Consider the Formats Getting Dramatic Consider the Formats Consider the following four key changes made by the filmmaker in the adaptation of Private Peaceful Discuss as a class how you ID: 632986
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Slide1
Private Peaceful
Two classroom activities:Consider the FormatsGetting DramaticSlide2
Consider the Formats
Consider the following four key changes made by the filmmaker in the adaptation of Private Peaceful
. Discuss as a class how you
feel about these ‘liberties’ taken?
Are you loyal to the book’s extra subtleties and your own imagination of it? Or are you glad of the film’s clarifications and bolder strokes? Slide3
Consider the Formats
1. The establishing first scene of the First World War. What do we gain?
We know exactly where we are from the outset. A First World War story.
“
The reason that the First World War has always resonated with young people is that a lot of young people were the cannon fodder, dying for a cause that they really didn’t understand.” - Simon Reade, the screenwriter for the film
What
do we lose
?It sacrifices the book’s mystery and slow-burn reveal. Slide4
Consider the Formats
2. Tommo going to war alone first.
What do we gain?
“
To tear the rift still wider between the Peaceful brothers,
[the filmmakers sent]
Tommo
to the Front in advance of Charlie. Charlie resists partly for political reasons – he doesn’t want to fight a capitalists’ war – and for personal reasons: he doesn’t want to abandon his pregnant wife and soon-to-be-born child.” - Simon Reade, screenwriter for the film
Extra plot power. It “ups the stakes” of the character and adds realistic social context.
What
do we lose? The crucial character point that Tommo always follows his older brother; the delayed introduction of Molly.Character. The touching formative scenes in infant school where Molly protects Tommo; the sense she’s always been there.Slide5
Consider the Formats
3. Big Joe is less prominent in the film.What do we gain?
A clearer narrative focus on Charlie and
Tommo
while retaining the period themes of
protection of versus intolerance of Big Joe’s difference (‘lunatic asylum’
).
What
do we lose?A celebration of innocence and unending childhood shown through an equal part for a third Peaceful brother at odds with the world. The entire chapter is cut where Big Joe was feared dead and found on the ‘heaven’ of the church roof, which so poignantly cues his oranges and lemons song sung defiantly at the death by Charlie
.Slide6
Consider the Formats
4. More of the Colonel in the film. (Not just brief, telling extra lines and scenes –
e.g. the faltering confrontation with Charlie in the pub where he embodies pre-war England in
decline – but
the way a ‘star’ actor can dominate a
film.)What do we gain from Richard Griffiths’ performance?
A powerful reading and visualisation
of the colonel and his Boer
War England. A brilliant stereotype.What do we lose? Sometimes these less-restrained ‘star’ performances can distort a
story or distract.Slide7
Consider the Formats
Summarising essay:Films have to make cuts, simplify. Explore the
losses and gains of this. Aim at a comparative appreciation of the subtlety of literary fiction but also of film’s different – more direct – impact
.Slide8
Getting Dramatic
Today you will be trying your hand at a dramatic adaptation of a portion of Private Peaceful.First, as a group read through the worksheet: Example dramatisation of Five to Five (penultimate chapter) and the letters from Mother and Molly p.157,
160Slide9
Getting Dramatic
Now we will read together, aloud, the full chapter Nearly Five To One.In preparation for adapting it into a dramatic scene, i
magine you have been asked to write this
key scene missing from the film
(or
write it as a playscript if you prefer). Slide10
Getting Dramatic
For acting out this portion of the story:Write for a group of 6: Big
Joe, Tommo, Molly, Mother, The Colonel and a female ‘Village.’
Your
set/stage should include a ‘higher’ level above the human – sky/moon/heaven/church tower.
Suggestions
for the first scenes are done for
you on the worksheet: Students’ own dramatisation of Nearly Five To One.