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A Doll's House Film Analysis

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A Doll House Analysis
The movie A Doll’s House offers a close representation to Henrik Ibsen’s play. Although the script respects the play in most instances, it slightly varies, and certain scenes differ in the interpretation of this dramatic work. A comparison is necessary to reveal the choices that were done in the adaptation process and the manner they were tackled (Labrecque 52). The director of the movie proposes a different point of view when Nora meets Krogstad a second time.This paper demonstrates variations between the play and the cinematic adaptation. It illustrates the unfairness between Nora and Krogstad. Despite the fact they both perpetrated fraud, Nora lives a luxurious life while Krogstad lives in poverty.
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Economic and stage limitations might explain the purpose of the play’s setting being only in Nora’s house. By showing Krogstad’s environment, the filmmaker reveals a new perspective on this character mainly seen as the villain in the play. Krogstad lives in an attic: a place for things no longer used, revealing the unimportance of what his life represents. His home consists of one room with few, rustic furniture showing his poverty. In addition, the stove that heats the place does not even suffice. The room is cold and the sound of the wind coming in through the walls gives the chills. It is a symbol representing how Krogstad can hardly get by with what he earns. A clothesline is suspended as if his life is hanging on a thread, uncertain about how things will turn out for him. The room is dark, light is provided from the half-burnt candle and the hanging oil lamp. These elements bring the audience to feel empathy for Krogstad’s misery and understand his action of blackmailing Nora. Two contrasting settings are presented. The play describes an aesthetic and materialist display in Nora’s house. The movie reveals a realistic view of the hardships of life, seen in Krogstad’s poor environment. It is normal that the personal world imagined when reading the play does not match with what the screen offers (Labrecque 55) since the play only takes place in Nora’s

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