{"id":1223,"date":"2026-08-05T11:34:42","date_gmt":"2026-08-05T11:34:42","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=1223"},"modified":"2026-08-05T11:34:42","modified_gmt":"2026-08-05T11:34:42","slug":"what-makes-an-adaptation-good","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=1223","title":{"rendered":"What Makes an Adaptation Good?"},"content":{"rendered":"
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The recent release of Christopher Nolan\u2019s \u201cThe Odyssey\u201d has turned just about every film critic in America into a classicist, and vice versa. I\u2019m guilty, too, though I plead extenuating circumstances\u2014namely, the unavoidable fact that, despite the scale of the movie\u2019s IMAX<\/em> images, its aesthetic import is Lilliputian. Take away its Odysseity<\/em> and it becomes just a fantasy-spiced action film about a battle-weary protagonist gearing up for one final test. Then again, it\u2019s hard to imagine that a filmmaker adapting a literary classic isn\u2019t<\/em> calling attention to the choices made in the adaptation. In criticism, everything counts, including the obvious, and Nolan\u2019s film positively invites the comparison, dressing itself\u2014in spite of its deference to current mass-market sensibilities\u2014in the dignity of a classic.<\/p>\n

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As it happens, the questions raised by both the liberties and the fidelity of Nolan\u2019s adaptation have a strong connection to the root of cinematic modernity. A 1954 essay by Fran\u00e7ois Truffaut put so-called auteurist critics, then a minuscule and outlandish fringe, onto the cultural map. Titled \u201cA Certain Tendency of the French Cinema\u201d and published in the then obscure magazine Cahiers du Cin\u00e9ma<\/em>, it\u2019s a wide-ranging screed with a scattershot set of targets, but its opening salvo takes aim at adaptation. At the time, the French film industry was winning international acclaim for films made in what was called the Tradition of Quality, which largely involved adaptations of well-regarded literature: \u201cLa Symphonie Pastorale\u201d (1946), based on Andr\u00e9 Gide\u2019s novel; \u201cLe Rouge et le Noir\u201d (1954), adapted from Stendhal; and a host of others. Truffaut contends that the leading screenwriters of such films\u2014the team of Jean Aurenche and Pierre Bost\u2014relied on \u201cthe so-called process of equivalence. This process takes for granted that in the novel being adapted there are filmable and unfilmable scenes, and that instead of scrapping the latter (as used to be done) you had to think up equivalent scenes.\u201d For Truffaut, this premise was manifestly limiting and unambitious: \u201cI am by no means convinced that a novel can contain unfilmable scenes, and even less so that scenes decreed to be unfilmable are unfilmable by any director.\u201d<\/p>\n

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Truffaut rejected the idea that there were built-in limits to the power of cinema, which he understood as an art form equal to any, and thus he also denied that the aesthetic merit of movies depended on the prestige of their sources. Those assumptions were as old as cinema, whose history can be seen mostly as one of adaptation. As soon as movies could tell stories, their makers started raiding literary classics for material. The works of Charles Dickens were quickly adapted by the dozens, starting with an 1897 excerpt from \u201cOliver Twist.\u201d There was a 1908 version of Nathaniel Hawthorne\u2019s \u201cThe Scarlet Letter\u201d; D.\u00a0W. Griffith\u2019s 1909 adaptation of Robert Browning\u2019s verse drama \u201cPippa Passes\u201d was the first movie ever reviewed in the New York Times<\/em>. Edith Wharton\u2019s \u201cThe House of Mirth\u201d was adapted in 1918, \u201cThe Age of Innocence\u201d in 1924. In the twenties, the German director F.\u00a0W. Murnau made an (unauthorized) adaptation of Bram Stoker\u2019s \u201cDracula\u201d called \u201cNosferatu,\u201d and he also filmed Goethe\u2019s \u201cFaust\u201d and Moli\u00e8re\u2019s \u201cTartuffe\u201d; Jean Renoir adapted \u00c9mile Zola\u2019s \u201cNana\u201d (1926); and, in 1926, there was a version, now lost, of F. Scott Fitzgerald\u2019s \u201cThe Great Gatsby.\u201d The early sound era featured Renoir\u2019s 1934 \u201cMadame Bovary,\u201d William Dieterle and Max Reinhardt\u2019s 1935 \u201cA Midsummer Night\u2019s Dream,\u201d George Cukor\u2019s 1936 \u201cRomeo and Juliet,\u201d Josef von Sternberg\u2019s nineteen-thirties \u201cAn American Tragedy\u201d and \u201cCrime and Punishment,\u201d and Frank Borzage\u2019s 1932 \u201cA Farewell to Arms.\u201d It wasn\u2019t only classics that fed the adaptation machine, which was actually far busier with less acclaimed sources: pick a classic movie at random and it may well be adapted from popular or pulp fiction or general nonfiction: \u201cThe Philadelphia Story,\u201d from a Philip Barry play; \u201c42nd Street,\u201d from a novel by Bradford Ropes; \u201cRed River,\u201d from a story by Borden Chase that ran in the Saturday Evening Post<\/em>; \u201cA Letter to Three Wives,\u201d from the John Klempner novel \u201cA Letter to Five Wives,\u201d which was published in Cosmopolitan<\/em>; \u201cBigger Than Life,\u201d from a 1955 medical report by Berton Rouech\u00e9 in The New Yorker<\/em>.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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The temptation to make comparisons is strong. When I scored a secondhand copy of Ropes\u2019s \u201c42nd Street\u201d (published in 1932, the year before the film version was released), I found it to be far more complex and scathing in its vision of the lives of New York theatre people than anything Hollywood, even pre-Hays Code, would have put onscreen. Executives and filmmakers alike were unhesitatingly extractive with these commercial sources. Censorship\u2014not just from studios but from government officials, who unhesitatingly banned movies or demanded cuts\u2014was responsible for many softened details. There are major subplots in Ropes\u2019s novel involving gay relationships, and abortion, which was illegal across the country, is treated as commonplace.<\/p>\n

An important caveat when discussing the merits of adaptations is that a viewer or a critic may be unacquainted with the works being adapted\u2014or even unaware that a film is an adaptation at all. Many of the great Japanese director Kenji Mizoguchi\u2019s films have literary sources that are relatively unfamiliar to non-Japanese readers: his film \u201cThe Life of Oharu\u201d is based on Saikaku Ihara\u2019s 1686 work \u201cThe Life of an Amorous Woman,\u201d and \u201cThe Crucified Lovers\u201d is adapted from a 1715 play by Monzaemon Chikamatsu. I can\u2019t say whether appreciation of these movies is heightened or diminished by comparisons\u2014only that the films feature some of the most exalted dramas, images, and performances that the cinema has offered.<\/p>\n

That said, it\u2019s certainly fun, and maybe even illuminating, to offer a one-handed, five-fingered taxonomy of literary adaptations:<\/p>\n

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1. Close: Orson Welles\u2019s \u201cChimes at Midnight,\u201d which brings Falstaff to the fore from a handful of Shakespeare\u2019s plays.<\/p>\n<\/div>\n<\/blockquote>\n

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2. Distant: Nia DaCosta\u2019s \u201cHedda,\u201d which retains the framework of the story but updates the events, changing the dialogue, the setting, some key characters, and their activities.<\/p>\n

Read more The Mentor<\/a><\/p>\n<\/div>\n<\/blockquote>\n

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3. Keeping the body, changing the engine: Nolan\u2019s \u201cThe Odyssey,\u201d a Bronze Age version that follows the events in the text but with dialogue completely rewritten, scenes and characters added, and psychology and morality altered.<\/p>\n<\/div>\n<\/blockquote>\n

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4. Changing the body, keeping the engine: Michael Almereyda\u2019s \u201cHamlet,\u201d starring Ethan Hawke, which places Shakespeare\u2019s dialogue and characters in modern settings and costumes.<\/p>\n<\/div>\n<\/blockquote>\n

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5. Unrecognizable, as the two stories by Guy de Maupassant adapted by Jean-Luc Godard for \u201cMasculine Feminine\u201d were eventually deemed by their publisher to be.<\/p>\n<\/div>\n<\/blockquote>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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But, if the art of filmmaking is inseparable from that of adaptation, it\u2019s because almost all feature films are made by way of a fundamental form of adaptation: that of a script. Whether it\u2019s written by the director or by another screenwriter, whether a film is made under studio supervision or independently, most dramatic features start on the page, and every subsequent step in production is an effort to translate that text into images and sounds. This method is inherent to commercial filmmaking, in which a script functions both as a contract (getting all the participants on the same page, so to speak) and as a shopping list for locations, costumes, d\u00e9cor, and the like.<\/p>\n

The fundamental question of scripts and their adaptations is one of freedom. Filmmakers who survived in the studio system often figured out how to effect changes beyond what their studio minders would grant. There\u2019s a delightful secret history of Hollywood directors whose ruses and stratagems bought them an unusual amount of leeway with their scripts. Howard Hawks, adapting a novel by Edna Ferber for the drama \u201cCome and Get It,\u201d took advantage of his producer Samuel Goldwyn\u2019s sick leave during the shoot and changed the story drastically. Allan Dwan walked off the set of \u201cTrail of the Vigilantes\u201d and, expecting to be fired, demanded to turn the Western drama into a comedy\u2014and then kept his revisions a secret to ward off interference. In film after film, Robert Siodmak leveraged small script tweaks into major revisions. Nicholas Ray closed the set of \u201cIn a Lonely Place\u201d and collaborated with three actors\u2014Humphrey Bogart, Gloria Grahame, and Art Smith\u2014on an on-the-spot rewrite of the film\u2019s ending. To be sure, there\u2019s a less delightful history, too, of latitude punished: R.K.O. downright massacred Orson Welles\u2019s Booth Tarkington adaptation, \u201cThe Magnificent Ambersons,\u201d both slashing the film that he\u2019d made and encumbering it with rewritten scenes shot by someone else. And, far into the filming of \u201cCome and Get It,\u201d Goldwyn returned to work and, incensed by Hawks\u2019s transformations of the source material, replaced him with another director.<\/p>\n

I\u2019m even more enamored of the way that one of the less appreciated Hollywood greats, Gregory La Cava, approached screenwriting. On X, the researcher Annabel Jessica Goldsmith has been posting a remarkable trove of archival documents about La Cava, and they reveal that, though he worked in the studio system from the twenties through the forties, he generally operated without a script. Katharine Hepburn, speaking of the comedy-drama \u201cStage Door,\u201d in which she starred, said as much: \u201cWe started shooting with no script.\u201d On the set, she said, \u201che disappeared. About an hour later he came back with the speech\u201d that she was to deliver in a climactic scene. That\u2019s the same method that\u2019s portrayed in Richard Linklater\u2019s \u201cNouvelle Vague,\u201d which depicts the shoot of \u201cBreathless.\u201d Still, even these freewheeling movies had<\/em> scripts, albeit ones written on the fly and handed to actors at the last minute, and there was enough on paper in advance that everyone showed up at the same place at the same time and had a sense of the story that was being told.<\/p>\n

For filmmakers, the approach to a script (regardless of who wrote it or when) is akin to the approach to any literary classic: the situations and the characters are givens, and all that matters is one\u2019s own interpretations, extrapolations, intuitions, and visions of them. With Homer\u2019s Odyssey, for example, the readily available text easily allows critics to perceive what Nolan does, or doesn\u2019t, do with the material at hand. Yet just about any<\/em> movie\u2019s characters and stories offer a vast array of implications and vistas that are equally available to critics, if they just use their own imaginations. No less than for filmmakers, critics\u2019 own approach to the texts of movies\u2014whether literary, popular, scripted, or improvised\u2014is a matter of freedom, not from authorities but from cautious inhibitions and crowd-pleasing conventions, from the facility of literalism and the faux dignity of academicism.\u00a0\u2666<\/p>\n

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Richard Brody on Christopher Nolan\u2019s \u201cThe Odyssey\u201d and how the art of filmmaking is inseparable from that of adaptation.<\/p>\n","protected":false},"author":1,"featured_media":1222,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[],"class_list":["post-1223","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-front-row"],"yoast_head":"\nWhat Makes an Adaptation Good? - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=1223\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What Makes an Adaptation Good? - City Relocation News\" \/>\n<meta property=\"og:description\" content=\"Richard Brody on Christopher Nolan\u2019s \u201cThe Odyssey\u201d and how the art of filmmaking is inseparable from that of adaptation.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/cityrelocationnews.com\/?p=1223\" \/>\n<meta property=\"og:site_name\" content=\"City Relocation News\" \/>\n<meta property=\"article:published_time\" content=\"2026-08-05T11:34:42+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=1223#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=1223\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/#\\\/schema\\\/person\\\/3e7ce0c0c60d21e12a5ac61fb2b786d4\"},\"headline\":\"What Makes an Adaptation Good?\",\"datePublished\":\"2026-08-05T11:34:42+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=1223\"},\"wordCount\":1815,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=1223#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/cityrelocationnews.com\\\/wp-content\\\/uploads\\\/2026\\\/08\\\/45cf89590f4305def7eebdaae8a770f0.webp\",\"articleSection\":[\"The Front Row\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/cityrelocationnews.com\\\/?p=1223#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=1223\",\"url\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=1223\",\"name\":\"What Makes an Adaptation Good? 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