Also the movie leaves out some huge characters like Theo Theodorakis, Flora Baumbach, and Madame Sun Lin Hoo(who was the thief) and all of them have to do with emotion. In the movie Otis Amber is the inventor but in the book it is Mr. Hoo. Otis is also the personal investigator but in the movie there is no personal investigator. Even though the plots are mostly the same it is interesting why so many details were left out of the
If a movie was based on a book, which it often is, there would not be enough time to include minor details. Movies don’t have a complex storyline as movies shorten the story down to a simple plot with slight similarities to the book it is based off of. Most of the time, the script does not do the story justice. Movies are limited as it relies on visual stimulation and having to tell a story primarily through dialogue. It is tough for filmmakers to depict the inner conflicts of a character’s mind thus making it very shallow and lacking in depth.
As a result, the entire ending has been changed, for the movie. The differences in what characters are in and not in the movie and book, and the parts of the book, that the movie omits, simplifies, or replaces lead to different in the characterization of the characters. The duke and the king are more openly evil in the movie. They threaten to turn Jim in if Huckleberry does not keep silent. Huckleberry and Jim seem more fearful and less caring in the movie because Huckleberry never sends a ferry
“The Yellow Wall-Paper” which was published in the late nineteenth century shows that the women of that time did not have much cultural value. In the story the husband acts more like a father to his wife than a husband. Throughout the story he calls her ‘little girl’ and like a father has rules that must be obeyed. He has locked her up in a nursery room that she hates in a large castle and ordered her not to move from the bed, because she is on a ‘rest cure’ that is supposedly going to help her get over her post-partum depression. Because she is stuck in a room that she despises, she becomes very lonely and even more depressed which causes her to start staring at the wallpaper and slowly become crazy from the isolation.
Furthermore, Giovanni’s death acts as a plot and character convenience that allows David to quarantine love to the past. James Baldwin follows all of the morality rules demanded from popular queer fiction of the 1950s, but what sets the story apart is how the plot arrives at Giovanni’s death. Instead of being dissuaded from exploring and acknowledging his sexuality because of fear and cautionary warning, David is left incapable to love at the end because he can’t imagine loving anybody with the intensity he loved Giovanni. However, David does continues to struggle with his sexuality throughout the final page of the novel, and the death of Giovanni does not allow David to put this issue behind him. Perhaps the greatest statement Baldwin could have made with Giovanni’s Room would be to tell us anything of David’s life after Giovanni’s death, but tastefully and cautiously, he instead refrains.
Magua, whom was introduced in an early scene, was much more developed in the book. Also in the movie, there are stereotypes that applied to Magua’s character. Stereotypes can make the movie better, but sometimes it is better to completely base a movie off of a book. Another example of this is Alice, Cora’s younger sister. Alice, in the book, doesn’t have a childlike exuberance.
Jane tells John, her husband, what she is feeling, but he does not listen to her and assumes everything is fine ( Gilman 527). John decides to ignore her feelings instead of trying to help her; this suggests that their relationship is not healthy. According to Suess, Jane also has an unhealthy relationship with the medical language. One of the reasons she feels this way is because according to doctors, there is nothing wrong with her health. Mental problems, such as depression, are issues men in the nineteenth century do not seem to be aware of (Suess).
In addition, Coll, another shepherd, says “Resurrex a mortuis! Have hold my hand! / Judas carnis dominus! I may not well stand”, on page 114. In contrast, in Doctor Faustus, after stealing Faustus’ conjuring book, Robin struggles to read the Latin from the book and stumbles through it, with Dick acknowledging that neither of them are able to read it: Robin: (Reading) A per se--a; t, h, e--the; o per se--o; deny orgon--gorgon.
She murders him on an impulse. Contrastingly, Dora hides what may happen to Calvin though there is surely a chance to do so when she follows him to the hole. Thirdly, Mary and Dora’s reactions to their husbands’ deaths are different. Because Mary does not seem clever enough to cry false tears, it is obvious from the tear Mary sheds for the death that she gets upset without a need to pretend to do so. On the other hand, Dora just says “I do declare (6).” without showing her sorrow or pain.
Differences between people have been around since the begin of mankind, they have started great disasters such as every war ever started, deaths, and sometimes disappears. In the nonfiction passage Confetti Girl, by Diana Lopez, and the nonfiction text from Tortilla Sun, by Jennifer Cervantes, both the narrator's point of views differ from those of their parents, therefore creating conflict between each other. In Confetti Girl, the narrator is the little girl that feels her father is ignoring her because he cares too much about literature. In Tortilla Sun the other little girl feels her mother cares only about getting her degree and is not concerned about the needs of the girl. In Diana’s story the tension is created when the girl is not treated the way she was used to, and when her father is not listening to her conversation, in Jennifer’s story tension rises when things don't go the right way, and when bad news is given.