Comparing the Film Adaptation of Billy Liar With the Stage Play
The play, Billy Liar was written in the early 1960s by Willis Hall and
Keith Waterhouse. The play was set in Northern England in places like
Manchester and Sheffield. The story is about a teenager, Billy Fisher
who is a lonely and discontented with life. He does not have many
friends and imagines being real high class and having a luxurious
life. He is always getting trouble for causing mischief and telling
lies. Billy lives with his parents, Alice and Geoffrey Fisher and his
grandma Florence. He has three girlfriends, Liz, Barbara and Rita, two
of whom he is engaged to. Willis Hall and Keith Waterhouse directed
both the play and the film. The play and the film are quite similar,
but in the film there are a few additional characters and scenes. In
the play there is a lot more dialogue than action and also it is set
in the same place (lounge) whereas in the film there is a lot of
talking and action. The film is not set in the same place but instead
it follows the characters. The majority of the audience would probably
prefer to watch the play as a film instead of watching it in a theatre
because in the film there would be more special effects and it can be
watched in a big screen. There are a lot of differences between the
film and the play script and the aim of this essay is to see what the
differences are between the play script and the film.
In the opening, the play script and the film are quite different. In
the play script Florence is talking to herself in the beginning about
her appointment with Dr. Blakemore. Alicegoes upstairs to call Billy
and tell him to get ready. This happens in the film but, in the film
they show Billy's bedroom and they also show his fantasy scene whereas
in the play script it only tells us that Billy's mother is calling him
down to get ready.
...ition to costume, language and dialogue is what fixes the atmosphere and the action. In a manner very similar to Shakespeare, Calderón weaves description of the scene and of what is occurring into the main thrust of the play. In this sense, he is more than a poet, he is a dramatic craftsman who predominantly through his verse alone, creates a drama in its own right. All the clues to the plot and its themes lie in the text; the use of staging, costume, music and props can be used to enhance what lies in the script. What they give to the play is a fuller and more entertaining dramatic production. Thus, if used sensitively and intelligently by a director, these factors can increase the dramatic power of the work. The primary focus, however, remains the language, which relies on a high standard of acting in order to do justice to the subtleties of the play.
November 1998, written for FILM 220: Aspects of Criticism. This is a 24-week course for second-year students, examining methods of critical analysis, interpretation and evaluation. The final assignment was simply to write a 1000-word critical essay on a film seen in class during the final six-weeks of the course. Students were expected to draw on concepts they had studied over the length of the course.
David Williamson wrote the serious comedy, Brilliant Lies in 1993. Three years later the play was adapted into a film. The play was about how a young sexy party girl, Susy, was sexually harassed by her power-demeaning boss, Gary. Throughout the story we are kept in the dark about what the truth really is concerning the account in the office when both parties worked late alone. The film introduces changes to both enhance and develop the play’s main ideas and themes.
play. If the play was shown in these days, I doubt it would have the
words so that the sound of the play complements its expression of emotions and ideas. This essay
Another major difference in the mood of the play and the movie is in the funeral
The purpose with this paper is to study and compare two different directors, and to compare and contrast the two different works. How are they working with their movies and how do they use mise-en-scene? By studying two different directors that uses different techniques when making movies, we are going to find out how important mise en scene really is, and how it affects the movie.
”[1] From the above quote it’s fair to suggest that when answering this. question importance lies in the discussion of Film Language. The assignment will therefore look at the various Film Languages. The text that will be used is Macbeth[2] (Shakespeare), and Roman.
Mittel, J., 2007. Film and Television Narrative. In: D. Herman, ed. 2007. The Cambridge Companion to Narrative. Cambridge: Cambridge University Press, pp.156-171.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
It was good setting to get the attention from the audience and also a way to move around or change settings of the play. Although I love this play my small critic for this play was the players. Some others actors had understandable accents but others didn’t. For example, the brother of the servant his accent was confusing because he kept switching his accent from different country languages. This play was really nice it had a little of bit of everything drama, comedy, romance, betrayal. What like about this play it was how they used the dramatic structure the inciting incident and the climax. The inciting incident for this play of musical comedy murders of 1940 was guessing who the killer of the play was because there was tension building up not knowing who the murder was. The climax for this play would be for me finding out who was the murder and just being in shock how everything had change into a new scenario. Overall it was amazing show how it developed and how well an organized transition the play
Filmmaking and cinematography are art forms completely open to interpretation in a myriad ways: frame composition, lighting, casting, camera angles, shot length, etc. The truly talented filmmaker employs every tool available to make a film communicate to the viewer on different levels, including social and emotional. When a filmmaker chooses to undertake an adaptation of a literary classic, the choices become somewhat more limited. In order to be true to the integrity of the piece of literature, the artistic team making the adaptation must be careful to communicate what is believed was intended by the writer. When the literature being adapted is a play originally intended for the stage, the task is perhaps simplified. Playwrights, unlike novelists, include some stage direction and other instructions regarding the visual aspect of the story. In this sense, the filmmaker has a strong basis for adapting a play to the big screen.
Characterisation is vastly different in the film when compared to the play. This, however, is done so as to make more sense to a modern
“The most filmed of all plays, ‘Romeo and Juliet’, with its universal themes… remains uniquely adaptable for any time period,” (Botnick, 2002). Directors Franco Zeffirelli (1968) and Baz Luhrman (1996) provide examples of the plays adaption to suit the teenage generation of their time. Identifying the key elements of each version: the directors intentions, time/place, pace, symbols, language and human context is one way to clearly show how each director clearly reaches their target audience. Overall however Luhrman’s adaptation would be more effective for capturing the teenage audience.
While Shakespeare doesn’t have the cinematic luxuries of lighting and shadow at his disposal, he proves that Mulvey’s argument that desire is expressed in voyeuristic and scopophiliac fashion, but also that these innate desires of an audience transcend mediums and can in fact be fulfilled and appreciated in written form as much as within the intricacies of modern film.