In The Power of Adaptation in "Apocalypse Now" Marsha Kinder critically compares and contrasts the film and the novel. In this article, Kinder states that "Coppola rarely hesitates to change Conrad's story-setting, events, characters-whenever the revision is required by the Vietnam context."
Far from showing an ignorance of horror, as King asserts, the film shows Kubrick's depth of knowledge of film form and its possibilities.
ADAPTATION OF AN AUTEUR: TRUFFAUT’S JULES ET JIM (1961) FROM THE NOVEL BY HENRI-PIERRE ROCHÉ – by Stuart Y. McDougal
In 1956, François Truffaut was browsing in a Paris bookstore when his eyes fell on a copy of Jules et Jim by Henri-Pierre Roché. He was immediately drawn to the title and, as he studied the jacket, intrigued to discover that it was a septuagenarian's first novel. At the time Truffaut was twenty-four and supporting himself by writing film criticism for Cahiers du Cinéma and Arts. He purchased the novel, took it home, and pored over it until, like a character in Fahrenheit 451, he knew it by heart.
Coppola’s "heart of darkness," like Conrad’s, is a triumph of style over story. Or rather, the description—words for Conrad, mise-en-scène for Coppola—is the story’s raison d'être.
Lolita’s path from novel to the Stanley Kubrick's and Adrian Lyne's film adaptations. Essay by Rebecca Bell-Metereau
Prefazione di Vladimir Nabokov alla pubblicazione italiana della sceneggiatura che ha scritto adattando il suo romanzo. Kubrick utilizzerà ben poco di questa versione ma lascerà ugualmente a Nabokov il credit di unico autore dello script
Italian translation of Harry Grey's novel The Hoods (it. Mano Armata), published by Longanesi. The book was the model for the film Once Upon a Time in America by Sergio Leone. MANO ARMATA Romanzo di HARRY GREY Traduzione dall'originale inglese The Hoods di Adriana Pellegrini Edizione Longanesi Milano CAPITOLO I [...]