W27 – SPRING 2022
Classic Literature to Movie/TV Adaptations: When They Work and When They Don’t By Alisha Singh (FBM, ‘23) Each year high schoolers from around was published in 1851 and has been adaptthe country are made to watch Baz Luhr- ed for television three times, however, mann’s “The Great Gatsby” in their En- the 2004 BBC adaptation not only beglish classes. As TVs on carts have turned came the most popular, but also brought into Promethean boards, it has become renewed interest in the novel. Margaret easier for teachers to use movies as sup- Hale and her family are forced to relocate plemental materials when teaching clas- to a heavily industrialized city in northsic books. However, not every book-to- ern England from the rural south after her movie/TV adaptation becomes popular father leaves the Church of England. The enough to be paired. Many are shunned novel dedicates several pages to conversaby fans and only ever acknowledged in a tions surrounding class and labor, while Wikipedia footnote for the original book. the love story itself is a minor running So why are some adaptations adored and theme in the characters’ lives. On the othwhat makes them work? Modern litera- er hand, the 2004 adaptation brings the ture’s success is now measured by wheth- love story front and center while making er a book gets picked up by Netflix for a the class and labor aspects a device to cremovie deal, but classic literature ate conflict between has been in the game for a lot “While Gaskell’s novel the main characters. longer. was a social and political This warping of the commentary on the effects story fails to value Book fans love seeing the stories of industrialization and the fact that this they adore come to life – comcapitalism, to make the novel was one of the paring the source material to storyline more compelling first written about the film has become its own ac- for viewers, the love story class conflict during tivity. Moreover, these adapta- was emphasized on BBC.” the Industrial Revotions allow those who don’t read lution. These chang– either due to time constraints or prefer- es present an example of media in difference – the ability to enjoy these stories as ent formats being created for different well. New fan communities tend to grow purposes. While Gaskell’s novel was a soaround them as seen with the success of cial and political commentary on the efNetflix’s “Bridgerton” which reached wid- fects of industrialization and capitalism, er audiences than the book series. On the to make the storyline more compelling business end, writers and producers in for viewers, the love story was emphaHollywood have a treasure trove of ideas sized on BBC. Although both versions of that have been fully developed and al- “North and South” are adored by fans, anready tested for success. With the stakes other piece of classic literature, “Wutherbecoming higher in an oversaturated ing Heights,” hasn’t been as lucky. market, this can allow for a safer bet on the studio’s end. And what’s better than Charlotte Bronte’s “Wuthering Heights’’ classic literature that has been taught and takes place across two generations beadored for generations? tween two families leading isolated lives in the moors of Yorkshire. Despite having Elizabeth Gaskell’s “North and South” about nine English-language adaptations
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in TV and cinema, not one has received the adoration that adaptations such as “Pride and Prejudice” have. There are several reasons as to why they always seem to miss the mark when trying to recreate the much beloved and heavily referenced love story. Many adaptations tend to depict only one generation and thus ignore the importance of the second generation to the overall storyline. The cycle of abuse and revenge can only be explored through a depiction of Heathcliffe’s control over the lives of the second generation. By ending the movie at Catherine’s death, not only is the story left unfinished, but the audience misses out on the consequences of her death and the development of other characters. Additionally, due to the popularity of Jane Austen adaptations, others attempt to undermine the gothic and darker elements of the story which are the essence of the novel. The physical and mental anguish of these characters and their wretched surroundings play an immense role in the overall plot and character development. They make the romance not only tragic but also quite deranged, setting it apart from other rosy and charming love stories of the time. Ultimately, these adaptations are unsatisfactory because the story in and of itself is difficult to depict. The main heroine dies halfway through the novel, and the two lovers never get to be together except for in their childhood. Many directors have to choose between primarily exploring the pain out of which obsession grows or examining their brief romance. The latter is chosen and is ultimately a failure. Unlike “Wuthering Heights,” Jane Austen’s “Pride and Prejudice” enjoys not one but two successful adaptations. Both
