The Art and Genius of Anne Hébert: Essays on Her Works: Night and the Day Are One

By Janis L. Pallister | Go to book overview

Les Fous de Bassan:
The Film

JANIS L. PALLISTER

Yves Simoneau's 1987 filming of Les Fous de Bassan (called, in English, In the Shadow of the Wind) has raised many questions as to its fidelity to the novel both in tone and fact. It appears that, among other things, Simoneau was not Hébert's first preference as director. That was evidently Mireille Dansereau, although after Francis Mankiewicz dropped the project and the various scripts that had been proposed, it was Simoneau's turn to take it up. He prepared a script with Marcel Beaulieu, which, it seems—and curiously enough—Anne Hébert agreed to, though later she denounced the film.1 (All the politics surrounding the making of this film are narrated by Kathryn Slott "see Slott 1986" but have no real bearing on a discussion of the final film product.)

Although one of the chief arguments used against the film by some feminist critics is that the "importance of women in the novel" is deflated in the film, their importance is not automatically deflated by the use of one point of view, or the elimination of some of the figures, and Stevens Brown's hatred of women is made clear in the film. What is certain is that the tenderness that the film Stevens displays toward his brother is not absent from the novel. Moreover, murder and rape, coming from the profoundest depths of hostility, hate, and jealousy, together with a thirst for power, are the basis of Stevens's deeds, both in the novel and in the film. His will to dominate is carefully spelled out in many passages of the novel (e.g., Hébert 1982, 62–63 "village", 92 "parents"). Lust, of course, cannot be dismissed as one of his major motivating forces … the lust of Hades (Aïdoneus, Aides) when he saw Persephone disporting with the water spirits, and letting her flowers fall from her apron.

Description of color, or perhaps better colorlessness, is a dominant trait in Hébert's novel: blues, blacks, whites, and so on are mentioned from the first page to the last. And, of course, the gannets consolidate the omnipresent

-199-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited page

Bookmark this page
The Art and Genius of Anne Hébert: Essays on Her Works: Night and the Day Are One
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
Items saved from this book
  • Bookmarks
  • Highlights & Notes
  • Citations
/ 400

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Search by... Author
    Show... All Results Primary Sources Peer-reviewed

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.