to recreate on a film. Nabokov’s book is also fairly renowned for its beautiful prose style. The rhythm and flow of the book is song-like and the reader becomes fully immersed in Humbert’s mind. Moreover, in the book Nabokov addresses the readers as if they were members of a jury. He is pleading guilty and defending his case. Hence the beautiful - but convoluted - writing style that the narrator employs in order to embellish the story and coax the reader into understanding him. The psychological aspect of the first chapters as well as the very special writing style are impossible to recreate on a film. Therefore, Kubrick has to move the film into another direction. Kubrick is aware that he must seize and hold the audience’s attention and to do so he starts with the most action pack scene of the text (Humbert murdering Quilty), albeit at a slow pace.
In the novel, long before Lolita shows up, we are well acquainted with Humbert and when she appears the reader knows that he will be tempted. In Kubrick’s movie there is only a hint of foreshadowing of what may come. Indeed, when Humbert shows up at Quilty’s house to murder him he refers to Lolia but the audience doesn’t know who this Lolita is. If we haven’t read the book, we might imagine that she is a girlfriend or his daughter but we certainly would not assume that she used to be his 12-year-old lover. In Kubrick’s film the audience is left in suspense as to what will happen between this Lolita and Humbert. Kubrick hides Humber’s liking – sexual, emotional, and intellectual – from the audience. On the contrary, Nabokov ushers the readers into Humbert’s mind.
One of Nabokov’s great talents as a writer was his elegant and very bright in colour writing style. The novel thoroughly describes the beauty of the American landscape with its grassy backyards and tree lined suburban streets. However, Kubrick’s motion picture was entirely filmed in England due to difficulty with censorship and production at the time. As a consequence almost all the action that takes place outside must take place inside in the film.
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Adrian Lyne’s version:
Adrian Lyne’s film and the novel begin in much the same way. Humbert Humbert is offering his confession to whomever would like to hear it. Humber speaks affectionately about his obsession for Lolita. The film starts with the famous lines of chapter one: “Lolita, my sin, my soul…” This film adaptation is much more faithful to the original book. A lot more dialogue was directly lifted from the book and the film had more voiceovers (as if he was telling his story to the audience, recalling everything.) Adrian Lyne decided to keep Humbert-Humbert”s background at the very beginning of the film, just after the opening credits. Lyne’s adaptation kept Humbert’s childhood which is completely swept away in Kubrick’s version. The audience is given all this information by means of flashbacks. Furthermore, the soundtrack (piano) adds to the sad and melancholic effect of the scene.
Adrian Lyne’s film and the novel begin in much the same way. Humbert Humbert is offering his confession to whomever would like to hear it. Humber speaks affectionately about his obsession for Lolita. The film starts with the famous lines of chapter one: “Lolita, my sin, my soul…” This film adaptation is much more faithful to the original book. A lot more dialogue was directly lifted from the book and the film had more voiceovers (as if he was telling his story to the audience, recalling everything.) Adrian Lyne decided to keep Humbert-Humbert”s background at the very beginning of the film, just after the opening credits. Lyne’s adaptation kept Humbert’s childhood which is completely swept away in Kubrick’s version. The audience is given all this information by means of flashbacks. Furthermore, the soundtrack (piano) adds to the sad and melancholic effect of the scene.
Chapter 10 : The Garden Scene
The Text
Humbert Humbert arrived in the East coast of America and he’s looking for a place where he could live and settle – in a sleepy small town-. His uncle had just passed away. He was offered a place to stay at a relative’s, although he would never settle there because the house had burned down. We learn that he seems to be rather rich/ well-off/ affluent/ wealthy/ loaded: « With my new expensive bag » (l.12). As a consequence, Mrs Haze, a woman living in the vicinity of Ramsdale, offered to accommodate him.
Humbert is condescending: he talks about him with the third person pronoun and looks down on American people: « but being a polite European » (l.18), “old-world politeness […] obliged me” (l.48). He has a very high self-esteem and uses French words to show off/to brag and to appear elaborate/ refined/ sophisticated: « In lieu of » (l.21) “this nouvelle” (l.84) “au fond, ça m’est bien égal” (l.86).
He employs pejorative words/terms to describe Mrs Haze’s house: « horror » « dingy » « old » (l.20) “bedraggled magazines” (l.43) “rickety lamp tables” (l.44).
Humber Humbert thought that when he heard “Lo” it referred to the maid’s name (l.49). The extract is full of sexual innuendos “coyly” (l.52), “fondle” (l.11), “my aging ape eyes” (l.73), “my southbound mouth” (l.77). We understand that Humbert won’t be staying there because he thinks that the place is too gross (l.57) “reluctantly” (l.60). He is also being very ironic “the parlor we had already admired” (l.65).
When he sees Lolita for the first time in the garden, he is bewildered and shocked into silence. And then he is thinking about his first love Annabel and all his memories with rush back to his mind when his “glance slithered over the kneeling child” (l.69-71).
Humbert Humbert arrived in the East coast of America and he’s looking for a place where he could live and settle – in a sleepy small town-. His uncle had just passed away. He was offered a place to stay at a relative’s, although he would never settle there because the house had burned down. We learn that he seems to be rather rich/ well-off/ affluent/ wealthy/ loaded: « With my new expensive bag » (l.12). As a consequence, Mrs Haze, a woman living in the vicinity of Ramsdale, offered to accommodate him.
Humbert is condescending: he talks about him with the third person pronoun and looks down on American people: « but being a polite European » (l.18), “old-world politeness […] obliged me” (l.48). He has a very high self-esteem and uses French words to show off/to brag and to appear elaborate/ refined/ sophisticated: « In lieu of » (l.21) “this nouvelle” (l.84) “au fond, ça m’est bien égal” (l.86).
He employs pejorative words/terms to describe Mrs Haze’s house: « horror » « dingy » « old » (l.20) “bedraggled magazines” (l.43) “rickety lamp tables” (l.44).
Humber Humbert thought that when he heard “Lo” it referred to the maid’s name (l.49). The extract is full of sexual innuendos “coyly” (l.52), “fondle” (l.11), “my aging ape eyes” (l.73), “my southbound mouth” (l.77). We understand that Humbert won’t be staying there because he thinks that the place is too gross (l.57) “reluctantly” (l.60). He is also being very ironic “the parlor we had already admired” (l.65).
When he sees Lolita for the first time in the garden, he is bewildered and shocked into silence. And then he is thinking about his first love Annabel and all his memories with rush back to his mind when his “glance slithered over the kneeling child” (l.69-71).
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Vladimir Nabokov
Also known by the pen name Vladimir Sirin; 22 April 1899– 2 July 1977 was a Russian-American novelist and entomologist. His first nine novels were in Russian, but he achieved international prominence after he began writing English prose. Nabokov's Lolita (1955), his most noted novel in English, was ranked fourth in the list of the Modern Library 100 Best Novels; Pale Fire (1962) was ranked 53rd on the same list, and his memoir, Speak, Memory (1951), was listed eighth on the publisher's list of the 20th century's greatest nonfiction. He was a finalist for the National Book Award for Fiction seven times. |
The Film Adaptations
The Garden Scene – Lolia
Comparison – Film Analysis Studies
The Kubrick’s movie is rather different from the book even if the plot is exactly similar. The film focuses more on Lolita and not on Mrs Haze’s house and character. The most striking thing regards/ concerns the actress playing Lolita: she looks much older than what she is supposed to be in the novel (12 yo). Here in Kubrick’s film she’s at least 18 - otherwise the audience would have been way too shocked and uncomfortable/ uneasy/ ill-at-ease.
Plus, the dialogue differs from the original one and we’re not given Humbert’s thoughts.
In Adrian Lyne’s version, we’re given more study material. First the plot is very faithful and a voiceover ushers us into Humbert’s mind. The only slight difference is Mrs Haze’s house which is bigger and brighter. It’s definitely not dingy, albeit in mess. Mrs Haze is flirting with her gaze with Humbert and tries to chat him up « I myself cherish the French tongue ». Right from the start she mentions that she’s a widow.
Secondly, I’m gonna / going to focus on Lolita and the way she appears in the movie. First, she’s younger than Kubrick’s Lolita, albeit she’s definitely not 12. When the audience sees her for the first time, she’s depicted in a kind of sensual and erotic way: she’s laying on the ground with her soaked clothes on under a sprinkler. She’s also wearing white to symbolize her innocence and purity. Then, her face cannot be seen (hidden behind a bush) and so the audience might assume that she’s a young adult. However, as the camera shifts to the right, the audience discovers her juvenile body. When we see that she is wearing braces, it’s the straw that breaks the camel’s back: the audience feels then guilty of having imagined / imagining her in a sexual way when she’s just a little girl/ child.
Finally, in the scene, two colors (green and white) stand out and it serves two goals. First, those bright colors emphasize the magical aspect of the encounter. It’s like he was in heaven, on cloud nine or walking on air when his eyes slither onto Lolita. Then, the white colors remind us of Lolita’s innocent sides.
The Garden Scene – Lolia
Comparison – Film Analysis Studies
The Kubrick’s movie is rather different from the book even if the plot is exactly similar. The film focuses more on Lolita and not on Mrs Haze’s house and character. The most striking thing regards/ concerns the actress playing Lolita: she looks much older than what she is supposed to be in the novel (12 yo). Here in Kubrick’s film she’s at least 18 - otherwise the audience would have been way too shocked and uncomfortable/ uneasy/ ill-at-ease.
Plus, the dialogue differs from the original one and we’re not given Humbert’s thoughts.
In Adrian Lyne’s version, we’re given more study material. First the plot is very faithful and a voiceover ushers us into Humbert’s mind. The only slight difference is Mrs Haze’s house which is bigger and brighter. It’s definitely not dingy, albeit in mess. Mrs Haze is flirting with her gaze with Humbert and tries to chat him up « I myself cherish the French tongue ». Right from the start she mentions that she’s a widow.
Secondly, I’m gonna / going to focus on Lolita and the way she appears in the movie. First, she’s younger than Kubrick’s Lolita, albeit she’s definitely not 12. When the audience sees her for the first time, she’s depicted in a kind of sensual and erotic way: she’s laying on the ground with her soaked clothes on under a sprinkler. She’s also wearing white to symbolize her innocence and purity. Then, her face cannot be seen (hidden behind a bush) and so the audience might assume that she’s a young adult. However, as the camera shifts to the right, the audience discovers her juvenile body. When we see that she is wearing braces, it’s the straw that breaks the camel’s back: the audience feels then guilty of having imagined / imagining her in a sexual way when she’s just a little girl/ child.
Finally, in the scene, two colors (green and white) stand out and it serves two goals. First, those bright colors emphasize the magical aspect of the encounter. It’s like he was in heaven, on cloud nine or walking on air when his eyes slither onto Lolita. Then, the white colors remind us of Lolita’s innocent sides.
6- No Country for Old Men - McCarthy's novel & the Coen Brothers' Adaptation
Commentary / Analysis
« No country for old men » is a novel that leans towards what is called Weird-Western. It belongs to the subgenre of Gothic-Western. It is a cat and mouse thriller, in which a hillbilly stumbles across a suitcase full of banknotes/bills / notes. He will then be chased by one of the drug dealers.
When we read the extract, we notice that the main character has a southern American twang and he employs a rather colloquial language and even slang. This is exactly the case in the film adaptation.
Regarding the main character, Moss can be defined as a tough bloke, hard cookie or a hard nut to crack. He is the stereotype of the American cow-boy. His outfit thoroughly reminds the stereotype of the American cow-boy. The movie is also very faithful to this detail.
The landscape is lava scree stark desert, probably in Texas.
Those reddish colors are also shown in the setting location chosen by the director.
In the film, the characters hardly raise their voice and hardly evince outward emotions.
When he decides to take the money, a greed that will lead him into his doom, a thunderstorm strikes as to foreshadow that the worst is yet to come.
“No country for old men” is a tight adaptation for there isn’t much variation between the motion picture and the book. It seems like each scene and every line is directly lifted from McCarthy’s book. And indeed, this is why the movie won/was awarded (with) the Oscar of best adapted screenplay.
Definition of Weird Western:
A literary genre that combines elements of the western with another genre usually Science-Fiction, Fantasy or Horror.
« No country for old men » is a novel that leans towards what is called Weird-Western. It belongs to the subgenre of Gothic-Western. It is a cat and mouse thriller, in which a hillbilly stumbles across a suitcase full of banknotes/bills / notes. He will then be chased by one of the drug dealers.
When we read the extract, we notice that the main character has a southern American twang and he employs a rather colloquial language and even slang. This is exactly the case in the film adaptation.
Regarding the main character, Moss can be defined as a tough bloke, hard cookie or a hard nut to crack. He is the stereotype of the American cow-boy. His outfit thoroughly reminds the stereotype of the American cow-boy. The movie is also very faithful to this detail.
The landscape is lava scree stark desert, probably in Texas.
Those reddish colors are also shown in the setting location chosen by the director.
In the film, the characters hardly raise their voice and hardly evince outward emotions.
When he decides to take the money, a greed that will lead him into his doom, a thunderstorm strikes as to foreshadow that the worst is yet to come.
“No country for old men” is a tight adaptation for there isn’t much variation between the motion picture and the book. It seems like each scene and every line is directly lifted from McCarthy’s book. And indeed, this is why the movie won/was awarded (with) the Oscar of best adapted screenplay.
Definition of Weird Western:
A literary genre that combines elements of the western with another genre usually Science-Fiction, Fantasy or Horror.
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7- Shutter Island
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Texte n°1 à étudier: Chapter II
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Shutter Island – commentary (book + film analysis)
As the movie opens, a boat can be seen sailing through the mist/fog – symbol of mystery. Teddy and Chuck are on this boat that is heading towards Shutter Island. Teddy is sick because of the journey/voyage. He is seen swilling his face in a bathroom/lavatory and looking at himself into a mirror. Often in movies, the mirror symbolizes the duality of the main character. Furthermore/moreover, when we pay close attention to the scene, we notice that the director plays a lot with light. When Teddy is looking at himself in the mirror, only a side of his face/half of his face is illuminated/lit up. The other half/side is darker. Once again, this is to show is split personality/twofold personality.
This movie has to be watched twice because the first time significant details go unnoticed albeit/although they foreshadow the plot twist/outcome.
Another motif of the book is the relation that Teddy has with the water, whether it is/whether it be the ocean or the rain pouring down on the island during the main part of the movie. The word is repeated several times, right from the beginning/opening scene. It is worth noting that the water here symbolizes the realm of illusion that surrounds Teddy.
When we first sight at Teddy/glance at Teddy/catch a glimpse at Teddy, we find out that he embodies the stereotype of the American cop. It is utterly obvious when we spot his outfit – the hat, the tie, the shirt, the suit and the long coat. By the way, we notice that his coat his slightly too loose/oversized – is that a sign that this one/the latter doesn’t belong to him?
This outfit, as well as his Marshall badge, may let the audience think that Teddy is a trustworthy/reliable character.
This outfit, as well as his Marshall badge might stir (diriger/guider) the audience’s thoughts into trusting Teddy. We can identify with him in some way.
We can also notice that Teddy and Chuck never met before and that they are getting to know each other/one another on the boat. When Chuck addresses Teddy, he says “Teddy Daniels, the man, the legend!”. This word “legend” deserves a close look. Indeed, it is very ambiguous. This can mean that Teddy is known by all or that he is a myth, and that he doesn’t exist.
The movie is very faithful to the book and it gives us the impression that the lines are directly lifted from the literary work.
One of the lines deserves to be commented upon as well “your boys seem a little on edge”, “right now we all are”. Indeed, this means that since Teddy and Chuck arrived, the staff of Shutter Island have been on edge, weird isn’t it? Why would they be?
Moreover, the guards are armed to the teeth and won’t stop looking at Teddy from head to toes.
The settings are also very accurate and the hospital’s entrance is reminiscent of Auschwitz concentration camp. Teddy even says: “I have already seen something like this before” – this sentence echoes his experience as a US soldier when he freed the camps during WWII.
When the Deputy Warden is explaining the protocol to follow and is describing the different buildings, Chuck seems to be getting bored. We have the impression that he feels like yawning and he only answers with: “Absolutely” in an apathetic way / in a lackadaisical way. This is weird for a police officer being shown around a unique, nay mysterious, place.
When the two police officers are asked to surrender their firearms before entering the compound, we notice that chuck is struggling to holster his gun. Once, again this is strange for a policeman who is supposed to have some kind of experience.
As the plot unravels, many hints are given away and foreshadow what is to come. The atmosphere in the movie is heavy and the soundtrack reinforces this feeling.
This first scene reaches its climax when Teddy is ambling towards the hospital and sees this old lunatic woman who is staring at him with her finger held to her lips as if to let him know that many secrets are hidden here. This sight sends shivers down our spine.
As the movie opens, a boat can be seen sailing through the mist/fog – symbol of mystery. Teddy and Chuck are on this boat that is heading towards Shutter Island. Teddy is sick because of the journey/voyage. He is seen swilling his face in a bathroom/lavatory and looking at himself into a mirror. Often in movies, the mirror symbolizes the duality of the main character. Furthermore/moreover, when we pay close attention to the scene, we notice that the director plays a lot with light. When Teddy is looking at himself in the mirror, only a side of his face/half of his face is illuminated/lit up. The other half/side is darker. Once again, this is to show is split personality/twofold personality.
This movie has to be watched twice because the first time significant details go unnoticed albeit/although they foreshadow the plot twist/outcome.
Another motif of the book is the relation that Teddy has with the water, whether it is/whether it be the ocean or the rain pouring down on the island during the main part of the movie. The word is repeated several times, right from the beginning/opening scene. It is worth noting that the water here symbolizes the realm of illusion that surrounds Teddy.
When we first sight at Teddy/glance at Teddy/catch a glimpse at Teddy, we find out that he embodies the stereotype of the American cop. It is utterly obvious when we spot his outfit – the hat, the tie, the shirt, the suit and the long coat. By the way, we notice that his coat his slightly too loose/oversized – is that a sign that this one/the latter doesn’t belong to him?
This outfit, as well as his Marshall badge, may let the audience think that Teddy is a trustworthy/reliable character.
This outfit, as well as his Marshall badge might stir (diriger/guider) the audience’s thoughts into trusting Teddy. We can identify with him in some way.
We can also notice that Teddy and Chuck never met before and that they are getting to know each other/one another on the boat. When Chuck addresses Teddy, he says “Teddy Daniels, the man, the legend!”. This word “legend” deserves a close look. Indeed, it is very ambiguous. This can mean that Teddy is known by all or that he is a myth, and that he doesn’t exist.
The movie is very faithful to the book and it gives us the impression that the lines are directly lifted from the literary work.
One of the lines deserves to be commented upon as well “your boys seem a little on edge”, “right now we all are”. Indeed, this means that since Teddy and Chuck arrived, the staff of Shutter Island have been on edge, weird isn’t it? Why would they be?
Moreover, the guards are armed to the teeth and won’t stop looking at Teddy from head to toes.
The settings are also very accurate and the hospital’s entrance is reminiscent of Auschwitz concentration camp. Teddy even says: “I have already seen something like this before” – this sentence echoes his experience as a US soldier when he freed the camps during WWII.
When the Deputy Warden is explaining the protocol to follow and is describing the different buildings, Chuck seems to be getting bored. We have the impression that he feels like yawning and he only answers with: “Absolutely” in an apathetic way / in a lackadaisical way. This is weird for a police officer being shown around a unique, nay mysterious, place.
When the two police officers are asked to surrender their firearms before entering the compound, we notice that chuck is struggling to holster his gun. Once, again this is strange for a policeman who is supposed to have some kind of experience.
As the plot unravels, many hints are given away and foreshadow what is to come. The atmosphere in the movie is heavy and the soundtrack reinforces this feeling.
This first scene reaches its climax when Teddy is ambling towards the hospital and sees this old lunatic woman who is staring at him with her finger held to her lips as if to let him know that many secrets are hidden here. This sight sends shivers down our spine.
Extrait du film:
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Extrait N°2 à étudier:
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