Literature Film Quarterly (1975) - Conrad and Hitchcock: The Secret Agent Inspires Sabotage

Details

• article: Conrad and Hitchcock: The Secret Agent Inspires Sabotage
• author(s): Michael A. Anderegg
• journal: Literature Film Quarterly (1975)
• issue: volume 3, issue 3, page 215
• journal ISSN: 0090-4260
• publisher: Salisbury University
• Sloan's Alfred Hitchcock: A Filmography and Bibliography (1995) — page 414, #429
• keywords: "The Strange Case of Alfred Hitchcock" - by Raymond Durgnat, Academy Awards, Adaptation, Alfred Hitchcock, Claude Chabrol, Clemence Dane, Cornell Woolrich, Daphne du Maurier, Desmond Tester, Easy Virtue (1928), Eden Phillpotts, Ethel Lina White, François Truffaut, Jamaica Inn (1939), John Galsworthy, John Steinbeck, Joseph Conrad, Joseph Jefferson Farjeon, Juno and the Paycock (1930), Lifeboat (1944), Linguistics, Michael A. Anderegg, Motion picture directors & producers, New York City, New York, Noel Coward, Novels, Oskar Homolka, Patrick Hamilton, Raymond Durgnat, Rebecca (1940), Robert Bloch, Sabotage (1936), Saboteur (1942), Scotland Yard, Sean O'Casey, Secret Agent (1936), Selwyn Jepson, Sidney Gilliat, Sylvia Sidney, The Birds (1963), The Skin Game (1931), W. Somerset Maugham, Éric Rohmer

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Abstract

Usually, if the novel or play is a distinguished work of literature, this is a reasonable assumption: there would not be much point in filming Tolstoy's War and Peace only to leave out the characters of Pierre and Natasha while changing the setting and time to the American Civil War. The key issue becomes, not the original form of the basic material, but rather the degree to which the filmmaker is willing to allow his own creative instincts free play to the point of ignoring and even perverting his literary source when it suits his purpose.