Death And The Maiden - Film Vs Essay -- essays research papers

The Polanski require Death and the Maiden is a marvellous and intelligent interpretation of Ariel Dorfman&8217s human rights problem tactic. Polanski has produced, in this film, an exceeding piece of direction, in which his own personal, emotional input is evident. The main typography of the fly the coop is an extremely personal one for both playwright (and scriptwriter) and director. two Dorfman and Polanski have had to face and flee the horrors of dictatorship and human rights violations Dorfman in Chile, to a lower place General Augusto Pinochet, and Polanski in Poland under the Nazis. But despite this similarity in past experience, significant differences exist between the original play and the film. apart from the specific techniques of lighting and compo teaseion, whose possibilities are greatly widened in the medium of film, we crack differences in both the different emphases and implied viewpoints on the various themes that the play touches on and, perhaps more im portantly, the way the vulcanized fibers are portrayed.While the old nonion of &8220whatever doesn&8217t kill you makes you stronger is present in both the play and the film (particularly in the characterisation of Paulina), it is much more prevalent in the movie. We can see Paulina&8217s strength from the start. As she strides confidently just about the house and violently tears off a piece of chicken, the wind that she is unsuited to the domestic position which she has obviously been forced into by the gradient effects of her traumatic experience need not be do any clearer. Although possessing remarkable strength in both texts, the movie shows a much stronger, almost completely masculine Paulina. This Paulina has been almost entirely defeminized by her ordeal, physically, symbolised by the scarred breast and her desire to &8220adopt a child, which also serves as a glimpse of the vulnerable element of womanhood in her character that still remains. Throughout the bout of verb al jousting that goes on in the possibility scene Paulina is able to hold her ground much more steadfastly than she appears to do in the play. In Polanski&8217s version of the scene she really manages to use her domestic role to gain power in the argument, ferociously flinging the dinner in the bin. Weaver&8217s powerful acting conveys the seeming(a) tension associated with an incredible amount of suppressed anger. I... ...0 For all the rage contained in the film (significantly more than the play), and its portrayal of Paulina, there is a certain weakness to the film, and a disturbing truth in its unresolved ending. One index argue that Polanski &8211 in making Roberto give an overall much more genuine confession at the end of the film than Dorfman provides in the play &8211 is falling into the Hollywood trap of offering a simple stop to its many moral conflicts and thus making it accessible to a wider audience. I believe this circumstance serves a very important purpose, emp hasized by its juxtaposition with the very last scene. It underlines this important impotence in the film&8217s ending the fact that despite her having faced her demons Paulina has been permanently changed by her ordeal. And although she may have &8220&8230reclaimed her Schubert&8230 in that she can now sit in a concert hall and listen to the music, the music leave alone never be able to tell her the same things again. And even if Roberto is not there in person (as he is in the final scene) he will always exist as a vague presence, a &8220phantasmagorical shadow on her soul.