Great Expectations Film Analysis

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Through the film version of Dickens’s work, Cuarón makes an incomparable adaptation of Great Expectations, but without being able to get rid of the literary original version of Dickens and even leaning in David Lean’s former adaptation.
TYPE OF ADAPTATION
This adaptation is a perfect example of a freely adapted novel. This approach considers the source simply as "raw materials", as a "pretext" for inspiration for a work of cinematic art in its own right. There are taken certain situations, characters... from the original literary text like a starting point to create a completely different work by altering the structure and the artistic vision of his author. Here we can no longer speak of loyalty to the text or to the spirit of the literary
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Finn (Pip) himself is dressed in green on a conciliatory act with nature, an attempt to find a balance with everything around him. Finn's identity is not given to us through his words but through what he shows us the world in their own unique way of seeing reality through painting. The painting in this case shows the simple process of creation, nature being their inspiration.
The contrast of light and dark is one licensed in the novel, but a bolder use of colour as a visual code was adopted by Cuarón, who chose green as the keynote of his adaptation of Great Expectations in 1998. The repetition of the colour, especially in the paintings, gives a sense of fertility constantly pushing at the limits of the stiflingly artificial world shown elsewhere in the film.
It is not a coincidence when Pip first arrives he sees a little green bird in a cage. Cuarón makes a detail shot here too. This is clearly a symbol of Estella’s way of life. It is a beautiful enormous cage, but it is still a cage, the bird, as Estella are not free.
But actually the color green is overused and omnipresent that has no emotional or narrative significance within the film. The color palette does lend a dream atmosphere quality to the

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