Back in 1959, Robert Hale published Bloch’s psychological thriller Psycho, which was quickly snapped up by Alfred Hitchcock and made into a film the following year.
What are our favourite book-to-film stories at Robert Hale?
Sarah, Marketing and Publicity Manager:
My favourite is Breakfast at Tiffany’s by Truman Capote (Penguin Classics). The first half of the film follows the book very closely, albeit set in a different decade, and much of the early dialogue is almost word-for-word, but of course the film was given an ending much better suited to Hollywood audiences than that in the book.
The film certainly deserves its spot among the classics, but it’s a shame that the book is often overlooked. Truman Capote’s writing is so captivating, and the story is the ideal anti-fairytale for twentieth-century American life. And who doesn’t identify just a little with Holly Golightly’s desire for self-reinvention?
Esther, Editorial Controller:
They always say the book is better than the film, and in this case it is true. Lionel Shriver’s We Need to Talk About Kevin (Serpent’s Tail) somehow seems far more shocking in print; Eva’s narrative in the form of letters to her estranged husband, post Kevin’s organised mass-shooting at his school, shows how she’s suffering as a consequence of his actions. The fact that she jumps back in time through her letters, chronicling Kevin’s sixteen year existence, suggests she’s been suffering the entire time. Straight from the letters, there are unknown truths, long-hidden secrets and twists.
The film itself, compared to the book, seemed quite tame. With books, we imagine how the action plays out but when it comes to the film, it’s often very different. While the adaptation stays relatively faithful to the book, the pace was slow, it had an eerie quietness to it and the most brutal scenes felt a bit anti-climactic. Lynne Ramsay (director) probably was right to censor most of it; after all, it is horrendous to talk about.
Gill, Managing Director:
I suppose like all avid readers, film adaptations of much loved books are often a disappointment. The adaptations of Jane Austen’s books are for the most part no exception, but one film in particular is very well done.
Persuasion (Vintage Classics) was produced for television in the first instance by the BBC and then put on general release. Although it differs from the book in subtle respects, the performance of Amanda Root as Anne Elliot has never been bettered, and she inhabits the character completely. I fell out with the casting of Ciaran Hinds as Wentworth but then, every Janeite has their own vision of what their heroes should look like, but he has, over time, also persuaded me of his claim to the role.
The book is my favourite Austen and read every year or so in the original edition my aunt gave me as a girl. Pride and Prejudice had me hooked from the age of nine (again as a result of a gift from my prescient aunt) but Persuasion is the ‘adult’ Austen to which I turn when in need of comfort in both book and on film.
Hale’s series on Jane Austen continues her wonderful legacy. Adding to great contributions by Maggie Lane and Hazel Jones on ageing and travel in Austen’s books, Hale are publishing a new book by Stephen Mahoney in the autumn on wealth and poverty.
Isobel, Marketing and Publicity Assistant:
I think Fight Club (Vintage) is a good example of a
book-to-film success story. Both book and film hold their own, but also complement one another. While it’s a lot to do with great script and actors, I think the subject matter – of crazy insomniacs and manic addictions – helps out too. The story is a fragmented, schizophrenic narrative which moves all over the place and works really well in book or film setting.
On the other hand, one of my favourite books, Half of a Yellow Sun by (4th Estate), was recently adapted until a film. Even though the two leads – Chiwetel Ejiofor and Thandie Newton – are very good actors and the author has endorsed the project, I’ve resisted going to see it just in case it disappoints. I think there are some books for each person where its better to preserve the characters as you imagined them when reading the story.