One Against All: The New England Past and Present Responsibilities in The Devil and Daniel Webster
1994; Salisbury University; Volume: 22; Issue: 4 Linguagem: Inglês
ISSN
0090-4260
Autores Tópico(s)Cinema and Media Studies
ResumoFaust myth is story of a man who, attracted by magic and all it can provide, makes a pact with devil in exchange for his soul, only to discover error too late. This sixteenth-century myth, loosely based on a historical figure, has evolved from historical curiosity through innumerable literary derivations as a result of the lack of finality, manifest imperfections of all versions, which have caused so many strange and beautiful variations on a theme which is not exhausted yet (Palmer 13). In 1897, Melies introduced Faust theme into nascent film medium, and before 1913 more than twenty Faust films had been produced (Prodolliet 22). attraction of film medium to metaphysically complex Faust myth encompasses whole of film history, one of most contemporary examples being Parker's Angel Heart (1987). Faust literary theme, with its dramatic and descriptive tradition, is consistently renewed by presence of four elemental motifs: Faust/Mephistopheles relationship, pact ritual, magic, and relationship between Faust and Helen of Troy/Marguerite (Gretchen). These motifs are redesigned within film aesthetic to fit mold of two popular film genres, romance and horror, both of which have always displayed broad box-office appeal. Filmmakers found element of magic particularly attractive. Film is uniquely visual, and magic is illusory, impossible, and fantastic made visible. combination of a clever devil, a weak man, a seductive and/or faithful woman, magic, and a pact against God sells tickets. This proved to be especially evident in 1941 film adaptation of Stephen Vincent Benet's Faustian short story. Devil and Daniel Webster, also known as All That Money Can Buy, which was also made into a folk opera and short dramatic work. screenplay (co-authored by Benet) expands upon folkish design of Faust tale set in 184Os New England. In this adaptation, Jabez Stone, a simple American farmer down on his luck, foolishly deals for material success with Mr. Scratch, a rather appealing devil. farmer is eventually saved near end of his time by intervention of a true folk hero, Daniel Webster, who makes a successful appeal on Jabez's behalf to a jury of damned. Devil and Daniel Webster is not only a film rich in literary and historical traditions. An equally important cinematic tradition connects it with its Faust film predecessors: Rye's Der Student van Praq (1913) and Mumau's Faust (192/5). A prevailing neo-Expressionist aesthetic is employed by German expatriate director William Dieterle. influence of Expressionist German film on American film production was manifest in forties productions categorized as film noir, which depicts a dark, violent world with flawed characters whose lust, greed, or fear motivates them (Thomas 25). In Devil and Daniel Webster, Jabez's continual moral decline, Scratch's sinister disposition, and trickery of Belle (the Helen of Troy figure) are all visualized by magic, in elaborate noir lighting and atmospheric set designs. A striking Academy award-winning musical soundtrack by Bernard Herrmann additionally creates an atmosphere precipitating overall sense of fantastic-a world in which magic is possible. 1949 American film Alias Nick Beat, directed by John Farrow, was a Faust film conceived in black noir style, which depicts a cruel and dangerous world. In contrast, Dieterle employs a grey noir style that examines this world less severely, with humor and fantastic diversions. Benet's treatment of Faust theme in his short story and film adaptation is unique in its dramatization of the conflict between Powers of Darkness and powers of an American statesman (Stroud 117) to demonstrate range and depth of myth: The story's several thematic elements and wide range of tone, from prevailing broad Yankee humor to notes of pathos and even nobility, are combined in a superlative tale that comes to far more than humorous fantasy; it is a classic American fable (117). …
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