Evaluation of Amy hecklings movie Clueless
Evaluation of movie 'Clueless' by Amy HecklingI believe that "In any transformation, it is always the more recently composed text that will have a greater appeal." I have followed admirably Jane Austen's example by making a film that, on the surface, seems like another mindless teen flick but is actually a multi-layered social commentary. I took Austen's novel Emma, the story of a spoiled child of the 19th century English leisure class who thinks she knows everything, and turned it into the film Clueless, the story of a spoiled child of the 20th century American leisure class who thinks she knows everything. Not only did my experiment display the universal nature of Jane Austen's work, it also resulted in a charming and what I feel very funny film which will hopefully become a box office success. In my hands, Austen's novel proves itself to be surprisingly adaptable to the contemporary period. Some updating is only minor, photography substitutes for portraiture, convertibles for carriages, parties in the Valley for fancy dress balls. Others are less obvious, Mr. Woodhouse's preoccupation with his digestion and Emma's concerns about his health undergo a contemporary twist in Cher's imposition of a low-cholesterol diet on he
Cher intrudes to comment that their lives look like 'a Noxema commercial. I'm just not interested in doing it until I find the right person. Cher's two matchmaking efforts centre on 'making over' women, Miss Geist, the spinster teacher, and Tai, the transfer student. ' My film's emphasis on the superficial is at once a commentary on the media's dominance and a reflection of the novel's emphasis on signs, particularly on their misinterpretations. I have performed the amazing task of taking a nearly 200-year-old story and not only making it relevant to today but also maintaining the author's ironic voice and moral sense. With the exception of the exclusion of a few characters, I have tried to make Clueless is a faithful adaptation and update of Jane Austen's "Emma. This fact in itself makes the novel and its cinematic counterpart conservative and traditional. More significant changes challenge the severity of time boundaries, class differences in the novel are complicated as the film adds racial and sexual diversity to the mix. ' Still, in my film as in the novel, love arises out of the female character's recognition that she is wrong and he is right. 'Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence. As a successful lawyer, pictured throughout the film at work on an 'important case,' Cher's father is clearly the leader. As in the novel, Elton arranges to drive Cher home alone, and shocks her with his attempt to kiss her.
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Acceptance Essays
