Fyodor Dostoyevsky’s 5 Best Books for Film Adaptations

“The true 19th century prophet was Dostoyevsky, not Karl Marx. “ – Albert Camus.

In the quite masterful novel by Mikhail Bulgakov The Master and Margarita, he pays homage to another great Russian literary with the following passage: “’You are not Dostoyevsky’, said the citizen, who was confused by Koroviev. “Well, who knows, who knows,” he replied. “Dostoyevsky is dead,” said the citizen, but somehow not very confident. ” I protest ! Behemoth exclaimed sharply. “Dostoyevsky is immortal! “

It is undoubtedly true that Dostoyevsky survives, a whiff of him emanates from almost every page of literature after his demise. As such, he escaped the pages of history, influencing things as vast as Iggy Pop’s album. The idiot and even the magnificent comedy of Steve Martin the jerk. With his poignant view that “the mystery of human existence is not just in staying alive, but in finding something to live for,” he strikes something primordial with the poetry that generations previous ones tried to grasp as they walked through the postmodernist darkness of a convoluted society.

His influence on cinema was not only secondary in this philosophical sense, as many of his works were directly transposed to the big screen with varying degrees of fidelity. Below we’ve rounded up five of the best, most whimsical Double dark layered The idiot.

The 5 best film adaptations of Fyodor Dostoyevsky:

The idiot (dir. Akira Kurosawa)

While the hot Russian summer can be traded for a post-war Japan snow-capped in a cultural conflict with the novel’s society, season, and zeitgeist, it is a mark of the transcendent nature of his work. that the message and the prose shine through in Kurosawa’s work. bottomless work. Trendy, uncompromising but strangely touching, the film stuffs a sense of man into the film and not just his literary work.

Kurosawa’s original four-and-a-half-hour mammoth cut was reduced by the studio to 166 minutes in a move it deemed “ruinous” to his career. In a strange sense, this almost mirrors the difficulties Dostoyevsky faced when it came to his work; fortunately, neither of them suffered in the artistic sense.

Double (dir. Richard Ayoade)

It’s a mark of the influence of his work that the notion of an infamous doppelganger is now so pervasive that we probably all have a lingering feeling that we independently came up with the idea ourselves. However, by the time it was written in 1846, it was the kind of Promethean thinking that put the author in hot water.

Richard Ayoade’s comedic styles might not come to mind when you think of the tortured spirits that permeate Dostoyevsky’s novels. a fantastic degree as Jesse Eisenberg’s life is plunged into turmoil in such a way that tragedy appears as a vital evisceration of the unease of everyday life.

A sweet creature (A sweet woman) (dir. Robert Bresson)

Jean Luc-Goddard once said: “Robert Bresson is French cinema, like Dostoyevsky is the Russian novel and Mozart is German music. Therefore, you might wonder if the two will ever meet. Fortunately, when they did, they met like a hand on a glove and Bresson added New Wave styles to the mix of Dostoevsky’s take on materialism at a time when it was all the more vital.

Beautiful Dominique Sanda embodies the alluring face of innocence as we see her heart-wrenching life turned upside down in a minimalist account of the society of the time, which doesn’t seem all that different from a century-old novel. This austere message meets the dazzling Bresson to create a dazzling naturalistic element.

sleepless night (The Notti Bianche) (dir. Luchino Visconti)

sleepless night perhaps provides the best entry point to his literary works, and you can also pick from much worse first chapters when it comes to film adaptations, as Visconti pits idealism against reality by asking if we are really governed. by the circumstances. The battle proves to be entertaining on the surface, but also succeeds in ensuring that you’ll be thinking about the movie long after the curtain falls.

Praised by Martin Scorsese, there is obviously a lot of skill involved in the production, but this is tempered by the same central principle that hovers throughout Dostoevsky’s work – the sheer cathartic joy of creativity. With this in mind, the film escapes the stalemate on the dowry side of things to which, unfortunately, many adaptations succumb.

Taxi driver (dir. Martin Scorsese)

While this is certainly not a direct adaptation, it is a measure of the culture the late Russian writer imbued with that his works went beyond transposition and spawned their own obscured work. In Metro Notes, an isolated and paranoid protagonist finds himself in an increasingly deep chasm of despair where moments of diegesis begin to pass him as serenely as the linear unfolding of his life before he even tries to stop the slide, compounding the message that his misery was somewhat inherent.

Paul Schrader felt the same when he wrote the macabre screenplay for Taxi driver and he took inspiration from his timeless Russian counterpart. In the film as in the book, the protagonist reflects the decrepitude that surrounds him. As Schrader once said, “I know when I had this idea, I knew there were two books I wanted to read again. I had read recently Metro Notes, so I reread [it]. These characters were his parents and grandparents, and not so much American movie characters, but really literary characters.

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