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Since the birth of narrative cinema around the turn of the 20th century, adaptation has been a mainstay of the art form. But, along with the wealth of source material available came the sometimes intense question of fidelity. When the film is adapted from a little known novel, such as Shane (1953), there not a problem, as the portion of the audience able to raise the question of fidelity will be small. However, when it comes to high profile adaptations, such as Peter Jackson’s The Lord of the Rings trilogy, fidelity becomes an issue, as a huge portion of the audience will be dissecting and criticising the filmmaker’s decisions.

Transposition of a Novel can Bring up Questions of Fidelity, but Interpretation Allows for More Acceptable Deviation.

But these are not informed criticisms. What goes unheeded by the fans of The Lord of Rings or the Harry Potter series is that film as a medium is inherently different from novels, plays, comics, and other media. Long scenes of dialogue, exposition or character development, common and often desirable in a novel, must be compressed or excised entirely to ensure a film is paced properly. Take, for example, Erich von Stroheim’s 1924 film Greed, an adaptation of Frank Norris’ novel McTeague. Stroheim transposed the novel entirely into his screenplay, and ended up with a film sixteen hours long. Such a length would be unthinkable today; audiences often struggle to sit through films of three hours.

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