Portrait of a Lady - From Novel to Film Essay -- Movie Film Essays

depiction of a Lady - From Novel to Film Jane silenes virtually recent rent, Portrait of a Lady (1996), offers a distinct red ink from her previous work, The Piano (1993), with which some critics have found fault. In her 1998 article, for example, season commending Campion for introducing two characters able to renounce the gender warfare that characterizes Hesperian culture, Diane Long Hoeveler criticizes Campion for celebrating marriage, the idea that women cannot survive without a man at the center of their lives (Hoeveler 110, 114). Second, she asserts that while Campion toys with feminist issues and images, Piano is Aromantic and escapist, with Adas decision to be reborn with Baines a step hardly worthy of the serious feminist issues that Campion seems to be raising in the film (Hoeveler 114). Finally, she points out that Campion is heavily indebted to a 1920s work, The Story of a sunrise(prenominal) Zealand River by Jane Mander. Partly as a consequence of not ack nowledging this debt, the film has conflicting sources, Campions rather permissive twentieth century script intimately adultery, superimposed on Manders original, in which the Victorian heroine is not united sexually with her lover until after her husbands death. Enacting a basically contemporary drama in anachronistic costumes and setting, Hoeveler says the film contains gaps, ...fissures we sense while viewing it (Hoeveler 114). For example, how likely is it, she asks, that an 1850s heroine would study an adulterous affair? In (Re)Visioning the Gothic (1998), Cyndy Hendershot echoes this view, calling Baines, the films nontraditional staminate (Harvey Keitel), a deus ex machina, a fairy-tale character, an imaginary resolution to two true(a) problems, on the one hand the castratio... ..., Campion breaks his barrier of reticence near sex, money and behavior and delivers the facts straight. Hardly faithful to him as she is, though, Jane Campions work is itself do possible by t he original master, Henry James. Sources CitedBluestone, George. Novels Into Film. California UP, 1971.Campion, Jane. The Piano. London Bloomsbury, 1993.Dapkus, Jeanne R. cast off the Burdens. Film Literature Quarterly 25.3 (1997) 177-187.Giannetti, Louis. Understanding Movies. New island of Jersey Prentice-Hall, 1972.Hendershot, Cyndy. (Re)Visioning the Gothic. Film Literature Quarterly 26.2 (1998) 97-108.Hoeveler, Diane Long. Silence, Sex, and Feminism. Film Literature Quarterly 26.2 (1998) 109-116.James, Henry. The Portrait of a Lady. 1881. New York Random House, 1996.Jones, Laura. The Portrait of a Lady. New York Penguin, 1996.