Make a 1600-word analysis of the film adaptation of Boris Vian’s novel, L’écume des jours (1947), and its film adaptation (Michel Gondry 2013)
Use the following reference “Cléder” to support your arguments: Cléder, Jean (2004), “The film adaptation”. Fabula [Online], literary workshop: http://www.fabula.org/atelier.php ? https://www.fabula.org/ressources/atelier/?Adaptation_cin%26eacute%3Bmatographique
What structure?
- First, give a very brief presentation of the novel and its adaptation (author, date of publication), as well as a summary of the story.
- Then compare the original work and its film adaptation:
What elements have been transferred directly to the new medium and which have been adapted to the constraints of the new medium?
To do this, it is important to know the initial text well!
In your analysis, take into account the elements in the list below, while emphasizing the “game of displacement” (Cléder 2004:3), i.e. the aspects where you notice a discrepancy between the initial text and its adaptation. Why do you think the filmmaker made these choices?
Here are the aspects to consider in the analysis. Rather than addressing them one after the other, try to integrate them into a constructed reasoning, developing the points that seem most interesting to you:
The story and the characters
Does the adaptation contain all the plot elements of the original text? What has been changed/removed? Does it emphasize the same elements of the story?
The narrative perspective
Who is telling the story? Who is watching? Was the focus used in the original text maintained in the film adaptation? If not, what is the effect of this displacement?
Temporality
Does the chronology of the events recounted in the initial text correspond to that of the adaptation? What about the narrative rhythm?
Narration vs. demonstration
How are the feelings and motivations of the characters represented in the original text and in the adaptation?
Aesthetics
How has the style/aesthetics of the novel or comic book been adapted to the new medium?
3. Finally, discuss whether we can speak of a real “rewriting” of the initial text about the film adaptation you have studied.
Does adaptation bring a new and different perspective?
Bibliography
Cléder, Jean (2004), “The Cinematographic Adaptation”. Fabula [Online], literary workshop:
http://www.fabula.org/atelier.php?AdaptationLinks to an external site.
as an example/inspiration.
- A thesis, therefore a common thread, therefore no homework:
The thesis must be something more precise and unique than Gondry’s film. For example, what are the movements that are unique to Gondry, what is the impact, etc. of your choice
or, it is in your, currently missing, at point number 3 of the instruction:
“3. Finally, discuss whether the film adaptation you have studied can be described as a real “rewriting” of the initial text. Does adaptation bring a new and different perspective? »
As an example from which you can draw inspiration:
The “game of displacement” mentioned by Cléder is particularly evident in the way Gondry has chosen to visualize the metaphors and atmosphere of the novel. Rather than simply illustrating the text, he created a visual universe that functions as an extension of Vian’s imagination.
This adaptation can be considered a rewriting in that it offers a new perspective on the original work. Gondry amplified aspects of the novel, such as its surrealism and social critique, while updating them for a contemporary audience. The result is a film that, while staying true to the spirit of Vian, exists as a work of art in its own right, fully exploiting the unique possibilities of the cinematic medium.
Ultimately, Gondry’s adaptation demonstrates that fidelity to a literary work does not necessarily lie in a literal reproduction, but in the ability to capture and reinvent its essence in a new medium.
Examining the differences between Vian’s novel and its adaptation by Gondry, one may wonder whether the film constitutes a true rewriting of the original text. Gondry undoubtedly brings a new perspective, placing more emphasis on visual aesthetics and simplifying certain narrative aspects to fit the constraints of cinema. His film focuses on the romance and tragedy of the story, rather than the satirical and philosophical elements that Vian incorporates into his work. This orientation is perhaps due to a desire to make the film more accessible to a modern audience, by accentuating the emotional aspect rather than the more abstract reflections of the novel.
However, it could also be argued that Gondry does not “rewrite” Vian’s work, but rather offers a visual interpretation of it, respecting the spirit of the text while playing with the possibilities of the cinematographic medium. It is a transposition more than a radical rewriting. The visual poetry of the film, although different from Vian’s literary style, retains its essence, namely a celebration of imagination and creativity.
In conclusion, Michel Gondry’s adaptation of L’Écume des jours respects the original work while making the necessary “shifts” to adapt to the demands of cinema, in accordance with the principles described by Cléder (2004). The changes made, whether they concern the narration, the temporality,
- Use the Cléder reference, and, the jargon.
- The whole thing must be concrete and/or contain examples. If we had to summarize the text in “bullet points” we should not have any trouble doing so.
Ideas that you can possibly develop, with concrete examples, are: (modify the text below if you are inspired by it)
Story and characters
Chick’s obsessive passion for Jean-Sol Partre (a parody of Jean-Paul Sartre) is less developed than in the novel.
The director also accentuated certain visual elements to reinforce the surreal atmosphere, such as the more pronounced use of Colin’s “pianocktail”, which becomes a central element of the mise-en-scène.
In Michel Gondry’s adaptation, the main narrative thread is respected, but some elements of the plot and characters are simplified for reasons of time and intelligibility. For example, secondary aspects of the plot, such as the relationship between Chick and Alise, are somewhat relegated to the background. Gondry, while staying true to the essence of the novel, puts more emphasis on the romance between Colin and Chloé, accentuating the tragic emotion of the film. This can be interpreted as an aesthetic choice to make the story more accessible to a contemporary audience, focusing attention on the tragic fate of the two lovers.
In addition, some characters have been slightly modified. In the film, Colin appears more childlike and dreamy than in the novel, which is accentuated by Gondry’s characteristic visual style, often associated with imagination and fantasy. This representation seems to be a strategic choice by the director to reinforce the poetic and dreamlike aspect of the work. On the other hand, some secondary characters, such as Chick, whose obsession with Jean-Sol Partre leads to his ruin, are less developed, which lightens the satirical scope of Vian’s novel on consumer society and intellectual alienation.
Narrative Perspective and Focus
Vian’s novel mainly adopts a third-person narration, with a variable focus that allows access to the thoughts and feelings of the different characters. Gondry had to adapt this approach to the constraints of the cinematographic medium. However, Gondry uses innovative visual techniques to convey the interiority of the characters:
- Dreamlike sequences representing emotional states
- Surreal visual effects that reflect subjective perceptions
- Creative use of the camera to suggest the characters’ point of view
These choices make it possible to preserve the spirit of the novel while exploiting the unique possibilities of cinema.
The film, on the other hand, takes a more external perspective, which is typical of the cinematic medium, where the camera “looks” at the characters rather than entering their minds. This creates a distance between the viewer and the characters, a distance accentuated by Gondry’s eccentric and sometimes absurd visual style. However, this choice also allows the director to play with surreal imagery, a key element of the novel. For example, the famous piano, which prepares cocktails (the “pianocktail”), is beautifully rendered on screen, enriching the visual experience while remaining faithful to the spirit of the original text.
This shift in focus also allows Gondry to fully exploit the possibilities of cinema to translate Vian’s whimsical world into images, although this is sometimes to the detriment of the characters’ introspection. Gondry’s choice to focus on display rather than narration reflects what Cléder calls a “game of displacement” (Cléder, 2004: 3), where the camera becomes the visual narrator.
Temporality and narrative rhythm
Time compression. The film condenses certain events and ellipses of the novel to maintain a sustained pace. For example, the gradual deterioration of Colin’s apartment is visually accelerated to symbolize the character’s emotional and financial decline.
Rhythm and atmosphere. Gondry alternates between fast-paced sequences, especially during the joyful moments at the beginning, and slower, contemplative passages as Chloé’s illness progresses. This variation in rhythm effectively translates the evolution of the novel’s atmosphere.
Vian’s novel plays with time in a complex way, mixing temporal ellipses and jumps into the future. In the literary work, time seems to distend and contract according to the emotional state of the characters. This temporal flexibility is a reflection of the dreamlike and irrational world that Vian creates. For example, as Chloe’s health deteriorates, the universe around the characters becomes increasingly dark and cramped, symbolizing the compression of their existence.
In the film, Michel Gondry tries to capture this temporal flexibility by using special effects and changes in narrative rhythm. The film slows down or speeds up depending on the characters’ emotions, and the transitions between scenes are often marked by surreal visual techniques, such as objects that transform or sets that transform. However, due to the linear nature of cinema, this manipulation of time is less fluid than in the novel, which somewhat alters the viewer’s experience.
Storytelling vs. Demonstration
Gondry’s adaptation faces the challenge of visually transposing Vian’s poetic descriptions and metaphors.
Visualization of metaphors. Gondry chooses to literalize certain metaphors of the novel. For example, Chloé’s “water lily in the lung” is represented in a concrete way on the screen, creating an effect that is both poetic and disturbing.
Expression of emotions. Where the novel could directly describe the characters’ feelings, the film relies more on:
- The acting (Romain Duris and Audrey Tautou in particular)
- Staging and visual effects: for example…………..
- Music and sound design: for example………..
These elements combined make it possible to convey the emotional richness of the novel without resorting to an explanatory voice-over.
In Gondry’s adaptation, these feelings are translated visually. Rather than resorting to internal storytelling, Gondry shows the deterioration of Colin’s world through impressive visual effects. The apartment becomes darker and more oppressive, and objects that were once alive and colorful lose their vitality. This display of emotions, as opposed to their verbal narration, is an aesthetic choice specific to cinema, where the image takes precedence over the text. This transition from narration to demonstration is part of the logic of the “game of displacement” evoked by Cléder (2004), where the cinematographic language replaces the written text to express the same ideas in a visual way.
In the novel, Vian uses a narrative that lends itself well to describing the inner emotions of his characters. Colin’s feelings, especially his pain over Chloe’s illness, are poignantly portrayed through metaphors and language games. For example, the deterioration of Colin’s apartment reflects his growing desperation.
Aesthetics and visual style
One of the most notable aspects of Gondry’s adaptation is its visual translation of Vian’s surrealist universe.
Sets and special effects. Gondry opts for a mix of practical and digital effects to recreate the dreamlike atmosphere of the novel:
- Moving, organic backgrounds that reflect the emotional state of the characters
- Animated objects such as the half-animal, half-plush house mouse
- Stop-motion animation sequences for some whimsical scenes
This artisanal and inventive approach echoes the playful and creative spirit of Vian’s writing.
Colour palette. Gondry uses a bright, saturated color palette at the beginning of the film, which gradually darkens as the plot evolves. This aesthetic choice visually translates the passage from carefree to tragedy in the novel.
Boris Vian’s style in L’Écume des jours is deeply influenced by surrealism and poetic nonsense. His writing is rich in metaphors, puns and absurd descriptions, which creates a unique literary universe. Vian’s aesthetics are based on the idea that reality can be flexible, malleable, and that objects and situations can symbolize abstract emotions or concepts.
Michel Gondry, with his penchant for imaginative visual aesthetics, seemed like the ideal choice to adapt such a work. In the film, he exploits the possibilities of cinema to recreate Vian’s surrealist universe, with whimsical sets, stop-motion animations, and inventive special effects. For example, the pianocktail and the biglemoi dance, two iconic elements of the novel, come to life on screen in a spectacular way. However, despite these visual successes, some critics have noted that Gondry’s obsession with aesthetics can sometimes distract from the central emotional drama, making the film more emotionally distant than the novel.
Rewriting and a new perspective
Gondry’s adaptation can be considered as a real rewriting of Vian’s text, while remaining faithful to its spirit.
Personal vision of the director. Gondry brings his unique sensibility, known for his visual inventiveness and taste for craftsmanship. It amplifies certain aspects of the novel, such as the importance of the “pianocktail”, which becomes a central element of the staging and visual storytelling.
Contemporary Contextualization. Although the film’s aesthetic evokes an indeterminate era, Gondry subtly incorporates contemporary elements, especially in the costumes and certain objects. This approach makes the story more accessible to a modern audience while preserving the timelessness of the narrative.
Accentuation of surrealism. Where Vian’s novel played on the ambiguity between reality and fantasy, Gondry chose to fully embrace surrealism. This decision amplifies the dreamlike aspect of the story and creates a unique visual experience that complements the original text rather than simply reproducing it.
