Film Adaptation of Madame de Lafayette's Novels

Extract

[...] Yet he will forget her, she will have risked everything, according to Madame de Lafayette, for a man who will soon become indifferent. These two works are classics of French literature. They both deal with the theme of romantic duality: the idea of having to make a choice. For the adaptation of The Princess of Clèves we have selected the version of Christophe Honoré release in September 2008. Finally, for the work la Princesse de Montpensier, we have kept the adaptation of Bertrand Tavernier release in 2010. [...]

[...] In fact, the situation of enunciation establishes the major principles of the work. From then on, a cinematographic adaptation must keep these elements in order not to lose the audience. The situation ultimately serves as a guide, allowing for the guidance of understanding and visual reading. D'first, in the adaptation of Christophe Honoré, one can see well the figures of the protagonists of the novel by Madame de la Fayette notably the Princess of Clèves, her husband and the Duke of Nemours. [...]

[...] While the novel made the reconstruction of the letter the occasion for veiled declarations, Honore? substitute the words 'regards' and 'music' in the sequence of the letter. By narrowing the frame to Junie and Nemours' faces when the music starts, it distinguishes them again from the other loves of the Lyceennes - relate?it is in the letter. He uses came? movementsra late?raux, to pass from one to the other according to the looks they exchange, literalizing the link that unites the two lovers. [...]

[...] This brings the two stories close to Madame de la Fayette. However, in its cinematic adaptation, Bertrand Tavernier chooses to film something other than the torments of the soul and the body. In fact, starting from the political situation and the feelings of the work of Madame de la Fayette, the director will almost invent the entire sequences. This means that he will transform the novel into a cinematographic work by highlighting the seduction of the dialogues and actions. We can therefore observe transformations of the original story to modernize the feelings. [...]

[...] For the adaptation of Christophe Honoré On will be talking about a contemporary film while the film of Tavernier is more a historical sword and cape film. On will understand that'Firstly, it is essential to keep the major elements of the situation of enunciation to maintain the viewer's attention and guide them in their understanding of the film. Furthermore, in order to integrate the viewer into the cinematographic process, it is necessary to modernize and adapt the story to more contemporary situations. We can say that the director does not necessarily have to faithfully represent the literary content. [...]