FILM SCREENPLAY Pinter’s Proust
“The Past Is a Mist”: Pinter’s Proust
Christopher Richards, Paris Review, 23 Jan 2014
All the Dirty Bits of Marcel Proust, by Harold Pinter
–On stage, the English master of menace and the ponderous Frenchman find a common language in a feat of adaptation
Interesting to learn that a staged reading of Pinter’s Proust Play has been performed. My introduction to the Pinter was the BBC radio adaptation which I wrote about.
Little patch of yellow wall or a single asparagus? : Harold Pinter’s The Proust Screenplay
Little patch of yellow wall or a single asparagus? Harold Pinter’s The Proust Screenplay {2}
Later, having thought a little in general about novel or screenplay, a small post on that with a brief mention of adapting Proust, and a link to the YouTube of the BBC radio adaptation of Proust by Mike Butt.
Novel vs. Screenplay
If all this a bit too heavy or you, a soufflé of silliness and naughtiness from Monty Python:
All England Summarise Proust Competition
FILM ADAPTATION Re-visiting Pinter’s Proust
The previous post about novel and screenplay made me think again of Pinter and his Proust Play.
These two were not around when I did my Pinter/Proust posts*
In Which Harold Pinter Changes Marcel Proust
Alex Carnevale in This Recording, 23 August 2011
and
Pinter the Adapter: The Proust Screenplay in Notes and Drafts
Naoko Yagi
No date on this pdf. But she’s a prof. at Wasada University with one of her research areas listed as: Harold Pinter’s plays, screenplays, and prose.
*
Little patch of yellow wall or a single asparagus? : Harold Pinter’s The Proust Screenplay
Little patch of yellow wall or a single asparagus? : Harold Pinter’s The Proust Screenplay {2}
FILM DIRECTOR Godard read Proust
Readable in a second tab
A la Retour de chose Proust
by
Ingrid Wassenaar {GoogleBook}
Writing on A la recherche du temps perdu has tended to celebrate the wonders of the moi sensible uncritically. This overlooks the rigour with which Proust tries to understand exactly why explaining one’s own actions is so difficult. Can we decide, he asks, whether justifying oneself should be written off as morally repugnant, or taken seriously as evidence of moral probity? Proustian Passions examines the case for taking self-justification seriously. This is a brand new vision of a novel whose plunge into subjectivity now seems prescient of the entire twentieth century’s cultural trajectory.
by
Ben Stoltzfus
Little patch of yellow wall or a single asparagus? Harold Pinter’s The Proust Screenplay {2}
9 Dec 2022
THE LINKS IN THIS POST ARE BROKEN. BUT COPYING AND PASTING TITLES FOR GOOGLE SEARCH USUALLY WORKS.
We read The Proust Screenplay with all kinds of things in our mind: Proust, Pinter’s reading of Proust; the problem of abridgment, the problem of dramatization, the problem of visualization; the film which might have been made from this script; the script itself as a literary work, words on the page. In permitting and controlling the interplay of these things Pinter has created a small masterpiece of wit and understanding.
Michael Wood, Times Literary Supplement, June 2nd 1978
(Source: HaroldPinter.org)
..the study of adaptation is logically tantamount to the study of the cinema as a whole.
Dudley Andrews [Concepts in Film Theory]
Now I have the Pinter Screenplay book, instead of relying on the audio tape, it seems only sensible to do a second post to try pull things together.
First, the first post. If it was not obvious: the asparagus was my little joke to illustrate the book to film problem.
Second, having read Michael Woods Foreward and Pinter’s Introduction, I can see I pretty much got to the gist of it. [1] How the Pinter screenplay and radio version worked. [2] Other attempts apart from Pinter’s, including screenplays, finished films and the BBC radio serial. [3] Adaptation in general.
Here I want to to consolidate with quotes from Wood’s and Pinter’s intros. and a few more online articles. Maybe in a third post, I’ll tackle the screenplay in more detail.
Wood first classifies scripts/screenplays into the stages they reach, from glints in the mind through partial completed scripts to those that have been made into films, then places Pinter’s script in the category, along with Visconti’s version, that was completed but not realised in film.
He goes on (my break into numbered sections for convenience) :
[1] …it is also something else, a distinguished representative of yet another genre: the film script which already, as a text, has an unmistakable life of its own.
[2] Reading a work of this kind has particular challenges and attractions, both resembling and not resembling those of reading the text of a play.
[3] The play text is close to the film script, because in both cases we have to imagine the whole show in our heads. The difference is that with a play we hear it more than we see it, we conjure up possible voices and tones, think about insinuations and intentions. We concentrate on the dialogue, worry less about furniture and the set and the blocking out of the actor’s movements.
[4] Reading a film script, we invert these priorities. We hear the words in our head, certainly, but mainly we see the settings, the faces, the gestures, the light. We even need to see – this may be the most important feature of our reading – the spaces between the shots and the sequences they make. We need to reconstruct for ourselves the visual language of the unseen film, turn it into something that is neither just a collection of moving photographs nor a story that could easily have been told in another medium.
Pinter:
For three months I read A la Researche du Temp Perdu every day. I took hundreds of notes while reading but was left at the end quite baffled as to how to approach a task of such magnitude.
[..] We decided that the architecture of the film should be based on two main and contrasting principles: one, a movement, chiefly narrative, towards disillusion, and the other, more intermittent, towards revelation, rising to where time that was lost is found, and fixed forever in art.
[..] Proust wrote Du Cotes de Chez Swann first and Le Temp Retrouve, the last volume, second.
[..] The relationship between the first volume and the last seemed to us the crucial one. The whole book is, as it were, contained in the last volume. When Marcel in Le Temp Retrouve, says that he is now able to start his work, he has already written it. Somehow this remarkable conception had to be found in another form.
[..] In Le Temp Retrouve, Marcel, in his forties, hears again the garden bell of his childhood. He is conscious of himself as a child, his memory of the experience, is more real, more acute than the experience itself.
There are a great number of Proust articles and essays in findarticles.com. A few deal directly with Pinter and his screenplay, but my favourite is the Duncan McColl Chesney:
Giving Proust the Pinter treatment
Independent, The (London) , May 17, 1997 by Robert Hanks
Modern Language Review, The , Jan, 2007 by Jane Walling
Independent on Sunday, The , Mar 20, 2005 by Nicholas Lezard
Deals with the BBC Radio 4 Classic Serial 6-parter.
Proust and Cinema, or Luchino Visconti’s search by Duncan McColl Chesney
12 page essay
Dudley Andrew’s typology of adapatation
– “three modes : borrowing, intersection, fidelity of transformation.”
[page 3: detail and examples]
Here I’ll add Anita Brooker’s short review, A grand overview, of Paintings in Proust by Eric Karpeles, which is interesting of itself but also because it helps to illustrate the problem Pinter had in chosing how to represent the art in Proust:
She says right away:
Proust was a translator of Ruskin, yet he rejected Ruskin’s message that art has a moral foundation. For Proust art was a self-explanatory and self-sustaining exercise which excluded praise and condemnation.
Virginia Woolf, At Intersection Of Science And Art
Author of Proust was a Neuroscientist Jonah Lehrer discusses in a NPR programme how novelist such as Virginia Woolf anticipated what neuroscientists discovered decades later. A summary article.
There is an extract from the book at the bottom of the page.
Proust: The Intermittencies of the Heart
‘Intermittences du Coeur’ is one of the chapters in Marcel Proust’s novel
This Proust post, Intermittencies of the heart, in group reading blog Involuntary memory is linked to in Moleskine Modality and here. Something often referred to so often, it is easier to find here.
Naipaul and the life and work problem
This post has been changed a few times. It is expanding in places and contracting in others. I am claiming no new insights, rather working through for myself what I think.
An author doesn’t have to be a nice person or to have lived an exemplary life for the novels to be brilliant. The new biography of Naipaul will have turned people back to the articles such as those below.
1) His former publisher Diana Athill in Granta:
I was right to admire that self-respect, at that time, but it was going to develop into a quality difficult to like. In all moral qualities the line between the desirable and the deplorable is imprecise—between tolerance and lack of discrimination, prudence and cowardice, generosity and extravagance—so it is not easy to see where a man’s proper sense of his own worth turns into a more or less pompous self-importance.
2) Paul Bowman reviews Sir Vidia’s Shadow: A Friendship across Five Continents, by Paul Theroux
3) Zoe Heller in Salon under title, Killing the Father on Theroux’s memoir
4) Sarah Kerr in NY Times reviews Theroux
5) Review of Part II of Patrick French’s biography of Naipaul:
Part I can be got from there.
6) Nigel Reynolds in Telegraph under title: Sir Vidia Naipaul admits his cruelty may have killed wife.
There are photos of her and his mistress.
7) Robert McCrum Guardian two-parter on visit made to Naipaul in Wiltshire
In part II:
(1) His undergraduate years at University College, Oxford, were a perplexing time for the young man. ‘No magic happened in my three years there,’ he says, ‘I continued to fret over the idea of fiction as something made up.’ Fiction as something artificial would not be good enough. For Naipaul, fiction has a serious job to do, it must ‘elucidate a situation’. He says, ‘If there’s no situation to elucidate, I wouldn’t write. I wouldn’t do the work. I hate the idea of narrative just for the sake of narrative.’ But then he takes that back, in apparent contradiction, repeating three times ‘Everything is narrative’. Here, momentarily, you glimpse the way in which, for Naipaul, the novel has been the balm to the confusions of his inheritance.
(2)……After he won the Nobel prize in 2001, and possibly in acknowledgment of this painful personal story, he found a passage in Proust’s essay Against Sainte-Beuve to elucidate his deepest self, using his Nobel speech to headline it.
It’s an interesting passage, and worth quoting, because it goes to the heart of what Naipaul is about: ‘Proust has written with great penetration of the difference between the writer as writer and the writer as social being… a book is the product of a different self from the self we manifest in our habits, in our social life, in our vices… I will go further now. I will say I am the sum of my books … it’s been like this because of my background. My background is at once exceedingly simple and exceedingly confused.’
V.S. Naipaul On Being a Writer, New York Review of Books 1987, deals briefly with Contra Saint-Beauve.
also gives a bit on Contra Saint-Beuve
Towards the summer of 1909, the essay By Way of Saint-Beuve (Contre Sainte-Beuve) metamorphosed into a novel. By imagining that his hero, invited to a matinée at the home of the Princesse de Guermantes, had a revelation of time in its two modes of being (inner time through a series of reminiscences, and outer time through the ageing faces of the Princess’s guests), Proust changed the conclusion of his essay into a fictional ending; but it was already full of imaginary scenes and characters, to the point that the thread of his critical discourse had been lost. In short, the project had developed rather than lost its way.
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V.S. Naipaul On Being a Writer, New York Review of Books 1987, deals briefly with Contra Saint-Beauve.
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Naipaul, though originally sanctioning the French biography has said he hasn’t read it.
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There is no obligation to read about the life of a novelist to enjoy the books. Many may deliberately keep away from what the author has done and said. It would give more time to get through more novels. But I doubt few serious readers can resist the temptation to match lives to works. That doesn’t mean to say that once we are experts on the life, we are experts on the books.
People are fascinated with Picasso’s life and milieu which ought to help understanding why he turned to cubism. But if you don’t like his later work – as an aesthetic experience – theoretical understanding of why he and others developed the art form will be unlikely change your mind.
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Back-tagging in WordPress on ‘Naipaul’ I see there is a bit of a debate going on. Nigel Beale in Sunday Salon: Why questions about art and creativity can be tiresome , refers back to his first post,
Author vs. Work; Sainte-Beuve vs. Proust; Dorothy vs. Dan. Stephen Mitchelmore takes up Nigel’s contra Proust, in a post primarily on remarks on John Carey’s review of John French’s biography of Naipaul.
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Something else struck me. Another blogger mentioned recently tackling a Naipaul novel. He or she was not enamoured. The pidgin Englishes (plural) got on his/her nerves, and there was puzzlement, for example, over why the local Trinidadian newspaper in the novel covered Hindi films. What were Hindi films all about? How much time do you need to take off from reading the book to find something like this abstract from Finding a Place: Indo-Trinidadian Literature, to give some pointers. It is at this point dear friend, you put the novel down and start reading about the West Indies. Why rush? Take your time: savour the whole process of book and background. Naipaul’s life will help to explain the Hindi films too.
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Whether you consider the life and the work are intertwined or not, it helps to be able to understand some of the key references. It might be the merest flicker of a mention. If you are not in tune with the subtle nuances, then a book will not mean as much to you: you will not be getting all of that the author hoped you would. These words have been worked on to create this magic, these illusions and psychologies and emotions. It is impossible for me not to think in film terms : some small background feature of a scene that is in some way building an understanding of the action in the scene and the film as a whole. It can be a game too. Where things or actions are placed in front of us which are not meant to be significant but are just entertaining. However, for a moment we wonder if they are important. Jack Nicholson, in Chinatown, putting wristwatches under the back and front of a car tyre, is a very satisfying image. If we do not grasp immediately what this is about we soon do and are impressed. But if we learnt that scriptwriter was in the habit of doing this with watches , or had learnt about it as a real-life activity amongst private detectives, rather than having invented it, would this help or hinder our pleasure in the story?
Can you inhabit the world of the novel without some of this? To create little loops of sub-stories – often involuntarily, often like daydreams, which you may have to force yourself to leave to get back to the reading – is part of the magic of great writing (and film and art, music, and architecture).
The brilliance of the writing alone will not take you into the world the writer is creating. You take something you know about the world with you on this journey. The more the better. The author uses what he knows you know. This is what makes his story possible for you are the reader.
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I find I have no difficulty with references to Hindi films in Naipaul (I admit here, by the way, I haven’t read the book…) because I already know quite a lot about Indian Trinidadians and the West Indies in general. I didn’t need to look up Hindi and Trinidad in Google, but it certainly added more to my understanding, event the 30 seconds I spent scanning a few pages to find the way the presbyterian Church used Hindi to encourage Indian West Indians to join it.
I have only recently learnt more of Naipaul’s life, which helps me with the novels: in particular to help chose which I might tackle. But then it is not so much his life as his attitude to where he lived and why he chose to leave, and so on. There have been umpteen reviews of his books over the decades which will have tackled the life in relation to the work which will have been good pointers , for example, to whether Naipaul’s early novels were your thing.
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You may pick out a well-known author because he is meant to be good – one to tick off the list – only to be disappointed because the theme or characters do not engage. Forget the brilliance of the writing. Maybe, no matter how much you read outside the novel about the world around you, it will still not make a particular novel a worthwhile experience.
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The more films you have watched the more you will appreciate references and homages to other films, both of content and technique.
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This seem to be working towards a conclusion that the range, depth and breadth of fiction you have read or attempted to read might bear a relation to your general knowledge. Perhaps not dissimilar to some people’s attitude to food. Those used to a certain type, when offered something different and exotic, turn their noses up at it.
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On Start the Week (BBC Radio 4) this morning, they were decrying the English Departments of late for preferring theory over the books themselves { side remarks about structuralism and post-structuralism… and did I hear someone say post-post-structuralism?}. I distinctly heard Andrew Marr say, What could an 18 year old {himself at Oxford or Cambridge no doubt} get from reading all these books, without experience of life. Someone else, novelist Maggie Gee, I think, said this did not matter so much, that it was possible to get something out of these books (shall we say Shakespeare?) with little knowledge. In any case, one the gets some of the background and goes back for another try, surely?
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While writing this I have been thinking of Dostoevsky’s The Brother’s Kamerazov and Thomas Mann’s novels. Before tackling Kamerazov, I had read, years before, Solzynitsyn’s Cancer Ward. The fact that I had read a lot about religion in the preceding 10 years made Kamarazov much easier.
I read The Magic Mountain at 25. Though I did not understand it all, I was worldly-wise enough to see in its basics what is said here. I had not got the arts education to catch many of the literary references, but I knew some modern European history, had heard of Lubeck, Mann’s home city, and even recognised the way Hansa fitted into the story, even if only from some vague knowledge of the distinctness of Northern Germany. I could place myself in this world quite well. Hans Castorp sets off from Hamburg in the first sentence in The Magic Mountain . It would be helpful to know that it had been a Haseatic port.
The TV series Magnetic North, recently aired on British TV, mentioned that Hitler hated these Baltic cities because they were bourgeois. If you knew that and realised the journey Hans took from Hamburg to Davos cut right through the rest of Germany, you would realise you are already being told something.
I looked up a bit more about Hansa after the TV programme, realising by looking at the maps, how far this economic community spread, east and west (King’s Lynn, in Norfolk was a Hansa port) and thought how culture was bound to have spread as well. So, knowing this before starting The Magic Mountain, one would be seeing something more than in the words describing Hans’ train journey across Germany to Switzerland. Knowing it after reading it is not without its satisfactions.
This thinking seems to lead inexorably to the elitism of reading, with a well-educated core having proper access the best of the best in novels, with reasonably intelligent, curious others sometimes straying into this hallowed space, like out Naipaul reader who is irritated by the notion of Hindi films popping up in a novel about Trinidad. To the rest the world of the superior novel – if it could called that for the sake of simplicity – a foreign country they have no desire to visit.
In the course of writing this I found a GoogleBook extract from Patriotism, Cosmopolitanism and National Cuture: Public Culture in Hamburg 1700 – 1933. From page 193 {Title: The discrete charm of the Hanseatic Bourgeoisie. Geography, History and Psychology in Thomas Mann’s Hamburg. } which is a wonderful illumination. Whether we have to take these facts and ideas on board, such as the Hanseatentum, and accept the life and work are inextricably linked, or whether we can say that these are facts and ideas largely outside the author which would help us to grasp the author’s intent better, I’m not sure. In this essay Hans Rudolf Vaget explains why Mann Chose Hamburg as Castorp’s starting point rather than Lubeck, and also that the allusion he was trying to create by so doing was an east verses west tension rather than a north south one. I can’t remember if there is a telegraphed discussion about this in the novel. Chapter 2 does deal with Hans’ background ( Hans….Hasa…Ha!). I’ll get the latest translation of TMM and start all over again with my new knowledge.
A Return to Things Proust
He tells us that the very limitations of the art—its very departures from strict truth—have an intrinsic moral, that is, compassionate, value. He says, “A real person, profoundly as we may sympathize with him, is in great measure perceptible only through our senses, that is to say, remains opaque, presents a dead weight which our sensibilities have not the strength to lift. If some misfortune comes to him it is only in one small section of the complete idea we have of him that we are capable of feeling any emotion. Indeed it is only in one small section of the complete idea that he has of himself, that he is capable of feeling any emotion either.” The novelist’s happy discovery was to think of substituting for those opaque sections impenetrable to the human soul their equivalent in immaterial sections. Things, that is, which one’s soul can assimilate.
A book : Madame Proust
Excerpt from pages 69-77 of Madame Proust: A Biography by Evelyne Bloch-Dano, translated by Alice Kaplan, published by the University of Chicago Press. ©2007 by The University of Chicago
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From an Italian Proust website, marcelproust.it by Gabriella Alù: Photographs of Madame Proust /fascimile of her handwriting (Una pagina del manoscritto de “La Bible d’Amiens” di John Ruskin tradotta da Jeanne Weil con le correzioni di Marcel)
Including one in Venice and of father and son Robert
Photos of Nathan Weil, Adèle Berncastel, Marcel’s maternal grandparents
Marie de Bénardaky
model for Gilberte, written about in French in a post on Terres de femmes. (2)
Madame Straus
One possible model for the Duchess de Guermantes
This page links to all four women suggested he used for the character.Facsimile of letter by Proust to Madame Emile Straus (unreadable but includes drawing of some character presumably is in A La Researche!)
Link to a set of sketches which will enlarge when clicked on.
This page does all the possible for the Guermantes.
She who probably answered that bell Proust kept on pulling by his bedside, just like Marcel. At the bottom a YouTube in which she talks about Proust.
A poem (facsimile) dedicated to Céleste.
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Photo of Marcel Proust in bed, ill or dead?
Caption in Spanish:
Marcel Proust vivió torturado por su mala salud, que lo obligó a escribir gran parte de su obra en la cama.
{roughly: tortured by ill health, he was obliged to do much of his writing in bed)
Post from literary review, Terres de Femmes, quotes with Le petit pan de mur jaune section from La Prisonnière
I.e. Bergot and Vermer’s View of Delft. I have posted on the the patch of yellow in Moleskine Modality in relation to Harold Pinter’s The Proust Screenplay.
Set of links to English translations of Proust from website Ephemera.
John Fowles, book and film.
Litlove (Tales from the Reading Room) has written an exemplary post on The French Lieutenant’s Woman. However, if you are curious, if you haven’t read the book, it has the spoiler built in, so beware.
One thing she hasn’t tackled is book vs. film, which I have always been obsessed by, partly because I believed it told me so much about film writing.
Karl Reisz directed. Harold Pinter wrote the screenplay {1}. Having later heard in the BBC radio version what he did with Proust in The Pinter Proust Play, {2} which itself is an object lesson in screenwriting, though never used, I can now turn back again, being reminded of the FLW , to the way he ended up doing Fowles:
wiki: The French Lieutenant’s Woman
Screenplay of The French Lieutenant’s Woman
(Not sure if these are Pinter’s ‘stage directions’ – just a few- or if they have been created afresh in lieu of the real thing, but the dialogue seems true to the film)
There is a long essay by Mary Lynn Dodson, which was originally published in Literature Film Quarterly, in 1998, which takes the book vs. film discussion in its full context, including Fowles’s other books, his own attempt to adapt the book, and his attitude to filming The French Lieutenant’s Woman.
The French Lieutenant’s Woman: Pinter and Reisz’s adaptation of John Fowles’s adaptation
{ SEE Moleskine Modality post Petit pan de mur jaune for a soupçon of Pinter’s Proust.}
Proust posts in Moleskine Modality
Proust’s handwriting
Proust posts in Moleskine Modality
Recommend using edit > find > type in ‘Proust’ > select highlight all. You can run through the scroll in Moleskine Modality at a rate of knots to find what you might be interested in.
This will also highlight in yellow the word Proust in the blogroll. There is a selection of Proust related links in the ‘I read’ category: English for the non-English must be very trying when this could be the present or the past tense: while orally/aurally it is perfectly clear which tense it is.
If any of the blogroll links are dead, you can at least put the relevant title or phrase back into a search engine to try to find the article. Checked one link –Aesthetics of the Windshield: Proust and the modern Rhetoric of Speed which was as dead as the proverbial dead parrot in the Monty Python dead parrot sketch(though this one may work). How Proust viewed the technology of the time is a theme I cannot tire of. There are a few others :
From The Cambridge Companion to Proust is available as a pdf. Chapter 1 : From the Belle Époque to the First World War: the social panorama, under the under the sub-heading Speed of Change, page 14.
Theories of Relativity by William C. Carter
Between Philosophy and Poetry: Writing, Rhythm, History
This is a few pages in a Google abstract (fascimile) which deals with speed: dealing with the bicycle, trains, the car, cinematograph, etc.
Proust links from Moleskine Modality
Proust : Wiki In Pursuit of Proust The curious fate of the last three volumes of the new edition: Aaron Matz
The Kolb-Proust Archive Marcel (Valentin-Louis-George-Eugene) Proust (1871-1922) Marcel Proust tempsperdu.com other Proust sites Marcel Proust: Or the Novel as writing Proust regained by Daniel Mark Epstein Doing Time with Marcel Proust Chapter 1 – Marcel Proust (Edmund White) A la Researche U of Aldelaide e-text download page
Or straight to the books:Swann’s Way Within A Budding Grove The Guermantes Way Cities of the Plain (Sodom et Gomorrhe) The Captive The Sweet Cheat Gone (Albertine disparue) Time Regained (Le Temps Retrouve)
cutting on the action 
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