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Parallels in the movie

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Parallels in the movie

Category: Research Essay

Subcategory: War

Level: High School

Pages: 2

Words: 550

[Name of the Writer]
[Name of Instructor]
Parallels in the movie
“The Hours” by Michael Cunningham and “Mrs. Dalloway” by Virginia Woolf are some of the quite interesting and interrelated movie and novel respectively. The have presented the stories of three different women going through significant changes in their lives. It includes Laura Brown, Clarissa Vaughn and Virginia Woolf herself. Clarissa Vaughn is also referred to as Mrs. Dalloway, and this is one of the most vibrant examples of transforming the legacy of Woolf into Mrs. Dalloway’s character. This essay will analyze the connection between three stories presented in the movie while comparing it with Mrs. Dalloway on semantic and syntactic scales.
The most prominent different between Woolf’s novel and film based on Cunningham’s novel shows that Woolf’s novel has stories of three women instead of one. It provides a more vibrant picture of adding different characters as well as events that are not present in Mrs. Dalloway. As part of doing it Cunningham has provided a number of different thoughts related to American cities instead of London during the time other than the 1920s. Another core element that can be observed is that some elements including the party preparation of Clarissa was also not includes because of Richard’s suicide. Similarly, the scene that can present Clarissa as the best hostess was also deleted from The Hours. Nevertheless, on substitution grounds, Clarissa Vaughan is replaced by Clarissa Dalloway; Laura Brown by Septimus Warren Smith; Richard Dalloway by Sally (but can also be by Richard Brown). These alterations have allowed better development of the connection between these two pieces of literature.
It quite commonly appears that the movie based on Cunningham’s novel has most of the names borrowed from Mrs. Dalloway along with other novels and essays written by Virginia Woolf. The characters presented in “The Hours” were quite commonly based on Mrs. Dalloway; however, their roles, names, and situations are altered. One of the examples of it includes that Cunningham has changed the name but not the role of that specific character. It includes Clarissa going out into Mrs. Dalloway’s city, the “rather genital sounding” has observed that the Scrope Purvis (Young 37) has observed that Clarissa has crossed the street and met “a charming woman” (Woolf 4). On the other hand, Cunningham has replaced this very character with another one (Willie Bas) who has admired Clarissa’s sexiness in certain aspects (Cunningham 13). By doing that “The Hours” has provided a quite strong connotative link between Willie Bas in “The Hours” and “Scrope Purvis” within the novel Mrs. Dalloway. The second example of it is related to Sally who has kissed Clarissa in Mrs. Dalloway thereby giving her “the most exquisite moment of her whole life” (Woolf 38). It is also quite well evident that Clarissa has always remembered that kiss; however, she has never been able to share that with her. On the other hand, Sally is also the character in “The Hours” but she is presented in long standing relationship with her in this story. It can be argued that Cunningham has given Clarissa a partner who she has always wished for but did not have in Mrs. Dalloway (Oosterik 39-41).
All in all, the very foundation of “The Hours” and “Mrs. Dalloway” are quite similar in all respects, and they provide a much vibrant picture of women and their relationships in today’s era. The stories have a developed linked between them because of similar semantic and syntactic themes.
Works Cited
Cunningham, Michael. The Hours. 2006. London: Harper Perennial
Oosterik, E. J. “On buying flowers and other (not so) ordinary events. An intertextual analysis of Mrs. Dalloway and The Hours.” 2011:39-41
Woolf, Virginia. Mrs. Dalloway. 1925. London: Penguin Classics.
Young, Tory. . Michael Cunningham’s The Hours. A reader’s guide. 2003. New York: Continuum International Publishing Group.

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