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A Death in the Family:
Novel to Film
By Suellen Alfred
Tennessee Technological University Overview The introduction and the prompts that follow them encourage students to "read" and analyze the film closely as one would read and analyze a text. The
prompts in Section I relate to writing about the film alone. The prompts in Section II encourage students to compare and contrast parts of the film with parallel parts of the novel. Objectives
Students will:
- Examine the language of the novel/script
- Analyze sections of the film/novel
- Compare and contrast different artistic styles in the film/novel
- Write cohesive literary analysis essays on the film/novel
Skills Attained
- Close text reading
- Organization of arguments
- Compare and contrast two genres of art
I. Background on "Reading" a Film
II. Prompts for Writing About the Film
III. Prompts for Comparing The Film and Novel
IV. Script Excerpts Section I:
Background on "Reading" a Film
In the study of film criticism, some
scholars say that a film can be "read" as a text is read. However, in order for a viewer to "read" and understand a film, the filmmaker must create a film that is "readable." According to Sergie Eisenstein, the film
director, like the author of a book, must select a great number of details in order to tell his or her story. She/he must select "the right people, the right faces, the right objects, the right actions, and the right
sequences" in order to create a film that can be understood by its viewers.While it may be true that we can "read" a film similar to the way we read a book, a film comes with a unique set of challenges quite
different from those presented by a book. For example, if we come to a confusing section in a book, we can stop reading and turn back the pages to a place that may help us clear up our confusion. If we view a film for
the first time in a darkened theatre, however, we do not have the luxury of stopping. If we do stop to ponder a point, in that viewing experience, the film will go on without us. We must pay close attention to a number
of details all at once. Our minds must move in real time with the action, the sequence of images, the dialogue and other sounds, the lighting, the costumes, the location, and the editing. Such a challenge requires that
we be "present," keenly attentive as the film progresses. With this in mind, it is clear that if we want to write about or discuss our responses in any depth to a given film, we will need a video tape or a DVD of that
film so that, after our initial viewing, we can go back and view repeatedly an important scene to gain a deeper and more thorough understanding of how the filmmaker achieves a certain effect or implies a certain mood,
action, relationship, or piece of information. The prompts below encourage you to read A Death in the Family and to view the film deeply and thoroughly. It is essential that you have the
novel close at hand; that you have access to a videotape or DVD of the film; and that you have access to the appropriate technology to manipulate the film as you need to. Certainly, you are not expected to respond to
all the prompts below. I suggest you choose one prompt from Section I and one from Section II and respond to each with a thorough essay that illustrates your grasp of the information in the prompt, the book and the
film. Write with the idea that you will read what you have written to the class. Be ready to share each of your answers in class discussion. Section II:
Prompts for Writing About the Film 1. In an interview about the film, A Death in the Family,
Gil Cates, the director and co-producer praises the way in which the family in the novel comes "together to fill the vacuum caused when the father dies." Cates is impressed by the positive way in which the characters relate to one another. With Cates' ideas in mind, view the film closely. As you do so, take notes on how the family comes together after Jay's death. Focus on one of the adults in the movie. Then write an essay showing how that person contributes to the family's sense of unity and support. Be sure to support your ideas with examples of scenes, gestures, and dialogue from the film. For a text of the Gil Cates interview,
click here.2. In the film, at the end of the scene with Andrew painting the water hose scene, Jay drives up to the house, picks up Rufus and hugs him. Jay then looks at
the painting and says, "God, I envy you, Andrew." Andrew looks at Rufus with a smile and replies, "That makes us even, I guess." Write an essay explaining what this short conversation tells us about the relationship
between the brothers-in-law and their feelings for Rufus, who is Andrew's nephew and Jay's son. Use other scenes from the movie to support your answer. For the script text of this scene,
click here.3. In the scene showing Jay driving back home, crossing the
bridge at dusk, we hear him singing "Swing Low, sweet chariot, coming for to carry me home." One could find significant symbolism here, in the crossing of the river and in the song, "Swing Low." Research the words to
that song. Think about the implications of the motif of crossing the river and the motif of being carried home. It may help to call on your prior knowledge about how these motifs are used in ancient mythology and
Biblical references. Write an essay showing how these two elements in this scene serve as symbols and as foreshadowing for the accident that is to come. For the lyrics to the hymn, "Swing Low, Sweet Chariot" click here.4.
In the film, the first time we see the remains of Jay comes in the scene when Mary views the remains before the funeral. Up until this scene we have merely heard Andrew tell us that Jay's body was only slightly damaged.
Look at this scene closely and write an essay that addresses the following questions:
A. Why do you think the filmmaker waited until this scene to show us the remains rather than showing the body at the scene of the accident?
B. What kind of effect did viewing the body have on you as you watched the scene? C. Does the scene detract from or strengthen our sympathy for Mary? Explain.
5. In the film look carefully at the scene where Father Jackson has come to discuss the funeral arrangements. Write a paragraph or two explaining how the priest's behavior creates the guarded but negative
reactions of the family to him and to his message. Then look carefully at how that scene continues uninterrupted as the priest leaves and as Walter, friend and neighbor, immediately drives up behind him and stops at the
curb. Write a sentence or two about how Walter's behavior creates positive and grateful reactions from the family. End your paper with a discussion contrasting these two men and explain how this contrast helps build a
viewer's understanding of their character. Be sure to quote dialogue and discus such non-verbal factors as body language, and facial expressions from the film to support your ideas. Section III:
Prompts for Comparing Sections of the Film With Sections of the Novel Links relate to this edition of the novel: Agee, James. A Death in the Family.
New York: Vantage International, 1985. Isbn 0-375-70123-0 1. In the first section of the novel entitled "Knoxville 1915," (pp. 3-7)James Agee writes about the men in the neighborhood watering their
lawns in the late afternoon. This scene appears several minutes into the film together with Rufus's Uncle Andrew painting a picture of that scene. Read carefully the description in the novel and view carefully the film
version of that scene. Then write a paragraph or two about how the scene of watering the lawn acts as an important symbol in the story. What does watering the lawn symbolize? Support your answer using scenes from the
film and passages from the book? 2. The film opens with Jay and Rufus driving a bit recklessly down a country road. We hear Jay call out the increase in speed: "Fifty, fifty-five, sixty miles an hour." That was an
excessive rate of speed in 1915, especially in an open auto with no roll bar and no seat belts. This scene, then, shows us a bit about Jay's reckless nature. We do not find this scene in the novel, but we do find
passages throughout the book that indicate Jay's recklessness. Some of those passages are found in Chapter 8 as Mary and Hannah talk about the family's concern that Jay may not be a good husband; in Chapter 9 as we read
Joel's thoughts; and in Chapter 11 in Andrew's account of the wreck as he heard it from the eyewitness. Read these and other similar passages in the novel. Write an essay comparing how the details in the novel and
certain scenes in the film imply to the reader and viewer the reckless aspect of Jay's character. Be sure to support your statements with examples of scenes and dialogue from the film and passages from the text.
[Links to the novel: Chapter 8, pp. 116, ". . .terrible misgivings; 117 "…foolhardiness to marry him; 118 ; Chapter 9, pp 127 "Jay drives like Hell broken loose; 128 "…drives rather recklessly. . ."; p.
145"…terrifically fast…"; Chapter 11, p. 145, "He had said 'crazy drunk'."; Chapter 12, p. 168 ""I …thought he was drunk."; Chapter 16, p. 247, "Driving an auto when you're drunk."] 3. In the film, before
Jay leaves the house to drive to La Follet, Mary says that Jay's father does not like her because she is Catholic. When Jay leaves, she picks up her Rosary and prays for Jay. To view the script of that scene, click here. What does this scene tell us about the religious
differences that exist between Mary and Jay? Search the film and the novel carefully for scenes that show those differences between them. Use those scenes in an essay that explores those differences. [Link
to the novel: Chapter 4, last 3 pages; Chapter 8, p. 108, "…and you can still believe…; p. 120-122 "You mean God's mercy….Deliver us from evil"; Chapter 9 p, 129 "…damned piety…morass of churchiness that separated
them."Chapter 10, p. 141 " You got the kind of help…"; Chapter 11, p 150 "God forgive me…"; p. 151"My God…"; p. 155 "as flies are…"; p. 159, "How can you manage not…"; Chapter 12, the entire section about Jay's ghost;
Chapter 23, p. 191 "May the souls…"; p. 193, "If thou Oh lord…"; Chapter 20, pp. 307 – 308"…your father had never been baptized."] 4. In the book, in Chapter 8, Agee shows us the long wait that Mary and
Hannah endure while Andrew and Walter are gone to find out the details of the accident. Agee's measured style forces us to wait with them. Read this section slowly with an eye for the details that Agee uses to convey
the long wait and Mary's impatience. Then view that same scene in the film, looking for similar details. Write an essay comparing and contrasting how the novel and the film establish this slow sense of time and Mary's
impatience. Be sure to include in your discussion references to the clock in both the novel and the film. [Link to the novel: Chapter 8, p. 111, & 118, p. 122"…have to wait…"; References to the clock,
pp. 114, 118, 122; p. 124, "…time kept –wearing on…."] 5. In the book, at the beginning of Chapter 11, we see evidence that some people in the family think they hear mysterious footsteps.[p.143] Then in
Chapter 12, Agee devotes several pages to the family's impression that someone has come into the house. [Link to the novel, pp. 169 – 172 "Hark…there was something."]
Everyone, except Joel, concludes that they are hearing and sensing Jay's spirit coming back home. In the film, this scene occurs immediately after the family has drunk a fair amount of whisky and has begun to laugh loudly at an old family story. In the book, it occurs a good while after that scene. Read these sections of the novel and view the scene in the film. Write a paper contrasting the way Agee describes the situation with the way the film treats the situation. In the conclusion of your paper, state which version is more engaging and support your reasons.
6. Rufus's sister Catherine does not appear in the movie at all. Some would say that her absence deprives the viewer of the richness and added dimension that her character offers in the novel. Re-read the
sections of the novel that focus on Catherine's point of view. Then write a paper showing how you would have included that young child in the movie. You may want to refer to certain scenes in the novel, such as Mary's
explanation of why Daddy is not at breakfast (Chapter 5 in the novel), the news that Daddy is dead (Chapter 14), Agee's description of Catherine's confusion over the news (Chapter 15 & 16), and Catherine's reaction
to the priest's presence (Chapter 16). You may arrange your paper in the form of a film script or play script. Be sure to use stage directions or camera angles to help the readers see the scene as you wish them to see
it. [Link to novel; Chapter 15: pp. 226 - 232, "Catherine did not like…When he is coming home…"; p. 237, "When's Daddy coming home?"; Chapter 17, p. 263 –273, "Catherine felt more virtuous …of physical pain."] References "Filming A Death in the Family: An Interview with Gil Cates and Dennis Doty."Eisenstein, Sergei. Film Sense.
Ed. and trans. By Jay Leyda. New York: Harcourt, Brace and World, 1942, p. 172. Suellen Alfred is professor of English Education and Content Area Reading at Tennessee Technological University in Cookeville.
Section IV: Script Excerpts
Scene: Secret of the lawn watersShot- Past Andrew Lynch, Rufus to the Scene The front yard of the Lynch home. Andrew Lynch, Mary's bachelor brother, stands at his easel, working on an oil painting of
the early evening ritual, nearly complete and quite beautiful. Rufus sits almost at his feet, cross-legged on the grass, watching fascinated. Andrew shoots an occasional glance at his admiring nephew. (He shows an
obvious liking for Rufus…perhaps seeing something of himself in the boy… a reticence… a fascination for people who make magic with their hands.) ANDREW
Well, what do you think? RUFUS
Huh? Andrew speaks to Rufus like an adult ANDREW
You can be honest with your "old"
Uncle Andrew, Rufus. What do you see…? Rufus stares at the painting…
RUFUS
Same old thing…watering their lawns… Andrew smiles…. Seeing himself at seven! And he starts to "draw Rufus into the painting"… ANDREW
Ah, yes… but you and I see
something more, don't we… Andrew gestures and speaks in secretive tones… ANDREW
We see… men of property…the water
reaches out to lay claim on their
little estates…"all this under
the long arm of the spray is mine!" they're saying
everyday…near nightfall…they can
feel this little patch of the world is theirs.
(beat)
I think I'll call it "Men of Property".
Rufus shows a prideful seriousness that his Uncle Andrew
considers him wise enough to share this. Andrew knows it. RUFUS
I'd call it…"secret of the lawn
waters" and just let the people
wonder what it means. Andrew beams…and officially "titles" it. ANDREW
"Secret of the lawn waters" it is! (beat) can't see it as anything else.
You have a gift Rufus… Later that scene… On JAY, ANDREW and RUFUS
Rufus, the silent bystander watches now as his father
steps directly to the easel to admire the painting.
Andrew starts to clean his brushes… JAY
God, I envy you, Andrew… He turns to Andrew. Andrew smiles…looks for a brief
second at Rufus who stands between them…then back at Jay. ANDREW
That makes us even, I guess… They both grasp the meaning of the exchange…and head
Inside. Rufus is unaware of what was said. Rosary Scene
MARY
O Lord, if this sorrow must come
to my husband…I pray you will
open his heart and soul…to at
last look for comfort in Thee
that the world cannot give…to be
baptized in the faith and at last
come to Thee to close this gulf
between us, Amen… She drops her head onto her folded hands…then raises it again and speaks to his empty pillow…
MARY (cont'd)
Oh, Jay…I'm sorry…forgive me for
praying behind your back… (beat) I can't bear to have anything
stand between us…come home
quickly…please…I need you…so much… |
