Comparing Ambiguity in The Turn of the Screw and The Innocents Essay

Ambiguity in The Turn of the rear and The Innocents How successfully does the black-and-white film version of The Turn of the Screw, The Innocents (Jack Clayton, 1961), render the equivocalness of throng certain text? Ambiguity, the art of deliberately creating well-nighthing that can have much than unitary meaning, lends itself to the written word without difficulty. A written fib can assume ambiguity in the characters, plot, narrative - every factor in the story can have to it a sense of uncertainty. However, uncertainty concerning ambiguity is subtly different from uncertainty involving vagueness the former is a deliberate ploy by the writer to leave interpretation break to the readers own imagination, whereas the latter comes approximately due to a lack of detail delivered on the part of the writer, belike due to lack of talent or attention. With The Turn of the Screw, Henry James crafted an immensely complex and highly ambiguous book - there is nada vague here when Jack Clayton decided to make it into a film, he faced an upward struggle. Adapting a book for a film is always beset with difficulties - the written word has the ability to be far more subtle than the projected frame - but capturing the ambiguity of The Turn of the Screw would be immensely difficult. Words do not have to be precise in their meaning but a picture on a cinema screen is just a picture - there is little subtlety or uncertainty. A director has to employ fantastic techniques to make a viewer doubt what he is so obviously seeing. This was especially true in 1961, when The Innocents was produced, a time before modern visual effects came into use. Almost all of The Turn of the Screw is open to alternate interpretation ... ...e. As with many book-to-&158lm adaptions, a entrust to change the ending is the &158lms undoing. In some respects the &158lm captures the ambiguity of the captain text extremely well - the existence of the ghosts and supporting characters, the appointment of the children - but the more subtle ambiguous parts of the book are lost in the &158lm, which is too speci&158c in places, particularly the ending. ane point that should be taken into consideration is that this essay was written ground upon a version of The Innocents that had been cropped to &158t a television screen ratio, losing the original widescreen footage. Therefore it was impossible to fully appreciate the directors true vision consequently, some claims (such as Grose rarely being in the same shot as the governess) may only stand when a third of the picture has been lost.