The New Scenes in Hawks The Big Sleep Essay -- Movie Film Essays

 â â â In the film adaptation of The Big Sleep, Howard Hawks designs scenes and characters that don't show up in Raymond Chandler's tale. No uncommon book shop trist, no crude but effective female cabdriver, no winking cigarette young lady elegance the pages of his book; Marlowe and Vivian never discuss ponies; and Carmen's consistently exposed. Be that as it may, not in the film. In the film, she wears garments, Marlowe is a racer, Vivian is a pony, and every one of these characters show up. Faulkner, Brackett, and Furthman compose these components into the screenplay. However, they don't create thoughts the content doesn't as of now recommend. The thoughts are there- - just developed into new species that reverberation the first creature. Birds of prey needed to do it, for the Production Code preclude executives to introduce any material that was unmistakably sexual, fierce, foul or something else, profane. In this way, since the Hays Office managed what Hawks could introduce in video form, his authors implanted the blue-penciled material in new structures. Todd McCarthy clarifies that, the journalists . . . also, executive . . . extract[ed] the most extreme character and interestingness from each circumstance (387). At the end of the day, they imagined and changed scenes and made characters while Hawks controlled the mise-en-scene to recommend the illegal thoughts in Chandler's tale.  Three precepts of the Production Code sway the movie legitimately. The Hays Office states as follows:  1. Twistedness, homosexuality, inbreeding, and so on., ought not be alluded to in films. 2. The treatment of low, disturbing, disagreeable, however not really shrewd, subjects ought to be subject consistently to the direct of good taste and a respect for the sensibilities of the crowd. 3. Complete nakedness is never allowed. This remembers nakedness for f... ...tes, however he doesn't present everything. Nor can he, for the Production Code limits what he can speak to on film in 1946. Consequently, Hawks disposed of certain thoughts - for example Geiger's homosexuality, Vivian's brutal animosity - altogether. However, he kept the one component he believed he was unable to discard. In the novel, Carmen's bare figure has an endless measure of vitality. Birds of prey needed that vitality to convey the film. In this manner, he utilized essayists who might assist him with infusing the intensity of her picture into the film in manners the Hays Office would acknowledge.  Works Cited Chandler, Raymond. The Big Sleep. New York: Vintage Books, 1939. McCarthy, Todd. Howard Hawks: The Gray Fox of Hollywood. New York: Grove Press, 1997. Moley, Raymond. The Hays Office. Indianapolis: The Bobbs-Merrill Company, 1945. The Big Sleep. Dir. Howard Hawks. All inclusive, 1946.