감춰진 이야기 복원과 심리드라마의 단순화: 카디프의 <아들과 연인>

Abstract

The keywords to illuminate the method of Jack Cardiff’s film adaptation of Sons and Lovers are restoration of hidden subtext and simplification of psychic drama. His film restores subtext embedded within D. H. Lawrence’s original novel; vitality of life contrasted to death principle. Warm vitality is embodied in Walter Morel, who eventually leads Paul to a life overcoming a compulsion to death after Mrs. Morel’s death. Filmic Morel reminds us of a father Lawrence never acknowledged in his novel but eventually wished he had. In this way Cardiff’s cinematic translation captures the essence of the source text. Cardiff omits considerable psychological conflicts of main characters conveyed through free indirect discourse and shifting perspectives in Lawrence’s original text. Thereby Cardiff’s film makes a structural tightening of the novel and maintains a balance, free from Lawrence’s instability and ambivalence revealed in his attitude toward Paul, Miriam, Mr. and Mrs. Morel. On the other hand, it results in the film’s failure to fully represent death principle implied in distorted relationship of possessive will and its bondage. Cardiff’s piece simplifies complex psychic drama to Paul’s maturing story of self-liberation. To make a neat film, Cardiff makes an effective use of various methods: contrast between coal mine and nature, visual metaphor, and B & W cinematography which are totally organic to the unfolding of the plot. Cardiff’s version achieves a partial success through taking a flight from Lawrence’s text while faithful to at least one side of the essence of it.