Themes in the Novel and Movie Adaptation of James Cain’s Mildred Pierce
In contemporary film making, “Hollywood-ization” generally refers to the re-creation of a classic work in a form more vulgar and sexually explicit than the original in an effort to boost movie attendance. After all, sex and violence sell. However, from the mid-1930’s to the 1950’s, “Hollywood-ization” referred to the opposite case where controversial books had to be purified to abide by the Production Code of 1934.[1] This occurred to many of James Cain’s novels as they moved from text to the genre of “film noir.” As has been said about Cain’s The Postman Always Rings Twice, “The property, bought several years ago, was kept in the studio’s archives until now because of [Metro-Goldwyn-Mayer’s] “inability to clean it up.””[2] The sanitation of Cain’s novels greatly took from the strong themes of female emotional and financial independence that were rarely addressed at that time as they were adapted for the screen.
James Cain’s Mildred Pierce, published in 1941, explored issues that plagued the domesticated woman amidst the social upheaval caused by the Great Depression of the 1930’s and suffered from the rule of the Production Code. As Mildred Pierce’s first marriage with Bert Pierce disintegrates, she is confronted with the responsibility of supporting her two children while creating opportunities for financial independence despite having no skills or education. She becomes a successful restaurateur through the careful manipulation of the men around her only to become the slave to the desires and whims of her eldest daughter, Veda. According to David Madden, the story of Mildred Pierce is “a powerful and suggestive study of social inequity and ...
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...rs, again: The Postman Always Rings Twice,” Literature/Film Quarterly (2000): 41.
[3] Madden, David, James M. Cain (Twayne: 1970) 68.
[4] Oates, Joyce Carol, Tough Guy Writers of the Thirties (London: Southern Illinois University Press, 1968) 110
[5] Farrell, James, Literature and Morality (New York: The Vanguard Press, Inc, 1945) 89.
[6] Madden 148
[7] Farrell, James, 88
Work Cited
1 Encyclopedia Britannica Online www.search.eb.com/bol/topic?eu=119926&sctn=6.
2 Biesen, Sheri Chinen, “Raising Cain with the censors, again: The Postman Always Rings Twice,” Literature/Film Quarterly (2000)
3 Madden, David, James M. Cain (Twayne: 1970)
4 Oates, Joyce Carol, Tough Guy Writers of the Thirties (London: Southern Illinois University Press, 1968)
5 Farrell, James, Literature and Morality (New York: The Vanguard Press. Inc, 1945)
First, class has determined inequality in labor market, because labor market is directly linked with the main source of income for most people, which provides everyday purchase on food, clothing, transport and housing. In Australian labor market, a large number people are employed in middle working class, for example sales, clerical or service job. However, there are a few people working in the top occupations, such...
“Deborah Sampson, the daughter of a poor Massachusetts farmer, disguised herself as a man and in 1782, at age twenty-one, enlisted in the Continental army. Ultimately, her commanding officer discovered her secret but kept it to himself, and she was honorably discharged at the end of the war.” She was one of the few women who fought in the Revolution. This example pictured the figure of women fighting alongside men. This encouraged the expansion of wife’s opportunities. Deborah, after the Revolution along with other known female figures, reinforced the ideology of Republican Motherhood which saw the marriage as a “voluntary union held together by affection and mutual dependency rather than male authority.” (Foner, p. 190). This ideal of “companionate” marriage changed the structure of the whole family itself, the now called Modern Family in which workers, laborers and domestic servants are now not considered member of the family anymore. However even if women thought that after the war they would have been seen from the society in a different way it never happened. The revolution haven’t changed the perception of the woman and the emancipated ideal
In this essay, we will examine three documents to prove that they do indeed support the assertion that women’s social status in the United States during the antebellum period and beyond was as “domestic household slaves” to their husband and children. The documents we will be examining are: “From Antislavery to Women 's Rights” by Angelina Grimke in 1838, “A Fourierist Newspaper Criticizes the Nuclear Family” in 1844, and “Woman in the Nineteenth Century” by Margaret Fuller in 1845.
O'Connor, Flannery. A Good Man Is Hard to Find and Other Stories. New York: Harcourt,
Flannery O’ Connor is known for her great short stories, “A Good Man is Hard to Find”, “Wise Blood”, “The Violent Bear It Away”, and “Everything That Rises Must Converge.” As a young reader, I often analyze every aspect of an author’s work in an attempt to figure out their influences and inspirations. In this paper, I will be unraveling the underlying factors that possibly played a part in O’Connor’s writing. Could her upbringing be the reason she wrote using southern dialect? Her religion majorly showed throughout all of her writings, so could that have been one of her main influence...
Butterworth, Nancy K. Flannery OConnor. Dictionary of Lierary Biography American Novelists Since World War 2. 4th ed.
In “Disorderly Women: Gender and Labor Militancy in the Appalachian South,” Jacquelyn Hall explains that future generations would need to grapple with the expenses of commercialization and to expound a dream that grasped financial equity and group unanimity and also women’s freedom. I determined the reasons for ladies ' insubordination neither reclassified sexual orientation parts nor overcame financial reliance. I recollected why their craving for the trappings of advancement could obscure into a self-constraining consumerism. I estimated how a belief system of sentiment could end in sexual peril or a wedded lady 's troublesome twofold day. None of that, in any case, should cloud a generation’s legacy. I understand requirements for a standard of female open work, another style of sexual expressiveness, the section of ladies into open space and political battles beforehand cornered by men all these pushed against conventional limitations even as they made new susceptibilities.
A story without style is like a man without personality: useless and boring. However, Flannery O’Connor incorporates various different styles in her narratives. Dark humor, irony, and symbolism are perhaps the utmost powerful and common styles in her writing. From “Revelation” and “Good Country People” to “A Good Man is Hard to Find,” all of O’Connor’s stories consist of different styles in writing.
The Classical Hollywood style, according to David Bordwell remains “bound by rules that set stringent limits on individual innovation; that telling a story is the basic formal concern.” Every element of the film works in the service of the narrative, which should be ideally comprehensible and unambiguous to the audience. The typical Hollywood film revolves around a protagonist, whose struggle to achieve a specific goal or resolve a conflict becomes the foundation for the story. André Bazin, in his “On the politique des auteurs,” argues that this particular system of filmmaking, despite all its limitations and constrictions, represented a productive force creating commercial art. From the Hollywood film derived transnational and transcultural works of art that evoked spectatorial identification with its characters and emotional investment into its narrative. The Philadelphia Story, directed by George Cukor in 1940, is one of the many works of mass-produced art evolving out of the studio system. The film revolves around Tracy Lord who, on the eve of her second wedding, must confront the return of her ex-husband, two newspaper reporters entering into her home, and her own hubris. The opening sequence of The Philadelphia Story represents a microcosm of the dynamic between the two protagonists Tracy Lord and C.K. Dexter Haven, played by Katherine Hepburn and Cary Grant. Through the use of costume and music, the opening sequence operates as a means to aesthetically reveal narrative themes and character traits, while simultaneously setting up the disturbance that must be resolved.
Nowadays, complementary alternative medicine is very popular in the United States. It is widely used by adults and children. National health statistic reports done in 2007 shows that 38.3% of adults and 11.8% of children use some form of alternative medicine (U. S. Department of Health and Human Services, 2016). But why is this happening? Why is it becoming so popular? Why are more people turning to it? Many times, this is because conventional medicine has not work and they want to try an alternative. That is the case of the author of this paper.
Complementary and alternative treatments are identified as a group of medical and healing systems different from the traditional ones. This type of approach centers on individualized treatment for the patient, treats the body as a whole, and promotes self healing and search for the spiritual nature of each individual. One of the crucial points that conventional and alternative medicine have in common is the awareness on good nutrition and the promotion of preventive care (White House Commission, 2014).
Our life is an age of previously unimaginable medical breakthroughs. The technology we know today is one that emulated witchcraft to our great grand parents. Yet, with all that we can do, all of the healing we can accomplish by this modern medicine, we seen to be resorting back to the idea of natural holistic health care. Maybe, the Native American People had the right idea.
1) O’Connor, Flannery, A Good Man Is Hard to Find (Women Writers: Text & Contexts Series). Rutgers University Press, 1993.
1. Robinson, Sally. "Heat and Cold: Recent Fiction by Joyce Carol Oates." Michigan Quarterly Review, Vol. XXXI, 1992. In Contemporary Literary Criticism, Vol. 108. 383.
Oates, Joyce Carol. Foreword to: The Complete Stories & Parables. Trans. Willa and Edwin Muir. New York: Quality Paperback Book Club, n.d.