Edith Wharton on Film
Publication Year: 2007
Edith Wharton on Film explores these seeming contradictions and examines the relationships among Wharton’ s writings, the popular culture in which she published them, and the subsequent film adaptations of her work (three from the 1930s and four from the 1990s). Author Parley Ann Boswell examines the texts in which Wharton referenced film and Hollywood culture and evaluates the extant films adapted from Wharton’ s fiction.
The volume introduces Wharton’ s use of cinema culture in her fiction through the 1917 novella Summer, written during the nation’ s first wave of feminism, in which the heroine Charity Royall is moviegoer and new American woman, consumer and consumable. Boswell considers the source of this conformity and entrapment, especially for women. She discloses how Wharton struggled to write popular stories and then how she revealed her antipathy toward popular movie culture in two late novels.
Boswell describes Wharton’ s financial dependence on the American movie industry, which fueled her antagonism toward Hollywood culture, her well-documented disdain for popular culture, and her struggles to publish in women’ s magazines.
This first full-length study that examines the film adaptations of Wharton’ s fiction covers seven films adapted from Wharton’ s works between 1930 and 2000 and the fifty-year gap in Wharton film adaptations. The study also analyzes Sophy Viner in The Reef as pre-Hollywood ingé nue, characters in Twilight Sleep and The Children and the real Hollywood figures who might have inspired them, and The Sheik and racial stereotypes.
Boswell traces the complicated relationship of fiction and narrative film, the adaptations and cinematic metaphors of Wharton’ s work in the 1990s, and Wharton’ s persona as an outsider. Wharton’ s fiction on film corresponds in striking ways to American noir cinema, says Boswell, because contemporary filmmakers recognize and celebrate the subversive qualities of Wharton’ s work.
Edith Wharton on Film, which includes eleven illustrations, enhances Wharton’ s stature as a major American author and provides persuasive evidence that her fiction should be read as American noir literature.
Published by: Southern Illinois University Press
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Title Page, Copyright Page
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I became interested in Edith Wharton’s relationship to popular film several years ago while I was researching another film project, and I came across a movie review in a 1930 issue of The New Movie Magazine, of a Hollywood production entitled The Marriage Playground. “Another study of divorce, based on Edith Wharton’s ‘The Children.’ Sympathetic ...
Introduction: A Glittering Place
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In 1928, Edith Wharton (1862–1937) was invited to participate in a short documentary celebrating the accomplishments of several illustri-ous American women called Woman Marches On, to be produced by the Will Hayes Motion Picture Association. Through a letter to her American publisher, she declined the invitation, explaining that she thought it would ...
Part One: Reading Wharton on Film
1. Charm Incorporated: The Short Fiction
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Edith Wharton wrote Summer in 1916, from her townhouse at 53 Rue de Varenne in wartime Paris. In a letter to her friend Gaillard Lapsley, she explained that she had set the tale in rural Massachusetts and had used I have written a book in the last six months—a shortish novel, which is coming out shortly in Maclure’s [sic]. It is known to its author & her familiars as the ...
2. The Mechanical Terror: The Novels
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She was the kind of girl in whom certain people would instantly have Two years after Wharton took Charity Royall and Lucius Harney to see a movie in Summer, she published The Age of Innocence, a novel that afforded her the luxury of escaping the twentieth century almost alto-gether.1 Only in the final chapter does fifty-seven-year-old Newland Archer ...
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Edith Wharton in pearls and furs, what her character Zinnia Lacrosse Boyne (Fredric March) and Judy (Mary Brian) with those rascally children in The Marriage Playground (1930). Publicity still courtesy of Photofest Inc.Mattie (Patricia Arquette) and Ethan (Liam Neeson) alone and together by firelight in Ethan Frome (1993). Publicity still courtesy of Photofest Inc....
PartTwo: Watching Wharton on Film
3. Going Hollywood: The Thirties
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The dominance of popular American movies must have disappointed Wharton, who saw herself as one of the victims of the mechanical terror in the 1920s and 1930s. She had not always resented and feared the power of film, however. In 1918, she had commissioned a series of documentaries through the French armed forces on behalf of her many war charities. ...
4. Wharton in Bloom: The Nineties
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The same year that Wharton vetoed the invitation to appear on-screen with Mary Pickford, Virginia Woolf delivered two papers in London that she would later publish as A Room of One’s Own. In these essays, Woolf suggested that the novel, one of the youngest art forms, would become the site of experimentation by women. Most literary genres, she wrote, had ...
Conclusion: Another Country
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I had the sense that the deeper meaning of the story was in the gaps.Edith Wharton’s despair over the popularity of mass-movie culture during her lifetime was a despair shared by a cluster of other writers, including H. L. Mencken, William Dean Howells, Maxim Gorky, Aldous Huxley, and many others. In terms that sound strikingly like Wharton’s, ...
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Parley Ann Boswell is a professor of English at Eastern Illinois University, where she teaches courses in American literature and film studies. She is the coauthor of Reel Rituals: Ritual Occasions from Baptisms and Funerals in Hollywood Films, 1945–1995, and has published numerous ...
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Parley Ann Boswell is a professor of English at Eastern Illinois University, where she teaches courses in American literature and film studies. She is the coauthor of Reel Rituals: Ritual Occasions from Baptisms and Funerals in Hollywood Films, 1945–1995, ...
Page Count: 248
Publication Year: 2007