Adaptation Theory And ‘Guerilla’: A Critical Study

5387 Words22 Pages
Introduction: Joseph Conrad claimed in his 1897 preface to the The Nigger of the Narcissus that above all his aim was to make the reader ‘see’ and D.H Griffith asserted that “[t]he task I’m trying to achieve is above all to make you see” (Spiegel 1976:4). Analyzing these two opinions the difference between the author and auteur’s intentions become clear. Despite the difference in purposes in the world of films, films are generally created from literary sources like novels or short stories because there is the prestige involved in the film’s close relationship to literature, especially literature by authors of high standing. Besides the best stories for films are often to be found in the covers of the novels. There is also the best seller argument. To base one’s film on an already well-known best-selling book is a guarantee that the adaptation will benefit from this and attract numerous readers. The recent two Bangladeshi films Nasiruddin Yousuff’s ‘Guerrilla’ and Rubayat Hossain’s ‘Meherjan’ come into discussion not only because of their background is the nation’s well-recounted historical event ‘The liberation war of 1971,’ but also they have been adapted from two most acclaimed literary works of the time. Nasiruddin Yousuff adapted his film ‘Guerrilla’ from Syed Shamsul Haque’s Nishiddho Loban, but as the sixty four pages novella was inadequate from a full-feature film, Yousuff, being a freedom fighter blends his own experience of liberation war to elaborate the event. On the other hand, Rubayat Hossain’s ‘Meherjan’ has been adapted from Abadur Rahman’s Gulmohor Republic. This film tries to capture the total of the text; moreover it reveals successfully the author’s concealed intention. This paper basically discuses the forms and techniques employed in Nasiruddin Yousuff’s adaptation of his film ‘Guerrilla’ from Syed Shamsul Haque’s novel Nisidddho
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