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REMAINS OF THE DAY-THE FILM
Filmography:
Director
Screenplay
Background Score:
US. Release
Costumes
Art Direction
Running time
Cast:
Stevens
Miss Kenton
Lord Darlington
Mr. Lewis
Stevens Sr.
Cardinal.
Ismail Merchant, Mike Nichols, John Calley.
Ruth Prawer Jhabvala (Adapted from a
novel by Kazuo Ishiguro).
Richard Robbins.
1993, Columbia Pictures.
Jenny Beaven, John Bright
Luciana Arrighi, Ian
135 minutes
Anthony Hopkins
Emma Thompson
James Fox
Christopher Reeves
Peter Vaughn
Hugh Grant
Remains of the Day: The Film
I have divided the 135 minute long film into 58 scenes, which
mayor may not coincide with the actual screenplay of the film. This
division is purely content based but not totally divorced from the
form it follows, because the form always dictates the manner in
which the content is presented. The technical definition of a scene
from the point of view of a film is - "a scene is a series of shots taken
The Remains of The Day-The Film
at one basic time and place; it is one of the basic structural units of
film with each scene contributing to the next largest unit of film
syntax, the sequence".
I shall discuss each scene in detail and also compare it with
the text on which it is based. Some of the scenes however have no
counterparts in the text but have been created on the basis of certain
facts available in the text; such scenes will also be analysed at
length. The addition, deletion or changes of details within a scene (if
we consider The Remains of the Day the written text as a point of .
reference) will also be discussed.
This exercise will be undertaken to sieve and separate the 'new
text' that has emerged as the film version. The process of
transformation from the written text to a visual text will be closely
traced in all the scenes. Some of the scenes will be subjected to
detailed shot breakdown to understand how meaning is being
constituted and conveyed. I shall also try and discuss how that
varies or influences reader- viewer's response to the film.
This would inevitably bring us to the question of sequence and
structure of the film text as compared to that of the written text, the
narrative voices employed both in the text and the film and also
comparing the syntax of the film and the text. The following
structural model has been employed to analyse the film text and to
compare it with the written text. (See enclosed chart-I). Henceforth,
the written text will be referred to as the 'source text'.
156
The Remains of The Day-The Film
:SOURCE NARRATlIVE (Writttm 'Text)
SCREENPLAY
(MISE-EN-SCENE)
Deletion
Effects
157
The Remains of The Day-The Film
Scene 1: The Auction Scene
The film begins with the still of a sketch of a large mansion with the
title of the film appearing on it along with the credits. The audio track
plays a stretch of music, which plays repeatedly through out the film
as a background score. This shot of the film functions as the cover
page of a novel which introduces the author and the title of the novel.
In this film shot, a small logo is seen underneath the title, which is
that of a flying eagle. This logo appears later in the film on the top of
the Darlington House next to a blue flag as if it is the family crest of
Lord Darlington. These kinds of details are missing in the source text
and are entirely the director's contribution. The architecture and the
layout of Darlington Hall (which is almost a character in itself) is
never dealt with in detail in the source text and the director in order
to recreate visually depends on stray facts casually mentioned in the
source text. This kind of visual representation necessitates that
details like the family crest are added. Whether such a detail was
added to give Darlington Hall a time and a place and the symbol of
eagle erected intentionally to convey a particular image of the
tradition and history of Darlington Hall, or whether purely because a
particular location with an eagle flying on the top was available for
shooting which led to an afterthought and thus a creative addition
was made is purely a matter of conjecture. In fact the film crew shot
Darlington Hall in six or seven different locales since no one single
house satisfied the needs of the screenplay. (TLS Nov 11, 93). Hence
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The Remains of The Day-The Film
, visual representations are not only mediated by the directorial
interpretation alone but also practical and physical exigencies like
the availability of a proper location. These instances are like the
interpolations in a text.
The still shot is superimposed by an iris effect on the screen
which gradually expands to reveal a car moving away from the screen
and the camera following. The car winds its way through green, lush,
countryside of England with the audio track playing the now familiar .....
background score, which is c··a continuous repetition of a brief
notation. A female voice-over is foregrounded and we hear a letter
written to one Mr. Stevens being read out .The letter mentions
Darlington Hall and the days spent there by the writer and narrator
of the letter. As the camera follows the car, a large mansion slowly
rises to the view. The car stops in front of the house where other cars
are also parked. The letter informs the reader that the Darlington
Hall was to be auctioned as mentioned in the 'Manchester Guardian'
and that many newspapers were of the view that the traitor's nest
should be brought down.
While the voice-over continues on the sound track the reader-
viewer ( a reader-viewer is one who has ideally read the text before
watching the film based on it) immediately correlates the mansion on
the screen with 'The Darlington Hall' of the source text. The scene
shifts to an auction and the camera frames an auctioneer who
initiates bidding for an 'Elizabethan portrait of a portly gentleman'.
159
The Remains of The Day-The Film
The camera focuses on the auctioneer who alternately looks to his
left and right while bidding, followed by a close up of a man dressed
in a cap and a long overcoat with his right hand raised. Bidding
progresses on the soundtrack. The reader-viewer has a close up of f
the gentleman in a cap who shifts forward in his chair eagerly and
the bidding goes up to 11, 500 guineas and the camera which is
focused on the gentleman entirely during the bidding shows his relief
at its completion. The camera now shifts to the portrait in question.
The soundtrack comes alive with the female voice-over, which
continues reading the interrupted letter and shares information that
one Mr. Lewis an American gentleman is the new owner of Darlington
Hall. She further mentions her anger over the disparaging remarks,
which appeared in various newspapers about Darlington Hall, and
how Mr. Lewis was a Congressman who visited Darlington Hall in
1936.
As the visual cinematic text begins to unfold on the screen the
reader-viewer is aware of the texts, which simultaneously begins to
operate right from the first shot of the film. In one text the reader-
viewer starts filling the gap between the written text and its cinematic
version. The reader- viewer presumes that the gentleman who is
shown at the bidding must be Mr. Farraday of the novel, the new
owner of Darlington Hall. The cinematic text however informs us that
the gentleman in question is not Mr. Farraday but one Mr. Lewis a
Congress man who had visited Darlington Hall during the 1936
160
The Remains of The Day-The Film
conference. The reader-viewer is immediately aware of the changed
content of the text; the conference took place in 1923 according to
the source text and Mr. Farraday never attended it though he is the
present owner of Darlington Hall. Moreover the entire first scene
cannot be located in the written text. Details like the 'Manchester
Guardian' and Darlington Hall being called the 'traitor's nest and the
auction of an Elizabethan portrait, among other things helps the
viewer to contextualise the scene. The Elizabethan portrait once
again appears at the end of the film so as to provide the entire visual
narrative with a linking device.
Whereas the addition of the above mentioned details like the
'Manchester Guardian' is a way of historically contextualising the
film, an added detail like Darlington Hall as the traitor's nest
immediately prepares the VIewer for a story which deals with
someone who betrays his . nation. But changing the name of a
character and providing him with a past could have been done to give
the American owner an extended role in the scheme of things so that
he does not merely remain a guest appearance. Making Mr. Lewis a
rescuer of Darlington Hall and saving Lord Darlington's legacy from
ignominy also serves another purpose. The 'Mr. Lewis' of the source
text openly insults Lord Darlington in 'the great conference and is
condemned by others. Now how does one refurbish the tainted
portrayal of Mr. Lewis the American in the film- you not only expunge
his condemnation and his insults from the conference scene but also
161
The Remains of The Day-The Film
replace Mr. Farraday of the source text with him. Thus an obvious
ideological shift occurs in the first visual representation of the written
text.
Mr. Lewis of the cinematic version thus produces a series of
sub texts open to interpretation. He is a typical prototype of a
noveau-riche American who has enough money to buy the 'British
Heritage' but does not necessarily understands it. The famous
Hollywood actor Christopher Reeves synonymous with the comic
strip figure 'Superman' plays the role of Mr. Lewis in the film. The
character of superman epitomises the ultimate 'American Dream' of a
perfect man, a total antithesis of a post-Iapserian Adam. Christopher
Reeves thus carries with him the entire semantic range associated
with the image of a 'Superman'.
Christopher Reeves playing an American owner of a blue
_ blooded British prop~rty serves a dual purpose. It not only satisfies
the American audience with its appetite for a tall handsome
'Superman' image of an American saviour of the British heritage but
also caters to the popular British notion of a rich American who has
money but no 'culture'. Thus market drives also determine the
manner of visual representation, in this case this film was sent as an
entry for Oscar awards and hence the target audience is of great
consideration.
The film begins with the narrative voice of Miss Kenton while
162
The Remains of The Day-The Film
the source text begins with the first person account of Mr. Stevens
the protagonist of the story. While Miss Kenton's letter functions as
a commentary for the first few shots of the film, Stevens' first person
account in the source text provides a unidimensional view of the
happenings between 1923 and 1936. There are one or two hints in
the source text about the content of Miss Kenton's letter to Stevens -
about it being nostalgic and that it was the first letter in seven years
and that Stevens re-read it several times. Miss Kenton's full-bodied
letter in the film however provides yet another view of the years spent
in Darlington Hall. While the source text is entirely Stevens'
reminiscence, the film has flashbacks that are entirely Miss Kenton's.
Scene 2:Present Day Darlington Hall
The soundtrack continues with Miss Kenton reminiscing in her
letter. On the screen we se<:; Stevens opening French windows (this
shot gets repeated again in the film so as to provide a linking
narrative device) and slowly walking outside the room. Stevens closes
the same French windows in the last scene of the film as if to
indicate the beginning and end of a glimpse inside Darlington Hall
and Stevens' life.
Meanwhile Miss Kenton's letter continues in the soundtrack.
She reminiscences about the army of under-butlers at Darlington
Hall and we immediately see a few under-butlers waiting outside a
room. The camera zooms out slowly to show these under-butlers
163
The Remains of The Day-The Film
while still maintaining its focus on Stevens inside the room. As
Stevens walks out of the room towards the camera, the voice-over on
the soundtrack mentions depleted staff and the under-butlers
immediately vanish from the screen. It seems as if Stevens walks in
from the past to the present and this is achieved in one fluid
continuous movement of the camera. Stevens while arranging the tea
tray for Mr. Lewis looks out of the glass panel of the kitchen door to
the corridor outside and we see Miss Kenton walking towards the
door and vanishing midway - a cinematic technique employed to
suggest that Stevens while remembering the contents of her letter is
also remembering her walk down the corridor. To maintain a
narrative consistency Miss Kenton is shown walking down the same
corridor elsewhere in the film as part of a long flashback. Another
point of interest here is that Miss Kenton's voice-over in the first
scene serves as a mere commentary but in the second scene the
moment the voice-over is superimposed over shots of Stevens it
becomes a part of Stevens' memory.
The second scene continues in the present time frame with
Stevens walking with his tea tray from the kitchen to the library. The
second scene of the film again does not have a counterpart in the
text. Mr. Farraday's interaction with Stevens in the written text
reminds one of P.G. Woodhouse's 'Jeeves'. Stevens is extremely polite
to his new employer in the source text and is always at his wit's end
trying to keep up with the 'inconsistencies' of his employer's
164
The Remains of The Day-The Film
behaviour. He says at one place:
"Over the following days, however, I came to learn not to be surprised by such remarks from my employer, and would smile in correct manner whenever I detected the bantering tone in his voice, Nevertheless I could never be sure exactly what was required of me on these occasions. Perhaps I was expected to laugh heartily or indeed reciprocate with some remark of my own. For it may well be that in America, it is all part of what is considered good professional service that an employee provide entertaining banter". (p.1S)
Now such a statement from a butler who is always willing to
please his new master reveals his sincerity, his eagerness to please
and his simple beliefs. There are numerous such examples in the
source text, which not only evoke humour but also provide an insight
into the character of Stevens whose only pre-occupation is to be a
'great butler'. Elsewhere in the source text he says:
One programme I listen to is called 'Twice Week or More' which is in fact broadcast three times each week, and basically comprises of two persons making humorous comments on a variety of topics---- I have been studying this programme because the witticisms performed on it are always in the best of taste and, to my mind of a tone not at all out of keeping with the sort of bantering Mr. Farraday might expect on my part, (Faber and Faber, pp. 130-131).
However the interaction, which unfolds on the screen in scene
two, fails to establish any significant relationship between the
employer and employee, and is not indicative of Stevens' efforts to
please his new employer. Let us examine what gets conveyed in this
scene.
We find Mr. Lewis sitting in the library and reading a
newspaper in his dressing gown. Stevens enters with a tea tray. The
camera closes in on Stevens pouring tea and at the same time tries to
165
The Remains of The Day-The Film
hide a burnt toast in his pocket. The reader-viewer wonders why a
butler of Stevens' calibre should do that. Though there are
confessions in the source text by Stevens' of his having made some
faux pas' lately but trying to hide a burnt toast would not be
definitely a part of that.
Mr. Lewis watches him from the corner of his eyes and says,
"Stevens another burnt toast eh?"
"I am sorry sir, but the rule here in the kitchen is that the cook cooks the breakfast while her assistant toasts the toast.
Why don't you get a pop up toaster?
Sir it is not a new gadget that we need but a revised staff plan". (ROTD-The fllm)
We next see the bewildered close-up of Mr. Lewis, an unrepentant
Stevens' back is turned to his employer and he almost snubs him
and says that a revised staff plan would be more appropriate than 8_
new gadget. What gets conveyed through this dialogue is Stevens" .:~"""
behaviour bordering on contempt as if he is trying to teach his
millionaire American employer a thing or two about the British
etiquette on house keeping. Stevens then mentions his desire to visit
the countryside. Mr. Lewis magnanimously offers him a car. Stevens
mentions his intentions to meet the old housekeeper. Miss Kenton,
which would solve their staff plan. Mr. Lewis wishes to know whether
Miss Kenton was his girl friend. Stevens denies and walks out of the
room as if offended. Mr. Lewis placates him by saying that he was
166
The Remains of The Day-The Film
merely joking and tries to diffuse the situation by drawing his
attention to the tradition of obituaries in the British newspapers and
his admiration for it. Stevens however continues to be glum and
merely says 'indeed sir' and walks out of the room. Stevens does not
in any way appear to be embarrassed or confused in his interactions
with Mr. Lewis in the film. In fact it is Mr. Lewis who seems unsure
as to how to break the ice with Stevens.
Scene two of the film has been recreated with details taken from
page-12 of the source text and Mr. Stevens describes it in the
following words the substance of which is not evident in the film:
Naturally, I felt the temptation to deny immediately and unambiguously such motivations as my employer was imputing to me, but saw in time that to do so would be to rise to Mr. Farraday's bait, and the situation would only become increasingly embarrassing. I therefore continued to stand there awkwardly, ------- (p.14).
Stevens who does not appear awkward in the visual representation is
forever hounded by this thought in the source text. His concern for
not being able to provide a quick repartee to his new employer takes
up all his waking hours and an entire chapter is dedicated to such
ruminations:
It is quite possible, then, that my employer fully expects me to respond to his bantering in a like manner, and considers my failure to do so a form of negligence ---- For one thing, how would one know for sure that at any given moment a response of the bantering sort is truly what is expected? One need hardly dwell on the catastrophic possibility of uttering a bantering remark only to discover it wholly inappropriate. (p.16).
167
The Remains of The Day-The Film
The reader-viewer is also aware how intelligently certain information
is conveyed through Miss Kenton's voice-over as Stevens carries the
tea tray to Mr. Lewis. She says how her marriage is over and that she
is writing to him after seven years from a boarding house in
Clevedon. Her daughter Catherine is married and she is uncertain
about her own future and her life is empty. She wishes to be useful.
The voice on the soundtrack ceases as Stevens walks into a room.
This room has blue flowered wallpaper and blue and white china in
the wall alcoves. The source text mentions this scene which took
place in the study in the afternoon. However we find Mr. Lewis in his
gown having morning tea in a blue room (is it the morning room?)
This deletion of an afternoon tea ritual along with Stevens'
ruminations definitely recreates yet another ambience not present in
the source text.
Scene 3: Stevens Begins Journey
The theme music continues on the soundtrack, a car Deimar,
Mercedes model (Ford in the source text) driven by Stevens comes
out on the road followed closely on foot by Mr. Lewis. He photographs
the car from behind. (Is it another attempt to capture in his camera a
relic from the past - a dilettantish attitude?) In an earlier scene Mr.
Lewis remarks that Stevens and the Deimar car are made for each
other- suggesting all the past that Mr. Lewis, has acquired- through
buying, Stevens fits that past very well. Stevens so to say is almost
like an antique acquired by Mr.Lewis.
168
The Remains of The Day-The Film
The soundtrack now has a letter in the voice of Stevens addressed to
Miss Kenton. Next shot shows a woman walking up the steps of a
boarding house named 'Blue sails' to collect a letter. The voice-over of
Stevens' letter continues and the viewer watching the woman reading
the letter concludes that she i~ Miss Kenton and that she is living in
a boarding house away from her husband. This scene also cannot be
located in the source text. Ironically, the reader-viewer with this
scene reaches Stevens' intended destination right in the beginning of
the film and ahead of him.
The first flashback of the film begins in this scene and we have
Stevens reminiscing in his letter. The soundtrack with his voice
ceases and we are visually transported to the past. Stevens
remembers the day Miss Kenton (Mrs. Benn) had arrived at
Darlington Hall. A hunting expedition unfolds on the screen and
Stevens' voice-over informs us that it was the last time, that such an
event took place at Darlington Hall. There is however no mention of a
hunting expedition in the novel. This scene shows a large number of
hunting dogs running alongside the horse riders. The scene evokes
the thirties in Britain wherein the landed gentry occupied themselves
with hunting. This additional scene thus sets the ambience and the
glamour of Darlington Hall, and frames it in time. This scene is
followed by Miss Kenton's interview with Mr. Stevens, which actually
never takes place in the source text.
169
The Remains of The Day-The Film
Scene 4: The Interview Scene
This kind of a scene is indeed a directorial challenge. How do you
devise dialogues for the two main protagonists of the novel who are
meeting for the first time? The raw material at hand is of course the
source text and there could be no better opportunity but to transform
Stevens' ideas about housekeeping into dialogues. Stevens at one
place in the novel mentions that:
... and housekeepers are particularly guilty here - who have no genuine commitment to their profession and who are essentially going from post to post looking for romance. This sort of person is blight on good professionalism. (p.51).
These OpInIOnS of Stevens have been transformed into
dialogues. Stevens says it while interviewing Kenton. The novel is
replete with Stevens' observations, opinions and comments. Visually
it is very difficult to translate all such opinions for every such ,
statement of opinion in the sour~e text the visual space required will ~ ...
be too long. A'sitUation needs to be created on the screen to present
Stevens' beliefs and ideas. Another alternative is to provide a voice-
over, which simply, like monologue states Stevens' opinions and
ideas but that kind of a technique can be used only occasionally as it
makes the viewing tedious. Then there is the problem of what visuals
to juxtapose with Stevens' monologue. A visual medium cannot afford
to become too verbose. Moreover in the source text Stevens addresses
all his thoughts and memories to the reader (it could be also to a
diary) whereas in the film he will be constantly speaking to Miss
170
The Remains of The Day-The Film
Kenton. This immediately rules out the confidence that a reader
enjoys because in his letter to Miss Kenton we shall never get a
glimpse of Stevens with his myriad hues. How does one overcome
that problem visually ... so Stevens on the screen speaks aloud only
those thoughts which the director thinks are important and coheres
with the rest of the screenplay and thus we miss out on the essential
Stevens.
The exploration of the inner working of the human mind in a written
text or a novel is usually revealed through first person narration,
which amongst other things gives the reader a sense of the reality of
the fictional world. But in a film, attempts at first person narration
come through all too often as clumsy, ostentatious and even
pretentiously artistic. The tradition in filmmaking is to have, an
implied third person narrative, subsumed by the unobtrusive use of
technology- through editing, music, camera angles and the like. In
contrast much of the novel's subtlety is achieved precisely through
the use of first person narration. If we recall the moments where in
the novel Stevens agrees with Mr. Lewis' guests that all the arches in
Darlington Hall are fakes (p.24), the humour arises ironically and
depends for its effect upon the reader interpreting the text, situation
and the character and perceiving the various levels upon which the
text operates. In the novel, the text is open for the reader to interpret
and to discover meaning within it. But in a film, that act of
interpretation has already been decided upon; that is in the film
171
The Remains of The Day-The Film
meanmg has to some extent already been discovered and
reconstituted.
In this context however one would like to mention that all the details
that are present in the first four scenes of the film- the costumes, the
decor the location are all director's contribution. To visualise and
evoke the ambience of 20's and 30's in a British Lord's house, every
little detail is researched upon. Many rooms including the library
have been shot in tight frames so that the mise-en-scene (what
constitutes a dramatic space or the frame) is not too wide. This is
where a film adds to a source text.
Scene 5: Employing Stevens Senior
In this scene we meet Lord Darlington in person for the first time.
This scene like the earlier scenes is missing in the source text and
serves as an introductory scene so as to present and introduce all the
principal characters of the novel. We for the first time see Lord
Darlington's interaction with Stevens. In this scene Stevens
introduces his father to Lord Darlington. This scene is important
since we are not only introduced to Stevens' father but also get to
know what Lord Darlington thinks of Stevens. In the source text we
are never told what is Lord Darlington's opinion about Stevens and it
is only suggested by Stevens himself. Stevens' father we know is 70
years old but has had the reputation of being a fine butler. Stevens
recounts many stories about him in the source text, however in the
172
The Remains of The Day-The Film
film he introduces him as an able butler to Lord Darlington. We
never really get to kno~ through the film what respect Stevens
harbours for his father. We see an elderly gentleman who speaks in a
dialect and pants while climbing stairs. So visually we have enough
indication to realise that Stevens Senior is going to be an
embarrassment for Stevens because of his advancing years. Though
this scene does not occur in the source text but Stevens constantly
talks about his conviction that, "my father was indeed the
embodiment of 'dignity'. He in fact elaborates his idea of 'dignity of
profession' by recounting his opinions about his father and narrates
stories, which highlights his rare sense of honour and competence.
Stevens mentions all the great butlers of his times and his narration
about the history of the profession provides such legendary
dimensions that the readers cannot ignore the intensity of his
devotion towards his father and his profession. He says at one place:
... Mr. Marshall of Charleville house and Mr. Lane of Bridewood have been the two great butlers of recent times ... you may think me merely biased if I say that my own father could in many way be considered to rank with such men, and that his career is the one I have always scrutinised for a defmition of 'dignity' (p.34).
All such ruminations in the source text tells a reader how much
Stevens values his profession as a butler and how his father is his
role model. He further says:
... one has to concede my father lacked various attributes one may normally expect in a great butler. But those same absent attributes, I would argue, are every time those of a superficial and decorative order, attributes that are attractive, no doubt, as icing on the cake, but are not pertaining to what is really essential I refer to things such as good accent and command of language ... Furthermore, it must be remembered that my father was a butler of
173
The Remains of The Day-The Film
an earlier generation, when such attributes were not considered proper let alone desirable. (p.34).
Deletion of such details from the film gives us an incomplete picture
of Stevens, his father and their dedication to their profession.
Scene 6: Miss Kenton Brings Flowers to Stevens' Parlour
This scene opens with Miss Kenton enquiring from Stevens about the
placement of a vase in the corridor leading to the kitchen. This is the
same corridor, which the viewer sees in scene two-- used a~ linking
device, which places the viewer in a familiar territory. Next shot is of
Stevens looking out from the window to a lawn and watching Miss
Kenton as she walks down the lawn. In the next shot Miss Kenton is
shown cutting flowers from the bushes. All these shots cannot be
located in the source text.
As the scene unfolds in the source text, Stevens says that he was
taken aback when Miss Kenton walked in with a large vase of flowers
and with a smile (we see Miss Kenton's back turned to us so we do
not exactly see her smile) in the source text. She places the vase on
the table in front of Stevens but not so in the film. Almost all the
dialogues in this scene are from the source text, but certain portions
have been deleted which deletion makes the scene even harsher than
it was in the source text. Miss Kenton tries to make conversation in
the source text but her eagerness does not come through in her short
crisp dialogues. In the source text and in the film Stevens says that
174
The Remains of The Day-The Film
he wishes to keep distraction to the minimum. Miss Kenton in the
source text does not take this snub seriously and continues in a
lighthearted manner: "but surely, Mr. Stevens, there is no need to
keep your room so stark and bereft of colour". (p.52) But in the film,
her rejoinder is sarcastic and she says, "would you call flowers
distraction Mr. Stevens".
At the end of this encounter when Miss Kenton abruptly and
haughtily walks out of the room in the film and Stevens is shown
laughing a small embarrassed laugh, a snort or it could be a laugh of
someone who has put Kenton in her place. He is shown smoking a
cigar and his body language conveys certain arrogance. In the
interactions in the source text Stevens definitely is a person in
authority trying to assert his position by reprimanding the
housekeeper and also patronising her by saying:
"we do not doubt your 'competence for one moment Miss Kenton" or, Miss Kenton, if you are under the impression you have already at your age perfected yourself, you will never rise to the heights you are no doubt capable of. (p.54)
Deletion of all this takes away vanous shades of the interaction
between the two protagonists. Their interaction remains a mere
verbal duel in the film hovering around the fact that Miss Kenton
should not have addressed Stevens Senior merely as Stevens even if
he was only an under-butler and she the housekeeper. Stevens'
observations in the source text that his remark takes the wind out of
Miss Kenton's sail and she seems upset. But a reader-viewer can
175
The Remains of The Day-The Film
clearly see Miss Kenton fuming in anger.
Scene 7: Darlington hall Staff Luncheon
This scene like the interview scene has been reconstructed to convey
Stevens' ideas about his profession. It is interesting that two stories
about his father narrated in pages 37-38 of the source text are not
recreated in the film. The story, which could have given a glimpse of
Stevens Senior's character instead merely highlights the bravery of a
butler and shifts focus from Stevens', fundamental passion in life.
Onge again deletion of details not only shifts the story line but also
misses out on one of the main themes of the source text. The scene
begins with Stevens addressing one of the under-butlers and asking
him about his goals. The under-butler says that he wishes to be a
butler like Stevens and desires to have a parlour like that of Stevens.
Stevens corrects him by saying that every butler's goal should be
dignity with inspiration. Stevens Senior recounts his favourite tale of
an English butler who saw a tiger under the dinning table and
disposed it of quietly before laying the table for tea for the guests.
This scene is also exploited to present Stevens' ideas about 'dignity' of
a butler and he recounts a story to illustrate his point. This story is
narrated by Stevens earlier in the source text and not by Stevens
Senior. (p.36). Hence what emerges is all that is narrated by Stevens
is a part of his one long fluid memory and the sequence can be
played around with the stories could be a part of a shared memory of
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both the son and the father. The camaraderie that is evident visually
in this scene immediately reveals the relationship that the father and
son share. What could not be achieved over a few pages in the source
text is achieved in a scene. There is a call bell for Stevens Senior, but
Stevens gets up to attend to it against the code of his profession.
Miss Kenton with whom he has argued in the earlier scene
demanding respect for Stevens Senior is quick to point out the faux
pas. At the end of the scene the viewer can see that a battle line has
been drawn between Stevens and Miss Kenton over Stevens Senior.
This scene in a way also provides a momentum and a focus to the
narrative. From now on, the focus is on Stevens Senior's faux pas'
and the film progresses to establish this story line firmly. This scene
is an addition and the details have been culled out from various
pages of the source text mainly page 36. This addition scene conveys
the camaraderie and the bonding between the father and the son,
their devotion 10 tneir profession and the increasing hostility between
Miss Kenton and Stevens. The scene also provides an insight into the
microcosmic world of butlers in a Lord's mansion. It manages to
capture the ambience of Darlington Hall, and establish Stevens'
position of authority.
Since 8: The Dustpan Scene
The scene begins with a top crane shot of Mr. Stevens Senior. He is
shown mopping stairs with a dustpan. He looks visibly ill and his
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breathing is laboured hard. He leaves his dustpan on the floor of the
stairs and disappears into a hidden dOOIway built in the wall of the
stairs. Miss Kenton is shown climbing down the stairs and noticing
the broom and the dustpan and proceeds to remove it. She however
replaces them and stands thinking. Till this portion all the shots are
additions and cannot be located in the text. In the next shot she is
shown entering the library where Mr. Stevens is shown atop a ladder
replacing books on the shelves, a crane shot panning from top to
bottom frames him. Miss Kenton points out to Mr. Stevens about the
dustpan (interaction lifted from page 57-58). Mr. Stevens rushes out
to retrieve the dustpan from the staircase and meets Mr. Darlington
coming down the stairs. The entire scene has been recreated with a
few additional details thrown in. What do they do to the source text?
A page or two devoted about this incident actually is recreated into a
two-minute sequence in a 2 hour 14 minute film. The film narrative
thus focuses more on Miss Kenton and Stevens' duels and hence the
thematic focus shifts. This scene followed by others highlights Miss
Kenton's ways of getting even with Mr. Stevens.
Details in the source text mentions the dustpan lying in the central
hall and clearly visible from five doors opening into the hall. This
location has been recreated with an ornate staircase with gilded walls
in blue and gold. This could have been a cinematic compromise; on
the other hand the shift of location adds to the period setting of the
source text. The doorway, which blends into the wall of the staircase,
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is almost invisible when closed. The high ceilings, wooden staircase
also indicates old style of architecture. The mise-en-scene of this
scene thus constitutes and conveys meaning at various levels.
Scene 9: Stevens Senior's Dripping Nose
The scene open with an overhead shot IS of a group of men
discussing world affairs around a table, chaired by Lord Darlington.
Stevens Senior is shown serving drinks. The camera takes a close -
up of his dripping nose and a drop goes plop in to tl-.e drink, which is
noticed by Lord Darlington. The audio track actually plays a sound
effect of the drop falling plop into the drink. The camera focuses on a
young man (medium-shot) speaking passionately against Germany.
Stevens' notices his father's dripping nose and offers him a
handkerchief. Once again this scene is an addition to prepare the
audience for a conference that is to take place at the Darlington Hall.
Mise-en-scene frames the fire crackling at the fireplace. Lord
Darlington speaks highly of Nazi Germany where he saw happy,
employed people. The scene abruptly shifts with the voice-over of a
young man inquiring about the Jews in Germany. Both the young
man's query and the earlier observation of Lord Darlington are on the
sound track and their faces are off camera. The camera leisurely
pans over the painting on the wall and Senior and Junior Stevens in
attendance with their hands folded. A simUltaneity of experience
captured in Cinema where both the soundtrack and the visual do not
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correlate and yet the viewer can take in the room with its people,
hear them and imaginatively place them in the setting without
necessarily seeing them as they speak. However the camera eye
chooses to move away to other quarters even if the viewer wishes to
continue watching the speakers. This intentional moving away of the
camera while the disembodied voice-overs carry on, forces the viewer
to participate and fill in the gaps with his or her own narrative. The
viewer tells oneself, "oh I see the servants are in polite attendance
and what a relief that Stevens has finally noticed Stevens Senior's
dripping nose and offered him a handkerchief.". In the source text,
Miss Kenton mentions to Stevens about Stevens Senior's dripping
nose over a tray full of soup bowls. In the film the director chooses to
dramatise this entire scene in the backdrop of an official meeting.
This achieves two things, Stevens Senior's failing faculties as an
under-butler is highlighted upon and also Lord Darlington's political
stand and his-efforts in the arena of world politics are introduced.
However why an entirely new scene was crafted out and chosen over
so many that were available is anybody's guess.
Scene 10: The Chinaman Episode
The scene that unfolds in pages 57-60 of the source text is
dramatised in this scene. Miss Kenton walks into the billiard room
where Stevens is cleaning sports trophies. She tells him about a
wrongly placed Chinaman outside the door. Stevens says he is busy
and refuses to go out and have a look at the wrongly placed
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Chinaman. Miss Kenton stubbornly waits outside the door. The
details that have been added are interesting. Stevens watches Miss
Kenton standing outside in a threatening pose, through a keyhole.
The idea which gets conveyed to the viewer that Stevens is trying to
avoid her but the manner employed is hardly in keeping with
Stevens' character; it makes him appear childish, playing a cat and
mouse game. However the dilemma Stevens goes through inside the
billiard room in the source text elevates the inherent comedy of the
situation to a sublime level: -
Miss Kenton was evidently still outside. Resolved not to waste further time on account of this childish affair, I contemplated departure via the French window. A drawback to this plan was the whether - that is to say, several large puddles and patches of mud were in evidence and the fact that I would need to return to the billiard room again at some point to bolt the French windows from the inside. Eventually, then, I decided the best strategy would be simply to stride out of the room very suddenly at a furious pace. I thus made my way as quietly as possible to a position from which I could execute such a march ---. (p.58).
I t does not seem that to re-enact this was a cinematic challenge.
Details like it being "a grey drizzly day", (p.56) and that the billiard
room had French windows and Stevens wanting to make his escape
through them are left out. Instead additions like Miss Kenton saying
that, ''Do you think it's a fantasy-- a fantasy a result of my
inexperience". (TROTD-the film) is again an addition very similar to a
dialogue in the dust-pan scene where she cribs like a petulant child
and says, "I suppose it was my mistake - one ofmany", merely focuses
Miss Kenton's hurt and consequent vindictiveness.
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Additions like the mid-close up of an amused figurine of a Chinaman
with its head bobbing in perfect synthronisation with the musical,
soundtrack suggests that the viewer should watch the scene in a
light hearted manner. A perfect analogy would be the Hindi films
where if the performers fail to convey tragedy on the screen - a
piercing note from a violin on the musical track suggests the viewer
that what you see on the scene is tragic, lest you felt like smiling.
Stevens in the film makes his escapes through a hidden door in a
book shelve, a setting detail which again brings back the memories of
big castles with secret doors and passages.
Scene 11: SummerHouse
Lord Darlington is shown with two men discussing an American
Congressman Lewis expected as a guest in the forthcoming
conference at Darlington Hall. There is a condescending exchange
about this American fortune hunter and Americans in general. Again
an episode has been dramatised at length and by now the viewer is
totally engrossed waiting for Stevens Senior to make a fauxpas as
anticipated by Miss Kenton in the earlier scene. Stevens senior falls
carrying a huge tea tray and Lord Darlington rushes in to with the
addition of the scene and the focus of the novel entirely shifts to
Stevens Senior.
Scene 12: Stevens and Darlington in the Study
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In the novel this episode is narrated sequentially much earlier in a
flashback (p.60-62). In the film however such complexity has been
avoided and narrative style is sequential. Stevens is remembering all
these events during his journey to west of England and all these
flashbacks occur (fourth scene onwards in the film) in the source text
on day two at Salisbury.
In this scene we see Stevens entering the study (or is it the library?).
In the source text there is a distinction made between the two, while
in the film it is always a room full of source texts that Lord
Darlington in. Lord Darlington enquires from Stevens about his
father's health and proceeds to warn him about the impending
conference and its 'considerable repercussions'. Once again there is
an inclusion of a story about Lord Darlington's German friend and
his tragic suicide in post war Germany. The significance of this
addition is that it gives an insight into Lord Darlington's stand on
war treaties, which he claims were harsh on Germany, example being
his close friend. This addition achieves compression of the narrative,
and once again places the narrative in a historical perspective.
In the source text the story about Herr Bremann unfolds in pages 70-
72 and Stevens reports, as he overheard it and was later told of
Herr's demise by Lord Darlington himself. Now to compress it in one
scene was a great idea but one wonders where Lord Darlington would
have narrated it to Stevens himself. Stevens' understanding of the
situation in the source text was that Lord Darlington was hurt by
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Herr Bremann's suicide and hence tries to rally around people for
Germany's cause. That coming from Stevens is believable but Lord
Darlington's justification for his political stand would not be
conveyed to Stevens as it IS done in the film. Lord Darlington's
verbalising it in so many words to Stevens is improbable. Lord
Darlington says this to a friend while Stevens overhears it in the
source text:
Wretched thing is, this treaty is making a liar out of me. I mean to say, I told him we wouldn't be enemieS"'once it was all over. But how can I look him in the face and tell him that's turned out to be true? (p.73)
In the film, the above statement becomes a dialogue between Stevens
and Lord Darlington. Stevens recalls elsewhere in the source text -
I am pleased to recall the memory of that moment as he spoke those heartfelt worlds in the near-empty banquet hall. Whatever complications arose in his courtship's course over subsequent years for one will never doubt that a desire to see justice in his world lay at the heart of all his actions. (p .73)
Now we never find out what is the depth of Stevens' reverence for his
Lordship in the film. That gap exists because Stevens' thoughts are
never visualised on the screen. It is indeed a cinematic challenge to
visualise a person's thought. The usual cinematic technique is to
have it as a voice-over in the voice of the actor. This technique often
tends to make the film soundtrack heavy and the audience
concentrates more on the sound track than on the scene unfolding
before their eyes. In spite of this drawback, the voice-over of Stevens
could have been used sparingly if not extensively. For e.g. Stevens,
observation about Lord Darlington in the source text could have been
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superimposed over the scene: -
It was a ploy of Lord Darlington's to stand at this shelf studying the spines of the encyclopedias as I came down the staircase, and sometimes to increase the effect of an accidental meeting, he would actually pull out a volume and pretend to be engrossed as I completed my descent. Then, as I passed him, he would say 'oh, Stevens, there was something I meant to say to you'. And with that, he would wander back into his study, to all appearances still thoroughly engrossed in the volume held open in his hands. It was invariably embarrassment at what he was about to impart which made Lord Darlington adopt such an approach and even when once the study door was closed behind us, he would often stand by the window and make a show of consulting the encyclopedia throughout our conversation. (pp.60-61)
This observation of Stevens has clues even for visualisation (used
sparingly in the film) and would add to the suitable comic nature of
the narrative. And again visualisation of Lord Darlington's speech to
his friend in an empty banquet hall in half shadows that, "he fought
that war to preserve justice in this world. As far as I understand, I
was not taking part in a vendetta against the German race" (p.73),
would have highlighted the poignancy in the film. In this scene when
Lord Darlington intersperses his directions to Stevens about Stevens'
father with the story··of his German friend, it somehow takes away
the pathos felt by Lord Darlington in the source text.
However this scene elaborately visualises the detailed setting of the
study (or the library)). Besides books along the shelves in wall, the
hanging dome shaped lights, elegant white couch, paintings on the
wall and a golden retriever on the couch who gets a pat from Lord
Darlington is part of a detailed mise-en-scene. The source text does
not tell us like many other things that Lord Darlington had a pet
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retriever, but details like these only add to the ambience without
necessarily shifting the thematic focus of the story. Stevens recalls in
the source text many powerful and famous visitors to Darlington hall,
celebrities such as Prof. Maynard Keynes and Mr. H.G. Wells,
visualisation of such personalities even in passing would have made
the narrative interesting.
Scene 13: Stevens Senior Relieved of Duties
The scene begins with a shot of sun rising, followed by shots of a
youpg man carrying baskets of wood from a stock of piled with fuel
wood, the scene is bathed in sun ray streaks suggesting early hours
of the day, shots of kitchen table being washed with hot water and
the floors being mopped forms a part of the visual collage. Stevens
shown walking up a flight of narrow backstairs and meets a young
boy carrying buckets upstairs. Stevens instructs him to smarten up
and wait at the table. Stevens enters his father's room, who is sitting
in' his bed as if waiting. Stevens relieves him of his duties and
Stevens Senior is very upset and wants the steps in the lawn to be
set all right in the summer. Stevens looks sad and yet businesslike.
All the dialogues have been lifted verbatim from the source text.
Scene 14:Looking From the Window
In the next shot, Miss Kenton is shown walking down a corridor, she
stops and looks outside through a window and finds Stevens Senior
checking the steps to the summerhouse. Miss Kenton calls out to
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Stevens and they both silently watch Stevens Senior retracing his
steps to the summerhouse with hands lifted in air to balance a non-
existent tray. This scene is bereft of dialogues but visually eloquent
and achieves much more than the description in the source text. It
highlights the pathos of the scene, the fact that Stevens Senior is
unable to comprehend and come to terms with his fall. He is looking
for reasons outside himself, which is indeed poignant. Now let us
compare it with as it is described in the source text:
Then as we watched, he walked very slowly up the steps. At the top, he turned and came back down a little faster. Turning once more, my father became still again for several seconds, contemplating the steps before him. Eventually, he climbed them a second time very deliberately. This time he continued on across the grass until he had almost reached the summerhouse, then turned and came slowly back, his eyes never leaving the ground. In fact, I can describe his manner at that moment no better than the way Miss Kenton puts it in her letter; it was indeed as though he hoped to find some precious jewel he had dropped there. (p.67)
Scene 15: Stevens gives the New Duty Chart to Stevens Senior
Stevens is shown giving instructions to his father with a trolley of
maps and brushes, asking him to look for dust and dirt and to polish
the brass. Stevens Senior rushes off with his trolley to undertake his
job with a great gusto, the scene has been recreated on the basis of
the following details in the source text:
The sight of his figure pushing a trolley loaded with cleaning utensils, mops, brushes arranged incongruously, though tidily, around teapots, cups and saucers, so that it at times resembled a street Hawker's barrow, became a familiar one around the house ... and he went about his work with such youthful vigour that a stranger might have believed there were not one but several such figures pushing trolleys about the corridors of Darlington Hall. (p.78)
The focus of the film continues to be on Stevens Senior, which rises
to a crescendo as the conference approaches.
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Scene 16: Preparing for the Conference
Stevens shown giving pep talk to his staff about the significance of
the impending conference. He has a staff plan and asks his staff to
be proud of the job they do. Once again a scene has been dramatised
and dialogues provided to Stevens based on clues in the text. His
voice and face superimposed over a collage of visuals depicting hectic
preparations of the conference - polishing, cutting, pruning of trees,
beds being made, chicken and lambs being dressed and put over fire,
crates of wine arriving. This scene effectively visualises the frantic
pace and scale at which preparation is underway.
Scene 17: Arrival of Mr. Lewis
A car arrives and a gentleman disembarks and looks appreciatively at
the facade of Darlington Hall. The camera shows the family crest of
an eagle on top of the building and a blue flag with an emblem of sun .
on it. Again a familiar shot used as ~ linking device and for
establishing the setting. The viewer immediately recognises the
gentleman as Mr. Lewis the present owner of Darlington hall.
Scene 18: Stevens Asked to Educate Cardinal
Stevens informs Lord Darlington about Mr. Lewis' arrival. Lord
Darlington asks Stevens to help Reginald with the facts of life.
Reginald Cardinal in the film is Lord Darlington's godson and David
Cardinal's son as in the novel. Lord Darlington's dialogues are more
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or less from the source text but once agam, there are some
noteworthy deletions. Lord Darlington mentions Sir David his friend
who is no more, whereas in the source text its made amply clear that
Sir David helps Lord Darlington in organising the seminar and it is at
his repeated bidding that Lord Darlington is forced to ask Stevens'
help. How does doing away with Sir David help the script? Sir David
does not appear in the source text in person; so mentioning him in
the film script would have hardly been a problem.
-":".'
Lord Darlington in the film pauses to look into a book before
continuing to explain to Stevens his task. In the source text it is
Who's, Who' that Lord Darlington consults, a habit which is referred
to in the source text to warn the reader beforehand. However it
suddenly appears in the film without a warning and hence fails to
evoke any desired comic effect as it manages to have in the source
text:
Lord Darlington called me into his study, and I could see at once that he was in a state of some agitation. He seated himself at his desk and, as usual, resorted to holding upon a book- this time it was 'Who's Who' - turning a page to and fro.
'oh , Stevens' he began with a false air of nonchalance, but then seemed at a loss how to continue. I remained standing there ready to relieve, I remained standing there ready to relieve his discomfort at the first opportunity. His Lordship went on fingering his page for a moment, leaned forward to scrutinise an entry. (p.81)
The decor of the study is perfect in the film, besides rows of books on
the shelves, there are figurines on the mantelpiece.
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Scene 19: Stevens Educates Cardinal
An excellent example of the British stiff upper lip, inhibitions to talk
about sex, sex education couched in euphemisms. In the source text
Stevens tries twice to engage Reginald, Lord Darlington's godson in
trying to convey him the facts of life and both the attempts are
hilarious. It is the second encounter, which has been visualised. How
would one visualise the following details of the source text:
I crossed the grass quickly, placed my person behind the bush and before long heard Mr. Cardinal's footsteps approaching. Unfortunately, I misjudged slightly the timing of my emergence. I had intended to emerge while Mr. Cardinal was still a reasonable distance away ...
.... As it happened, I emerged a little late and I fear I rather startled the young man, who immediately pulled his attach case towards me and clutched it to his chest with both arms (p.89).
In the film Stevens almost tip toes around the garden as if snooping
around and suddenly chances upon Reginald Cardinal ~ighting a
cigar with his back turned away from the camera, who .jumps in
fright. Their meeting is cut short with Reginald informing Stevens
about Dupont's arrival. However the scene fails to evoke any laughter
except for the humour inherent in the situation and the dialogue.
Scene 20: Arrival of Mr. Dupont
The scene begins with a camera close up of Dupont's feet. Dupont
instructs Stevens to get a pot of hot water and salt while Mr. Lewis
enters and introduces himself to Dupont as Jack Lewis. Mr. Dupont
makes a disparaging remark about London, - "they made me do an
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eternal sight seeing in London. I had already seen the tower of London"
(ROTD-The Film). Mr. Lewis without reacting mentions that
developments at Darlington Hall will not please Dupont and he must
have a word with him at the earliest.
In the source, text Mr. Lewis and Dupont are said to be old
acquaintances and Dupont has been described as a tall elegant
gentleman with a beard and monocle who arrives in a foul temper
but his mood lightens on seeing Mr. Lewis. In the film Mr. Dupont is
short, stockily built and does not seem to be acquainted with Mr.
Lewis. Another omission which otherwise would have been
interesting to watch is the French-American alliance against England
in general and against Lord Darlington in particular.
Scene 21: The Conference
Guests are shown arnvmg, trunks and suitcases are carried
upstairs. The camera (zooms in or dollies forward) enters a room
where the conference is in progress and Stevens is serving cigars. A
tea table is being laid outside the conference room. Series of shots
are superimposed over one another to show the audience from
various angles. The camera does not focus on the speaker, the
soundtrack plays the voice of the speaker who speaks about the
rebirth of Germany and the harsh treaty imposed on it sixteen years
ago. The soundtrack keeps fading in an out as if the director chooses
to make only some parts audible and not the entire speech. In terms
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of visuals one notices Mr. Dupont shifting uncomfortably in his seat
and Mr. Lewis looking around suspiciously. Mr. Dupont whispers to
Stevens for bandages and his whisper is loud enough to be heard
over the speaker's voice. Mr. Dupont follows Stevens outside and Mr.
Lewis follows them and expresses his desire to have a word. Dupont
doesn't seem too eager. Stevens takes them through a series of rooms
and the objects shown define a familiar territory, we see our famous
Chinaman in one room, the blue staircase in another shot and finally
through various anterooms to the billiard room. When Stevens is
about to take off Mr. Dupont's shoes, he is called away by an under
butler and Mr. Lewis finally takes off Dupont's shoes and looks
exasperated.
Now why would Stevens leave his work midway when there are no
instances of his doing so in the source text, it looks as if he was
looking for a.I'l: excuse to get away. When Mr. Dupont asks Stevens to
help him with"his shoes, there's a distinct pause as if Stevens is
surprised that he has been asked to perform such a duty. On the
other hand, the American Mr. Lewis bends down to do the same
when Stevens suddenly leaves. This throws an interesting light on his
characterisation. In the source text, Mr. Lewis and Dupont are not
only friendly but are almost always together, interacting in a
surreptitious manner. Mr. Lewis though genial and pleasing in
manner appears 'duplicitous' in Stevens' eye. But in the film Mr.
Lewis seems well meaning, desperate to stop a catastrophe. Mr.
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Lewis, in the source text appears to be someone who is constantly
instigating Dupont to take a stand against Lord Darlington. One may
pause and ask what the compulsions are that transforms Mr. Lewis
characterisation. From someone who is conceited, conspiratorial and
conniving in the source text he is changed to someone who is polite,
well meaning almost with a messianic mission to stop the Europeans
from committing a blunder of lifting impositions placed on Germany.
Is it because in the source text we perceive Mr. Lewis from Stevens'
politically unlettered eyes and in the film we have the director's
politically correct account. Or the compulsions to refurbish Mr.
Lewis'image is an ideological shift where an American is always right
as he is the global leader in world economy and world politics. It is
interesting to note that market driven compulsions often perpetuate
images, which would be contrary to reality especially if the images
are constructed in Hollywood. So we see Mr. Lewis (Christopher
Reeves) with his archetypal image of a 'Superman' trying to save
Europe inevitably hurtling towards the Second World War and when
he fails to do so, he saves Darlington Hall from ignominy by
purchasing it.
Scene 22: Stevens' Father Taken Ill.
Two maids looking on, Stevens finds his father slumped against his
barrow in a corridor. He instructs John to take hot water for Mr.
Dupont while he calls out to him and bends down to unclench his
father's fist from the barrow and takes him in his arms. Cut to
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Dupont soaking his sore feet in salt water. Stevens Senior is shown
being taken upstairs in a bath chair. Miss Kenton informs Stevens
that she has informed the doctor and as she has some time on her
hands, she would stay back to look after his father. Stevens has a
word with the doctor who inquires about his age and informs Stevens
that his father is not doing well and should be informed in case he
deteriorates.
Somehow rrun never plays a part in the filming of these scenes
whereas in the source text "the conference began on a rainy morning
during the last week of March 1923". Omission of grey rainy
mornings may have been due to incidental difficulties during the
filming for it may not have been a rainy season. However Stevens
Senior's age is said to be 75 but in the source text it is 72. The scene
ends in a dissolve.
Scene 23: Preparations for the Conference Dinner
A collage of shots is superimposed over one another. Call bells
ringing for under-butlers, servants running up and down, dinner is
being prepared in the kitchen by large number of servants, Stevens
inspecting the dinner table with a measuring scale and giving
instructions to an under-butler and Stevens whistling as if he is
almost content and happy. This is the first time the character betrays
an emotion. The reader-viewer is confused that why now when his
father is lying in his bed, ill. However the collage brilliantly visualises
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numerous details in a very short time span and evokes the ambience
of the preparations for the conference effectively. This visualisation is
absent in the source text; however the mise-en-scene of the film
would be incomplete without such a visualisation and a backdrop of
hustle bustle would be required to convey the same.
Scene 24: Stevens visits his Father
Stevens visits his father and enquIres about his health. His father
wishes to know if everything is in order. Stevens informs him how
everyone's busy in the kitchen preparing the last Dinner of the
conference. Stevens Senior then shares a confidence with his son
that how he had loved his wife and how love one day went away from
his life. He also tells Stevens that he hopes he had been a good father
to him and that he has been a good son. The foregrounding of love
begins in this scene. We shall see how this one dialogue will once
again shift the thematic focus of the source text. The focus of the film
will now shift from Stevens Senior to the loveless life of Stevens.
Scene 25: Dinner Scene
Overhead shot of a long rectangular table with several formally
dressed gentlemen at either side of the table. A mid shot of a German
Lady addressing the congregation expressing her gratitude on behalf
of Germany for the mood of friendship and goodwill extended. She
says Germany wants friendship and peace. Mr. Dupont rises to
express similar sentiments and says that he would try and change
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the course of his national foreign policy towards Germany and feels
that the Americans do not know the horrors of the war. Mr. Lewis
immediately rises and proposes a toast for Lord Darlington's
hospitality. Everyone rises to raise a toast-- again an overhead long
shot. Mr. Lewis continues to express his viewpoint that he feels Lord
Darlington is a classic English gentleman but is an amateur in
politics. According to him Europe in the present day was a place for
realpolitik i.e. politics of the reality. There's silence as no one
responds to Mr. Lewis' remark and when he raises his glass no one
reciprocates. Lord Darlington rises to make his position clear once for
all and says that what is being perceived as amateurism is actually
honour and he only desired to see justice and goodness prevail in the
world. There's a hearty applause to Lord Darlington speech while
Stevens is called out of the room.
Interesting shifts in the filming of the scene can be noticed. In the
source text Mr. Dupont spares no effort in condemning Mr. Lewis'
brand of politics. He says in the source text:
There is I believe an imperative to openly condemn anyone who came here to abuse the hospitality of the host, and to spend his energies solely in trying to sow discontent and suspicion. Such persons are not solely repugnant, in the climate of our present day extremely dangerous ....
.... You see, I refrain from outlining just what this gentleman has been saying to me - about you all. And with a most clumsy technique, the audacity and crudeness of which I could hardly believe. (pp.l 00-10 1)
In sharp contrast Dupont in the film says almost nothing. Similarly
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Lewis' dialogues have nothing about the French Gentleman. This is
how his speech and characterisation progresses in this source text:
I don't have anything to say to the nonsense our French friend has been uttering ....
.... Gentlemen like our good host still believe it's their business to meddle in matters they don't understand. So much hogwash has been spoken here these past two days. Well -meaning naive hogwash. You here in Europe need professionals to run your affairs. If you don't realise that soon you are headed for disaster. (p.lOl)
What emerges is a bitter quarrel and Lewis and Dupont appear
in very poor light in the source text. In the film however the eventual
meaning which gets constituted through this deletion of dialogues is
that Dupont is an inconsequential French gentleman with a sore foot
and ill fitting shoes. Mr. Lewis on the contrary appear' as the 'cool'
American worldly wise, a man of the future. His character has been
meticulously whitewashed. He raises a toast in honour of Lord
Darlingt?n but in the source text it is Dupont the French diplomat
who remembers to honour Lord Darlington. Mr. Lewis in fact walks ."~
up to Lord Darlington in the film and apologises for having criticised
him and says how he respects and honours British tradition and that
he had spent some part of his childhood in England. Lord Darlington
warmly accepts his apology and says that he likes a good clean fight.
Why such pains to refurbish Mr. Lewis' image? Is it to maintain a
consistency in the script wherein Lewis will be the saviour of
Darlington Hall at the end of the story. Since all that we see in the
film is not Stevens' version (reader-viewer almost forgets whose
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account they are watching) hence there's a license to do away with
Stevens' bias or it could be because America will be a great market
for the distribution of the film and hence all such precautions.
Scene 26: The Song Sequence
Stevens shown walking out of the banquet hall to Miss Kenton
waiting almost in darkness. Miss Kenton informs him of his father's
death. Stevens excuses himself and as an after thought tells Miss
Kenton how his father would have wished him to continue working.
NexJ shot is of the room where guests are lounging around drinking
and listening to a German woman delegate singing a German song. A
song at this juncture is a technique to buy time for Stevens whose
father has just expired and the mood of the viewers is sombre. It also
does away with the need to show Stevens' immediate reaction and
acts as a finale to two simultaneous eyents ending at the same time
(sort of a climax). In between the song'we see Stevens serving drinks
and Mr. Reginald speaks to Stevens about how he would visit
Darlington Hall in spring when everything is burgeoning. Stevens
politely stands looking away, responding in monosyllables. He looks
glum rather than gloomy. Stevens proceeds to serve other men and
meets Lord Darlington who congratulates him and enquires whether
he is coming down with a cold. In the source text however Lord
Darlington had said "you look as though you are crying" but in the
film he positively looks as if he has a cold. This is one of the greatest
observable gap in the film. Stevens the main protagonist always looks
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cold, uncommunicative almost rude. If that IS how the
characterisation is sketched In the screenplay then that IS not an
exact transcription of the novel. The gaps could occur at three stages.
Now a character is first sketched by the screenplay writer keeping in
mind the limitations and advantages of visualisation and then the
director interprets it further depending upon his mode of
presentation and his interpretation. The actor finally performs the
role adding to it his own screen image and finally his interpretation of
the role.
In the source text the scene of the banquet has been described thus:
... the effect produced by unbroken lines of gentlemen in evening suits, so outnumbering representatives of the fairer sex, was a rather severe one; but then again in those days, the two large chandeliers that hang over the table still ran on gas- resulting in a subtle, quite soft light pervading the room- and did not produce the dazzling brightness they have done since their electrification. (p.98)
In this visualisation no chandeliers are in sight but lots of
lights on the wall definitely make the scene bright.
Scene 27: Stevens Seniors' Death
Stevens is shown walking in to the room of his father. He speaks to
the doctor who tells him that he suffered a stroke and did not suffer
much. Stevens walks up to his father lying in the bed and touches
his forehead as if to check his temperature. Miss Kenton and few
others look on as Stevens asks the doctor to attend on Mr. Dupont
who is in pain which again goes to show how Stevens' profession
comes before everything else:
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Even so, if you consider the pressures contingent on me that night, you may not think I delude myself unduly if I go so far as to suggest that I did perhaps display, in the face of everything, at least in some modest degree, 'dignity' worthy of someone like Mr. Marshall- or come to that, my father. Indeed, why should I deny it? For all its sad associations whenever I recall that evening today, I find I do so with a large sense of triumph." (p.IIO).
Does that scene of triumph get conveyed to the reader-viewer? May
be one cinematic device could have been Stevens writing his diary
or reading it, a third voice-over reading out all such dialogues would
have perhaps given it a touch of story-telling. This lack of insight
into Stevens and deletion of his views and opinion take away from
the. characterisation of Stevens. As far as the film is concerned,
Stevens' father dying is a midway point in the film and end of part-
1, so to say. In the source text, this ends the day two- Morning at
Salisbury, reverie. At this point in the film the second flashback
ends. The source text, however, has series of flashbacks but all
through Stevens' eyes.
Scene 28: Stevens Resumes His Journey
~.
Stevens shown driving into a small town with narrow lanes. The
theme music plays in the background and a church bell rings
somewhere in the vicinity. Stevens enters a grocer's store to collect a
letter. He asks for two apples. On being asked of his whereabouts, he
mentions Darlington Hall and the grocer asks him if he knew Lord
Darlington the Nazi. Stevens merely says that the present owner Mr.
Lewis has employed him. Back in his car he opens the letter and
reads; Miss Kenton's voice-over begins on the soundtrack. She asks
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him to meet her at the seaside cafe opposite the pier and remembers
the days she spent at Darlington. The location of this scene is not
mentioned in the film however in the source text it is Day Two-
afternoon at Mortimer's Pond at Dorset. The grocer in the film does
wish him Good- afternoon but this scene once again has been
improvised. Stevens does not at this point in the source text receive a
letter from Miss Kenton. The source text has no reminiscences by
Miss Kenton. However in the film, the third second flashback begins
at this point and we have yet another narrator's perspective in the
film. Next shot shows Miss Kenton asking Lord Darlington if she
could bring in the two Jewish girls looking for employment. Lord
Darlington is in his library and converses with the two girls in
German. He welcomes them to Darlington Hall and the girls express
their gratitude. Miss Kenton shows them out. Again a scene
constructed with sundry details spread out in the source text and the
employment episode is completely an addition, however the source
text does talk about the Jewish girls in employment.
Scene 29: Arrival of Sir Jeffrey with his butler
Shots of cars arriving at Darlington Hall is followed by shots of Lord
Darlington walking out from a room followed by Stevens and other
under-butler's in attendance. This collage of diverse activity bound
together by the background music, which is businesslike constitutes
meaning that certain guests have arrived and Lord Darlington is
welcoming them. Lord Darlington welcomes Sir Jeffrey who has a
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retinue of servants. Next shot is of a butler climbing up the stair who
meets Miss Kenton, a note of exclamation for having recognised each
other. Again an addition perhaps to support the change in the
screenplay which is from now on about Miss Kenton's life seen from
her perspective. Too many characters without fitting into the tight
135-min screenplay perhaps might create confusion and hence they
are linked to the main protagonists of the film. In the film, we have
an additional character in 'Tom' playing Sir Jeffrey's butler. Miss
Kenton seems to be acquainted with him from an earlier place of
work. Tom goes on to marry Kenton later on in the film and appears
thrice with Kenton and once with Stevens in the film. In contrast,
Tom is a character who never appears in the source text. He is
merely mentioned as Mr. Benn whom Kenton gets married to.
Creating a full-bodied character with dialogues so as to provide that
crucial third angle in a love triangle further shows that the film's
focus is very different from that of the source text.
Another interesting detail is that Miss Kenton is never referred to by
her first name in the source text and hence we do not know her
name. In the film however it is Tom who calls her Sarah and we
discover that her nickname is Sally. By providing these, two
characters with names the film foregrounds their personalities and
their relationships.
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Scene 30: Dinner with Sir Jeffrey
The camera focuses on soup being served on a plate; Sir Jeffrey
enquires if the soup had meat in it. Stevens spells out the ingredients
and the recipe. Sir Jeffrey justifies ensuring the racist mores for Jews
gypsies and Negroes. He feels prisons and concentration camps are
all part of the same penal system.
Few gentlemen are seen sitting around a round table. Candles are lit
all around and butlers are seen serving. Another gentleman informs
how all trade union rubbish is banned in Germany. Sir Jeffrey feels
that England in going down the drain. Jeffrey enquires if there's
butter in the dish being served and refuses to have it.
Once again, a scene, which is an addition, may be to hint at how
Lord Darlington is getting involved with fascist leanings and that also
provides the story with a forward momentum having once again
introduced two separate and yet concurrent events; Miss Kenton's
meetings with Mr. Benn and the beginning of Lord Darlington's
liaison with the Germans.
Scene 31: The Parlour Scene
The scene opens with a gramophone being played and a song comes
to life, 'It's a wonderful life' (perhaps from Frank Capra's film by the
same name... year 1938?). An interesting cross-reference and
intertextuality which locates the narrative in 1938 in and around
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Second World War. The film forever pushes the story nearer to the
war; the conference of 1923 has been changed to 1938. A scene in
Stevens' Parlour where Stevens and Benn are shown sharing a drink
and smoke. A rare insight into Stevens' mind, on being asked that he
looked a contented man, Stevens replies that one would be content if
one served one's master to satisfaction especially if the master was
superior in moral stature.
When Mr. Benn questions Lord Darlington and his men's moral
stature and mentions having heard something fishy, Stevens cuts
him short and appreciates a particular line of the song playing in the
background. He then says that he never listens to what is being said
and he does his own work. Miss Kenton comes in with fresh soda
and replaces the empty bottle. Mr. Benn invites her for a drink. But
Miss Kenton excuses herself almost as if in deference to Mr. Stevens.
Mr. Benn remarks on, her being a good-looking woman. Stevens
remarks that he would be lost without her. Again a statement totally
uncharacteristic of Stevens, the Stevens whicH. the reader-viewer
knows of. He qualifies his statement to say that an able housekeeper
like her is indispensable especially when serious matters are being
discussed within the walls of Darlington Hall.
The addition of this scene merely shows Stevens' growing attachment
with Miss Kenton and vice-versa. Stevens is almost insular to
happenings in the world and does not feel the important to have an
individual stand on the issue and is content to merely serve his
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master. He appears arrogant and conceited in demeanour.
Scene 32: Lord Darlington's Dilemma
Again an addition to highlight perhaps Lord Darlington's dilemma.
He walks into his study and the two Jewish girls Elsa and Elma
(names changed from Ruth and Sarah in the text) are seen placing
firewood in the fireplace. Darlington sits down to read from a book
about how Jesus Christ was a Jew himself but negated their nature
and literally abandoned them.
It is interesting how Lord Darlington's dilemma is being resolved
through religious interpretations. How can a Christian who talks
about goodness and justice justify persecuting Jews? Biblical
theories would come to rescue. The film version forever seems to be
refurbishing tarnished images. Lord Darlington has to appear just'
for an English image is at stake. It would be politically incorrect to
appear a Jew hater in a post Nazi world especially if one has a film
like Steven Speilberg's The Schindler's list in the recent viewing
memory.
Scene 33: Lord Darlington Asks Stevens to Relieve The Jew
Maids
The scene opens with Lord Darlington reading a newspaper in his
bedroom. His bed is strewn with books and papers. He tells Stevens
to relieve the refugee girls and when Stevens hesitates Darlington
tells him that he has to consider the matter in a larger context
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keeping in mind the well being of his guests. An attempt is made to
show that Stevens has an opinion by making him hesitate. Stevens
even remarks in favour the maids. In the source text Stevens merely
says, "beg your pardon" and does not hesitate even once:
-my every instinct opposed the idea of their dismissal. Nevertheless, my duty in this instance was quite clear, and as I saw it, there was nothing to be gained at all in irresponsibly displaying such personal doubts. It was a difficult task, but as such one that demanded to be carried out with dignity. (p.148)
Scene 34: Stevens Informs Miss Kenton about the Dismissal
Miss Kenton is shown very upset and angry at the dismissal of the
two Jewish girls and warns Stevens that if they go, she would also
leave. Stevens looks helpless and sounds apologetic. His blindfolded
faith in his lordship comes through and he says that: You and I are
simply not in a position to understand concerning, say the nature of
Jewry. (TROTD-The Film) The manner in which he says it in the film
shows that though he does not wish to doubt his lordship, he himself
lacks conviction. He looks down, rubs his finger along the
mantelpiece and appears awkward and apologetic. His performance
conveys his doubt, his helplessness, eloquently. The cinematic text
thus visualises Stevens' dilemma without taking recourse to dialogue
but through mere body language and halting delivery of the dialogue.
The meaning that gets constituted through this is much more than
the content of his dialogues.
Next shot is that of Lord Darlington morosely looking outside the
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window, watching the rrun and one or two inmates of the house
rushing indoors to escape rain. An addition perhaps to add to the
pervading gloom due to the dismissal of the Jews or an impending
sense of doom.
Scene 35: Appointing A New Maid.
Stevens and Kenton shown interviewing a girl for a maid's post. Miss
Kenton wants her to be employed and Stevens disagrees but gives in
later and ask~ her to take on full responsibility for the maid. He then
ask~ Miss Kenton about her plan to leave. Miss Kenton mentions her
cowardice, as she has no family and nowhere to go she feels
ashamed at her act. Stevens consoles her by saying that she is very
important to the household which is almost an admission of his love
for her but when she responds he immediately withdraws in his shell
and talks about the maid's employment. Now this scene has been
constructed with two separate events taking place at different places
in the source text. Stevens never admits any emotion towards Miss
Kenton in her presence in the source text. When Miss Kenton
mentions her shame to Stevens, Stevens looks outside towards the
poplar trees and Miss Kenton is gazing thoughtfully at the fog. This
event happens a year after the dismissal of the Jewish girls in the
source text and the employment of the maid takes place immediately
after the Jewish girls leave. Moreover Miss Kenton's confession is
followed by Stevens confession in the source text when he says that .
he also found it wrong to have dismissed the Jew girls. Miss Kenton
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is almost hysterical and says :
Do you realise, Mr. Stevens, how much it would have meant to me if you had thought to share your feelings last year? You knew how upset I was when my girls were dismissed. Do you realize how much it would have helped me? Why, Mr. Stevens, why, why, why do you always have to pretend? (p.153).
In the film, Kenton does not betray any such emotion. In the source
text this scene ends with the following description, which could have
been visually recreated, in the film:
She did not say anything, and as I was leaving I glanced back at her. She was again gazing out at the view, but it had by this point grown so dark inside the summerhouse, all I could see of her was her profIle outlined against a pale and empty background. I excused myself and proceeded to make my exit. (p.154)
This scene rendered so would have been poignant and could
have captured the tenuous emotional links developing between the
couple without Stevens having to awkwardly verbalise it out of
context. Flashback three ends here in the film~ Scene 32 onwards the
inputs are from the episode Day Three- Evening, Moscombe near
Tavistok, Devon in the source text.
Scene 36: Stevens at an inn
The car comes to a halt - the visual backdrop is of evening, sun
setting in the distance and, a bird calling out. A close-up shot of a
beer mug being filled - Stevens being served and the barman and
some one called Harry Smith chatting him up. Stevens claims to have
been associated with foreign policy of the country in an unofficial
capacity and to have consorted with the likes of Churchill. A
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gentleman named Richard Carlisle walks into the bar and on being
introduced to illustrious Stevens, he expresses surprise and Stevens
either to escape any further probing or to escape the crowd retires.
Escorted by the innkeeper he walks up to his room and looks around
thoughtfully. The room is small and Stevens looks at it, sits down
and grows thoughtful. The fourth flashback begins with a dissolve. A
ten page long episode in the source text is reduced to a few minutes
in the film. Stevens misleads the village folk with his talk about
Churchill. The simple village folk who talk knowledgeably about
principles of democracy get taken in by his 'dignity' - the only thing
close to Stevens~ heart.
Scene 37: Stevens Humiliated
The earlier scene ends in a dissolve and we see Stevens walking into
a room where Lord Darlington is entertaining guests. He is way laid
and asked a series of questions, by a gentleman of foreign affairs and
to each he replies 'Sir, I am unable to be of assistance'. To the
consternation of Lord Darlington and amusement of others, the
gentleman proves his point that how people like him are unable to
run a country. This scene is recreated from page 195-196 of the
source text. In the film, the third flashback ends here. In the source
text Stevens debates with himself on this episode which once again
the film fails to convey:
Let us establish this quite clearly; a butler's duty is to provide good service. It is not to meddle in the great affairs of the nation. The fact is, such great affairs will always be beyond the understanding of
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those such as you and I, and those of us who wish to make our mark must realise that we best do so by concentrating on what is within our realm; that is to say, by devoting our attention to providing the best possible service to those great gentleman in whose hands the destiny of civilization truly lies. (p.199)
Scene 38: Stevens Confesses To Carlisle
Richard Carlisle is shown driving Stevens to his car. He tells him that
he seems to be a manservant of some sort. Stevens admits being so
but denies having known Lord Darlington and then proceeds to
comment on Lord Darlington's pact with Hitler and an attempt to file
libel suit against a newspaper, almost escaping trial for treason.
Stevens now does an about turn and admits knowing Lord
Darlington and says how Lord Darlington in his last years admitted
having made a mistake and being vulnerable and gullible. On being
asked about his opinion on Lord Darlington, he says a butler is not
supposed to have opinions. Richard then asks him whether he made
his own mistakes. Stevens tells him how he is on his way to make
amends. The details of this scene have been changed. Richard
Carlisle in the source text never asks Stevens whether he has made
any mistakes of his own or does Stevens say anything about his trip
being an attempt at making ani.ends. This detail completely changes
the plot of the source text. The viewer not only has been told of Lord
Darlington's mistake but also that Stevens has a very individualistic
stand different from that of Lord Darlington and is trying to rectify
his mistake. This is where the film changes focus entirely. It is only
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at the end of his journey and at the end of the source text that an
overwhelming realisation surges in on Stevens that in his blindfolded
faith and loyalty to Lord Darlington he never made his own mistakes.
In fact, the interaction between Stevens and Richards in the source
text is subtly humorous. Richard asks Stevens what is dignity' and
Stevens delightfully answers:
I suspect it comes down to not removing one's clothing in public". (p.21O).
Scene 39: Lord Darlington's Confession.
The fifth flashback begins in this scene. Stevens' sequence of memory
is altered. In the source text this scene with Miss Kenton happens
earlier to the incident in Lord Darlington's drawing room and is part
of a reminiscence during his stay at the inn.
Actual Sequence of Events Sequence of Sequenc Stevens' Memory e in Film
1. Dismissal of Jew Girls 1 1
2. Appointment of Lisa 4 2
3. Miss Kenton teases Stevens about 5 4
good looking girls
4. Stevens asks Miss Kenton why she 2 5
did not leave
5. Stevens informs Miss Kenton that 3 3
Lord Darlington regrets dismissing
the Jew girls ~
6. Miss Kenton chances upon Stevens 8 8
reading a novel
7. Incident at Lord Darlington's 6 9
drawing room
8. Arrival at the inn. 9 7
9. Interaction at the inn. 7 6
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Stevens shown ironing a newspaper, theme music playing. Stevens
pulls the window curtain apart. Lord Darlington conveys to him Lord
Halifax's compliments about the silver. Now this incident is
remembered by Stevens in the source text in the Taunton, Somerset
episode while in the film it occurs after Stevens has visited
Moscombe. Now in the film, there is hardly any mention of time,
location or place. One wonders about such deletions. The author
takes such elaborate pains to chalk out a route for Stevens and
Stevens as mentioned in the source text relies heavily on Mr.
Symon's volume on the West country. The names of places that
Stevens visits during his journey in fact act as punctuation to his
reminiscence, they act as episodic divisions of a long fluid memory.
Lord Darlington says he is very sorry for having dismissed the Jew
girls and wants to compensate them and asks Stevens if they could
be traced. Stevens informs him that they are in Surrey and do not
wish to be separated again a detail that has been added.
Scene 40:Stevens and Kenton in the Summerhouse
Stevens is shown walking into the summerhouse, Miss Kenton is
engaged in needlework. Stevens informs her about Lord Darlington's
confession. Miss Kenton demands to know from Stevens why he had
not mentioned his regret at that point of time, it would have meant a
great deal to her. In the source text she is positively pensive and
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continues to gaze outside. (quoted in Scene- 35)
Their conversation is interrupted with Lisa coming in to collect the
tray and Stevens continues to watch her as if appraising her
performance and complements Miss Kenton for having trained her
well. Now unfolds a scene, which occurs at a different time in Miss
Kenton's Parlour over a cup of cocoa but in the film it's clubbed
along with this scene. As they walk out of the summerhouse Miss
Kenton teases Stevens about how he is prejudiced against pretty girls
as they could be distractions. Stevens smiles and their body language
shows how close they have come. Visual mannerisms and small
gestures convey much more than a page of written dialogues. These
scenes are clubbed may be to enhance the impact of their interaction
at various levels minus the earlier hostility. Moreover the focus is
now entirely on the relationship between Miss Kenton and Stevens.
The film narrative will now proceed in a linear fashion rather than
the back and forth movement of the source text.
Scene 41: Lisa and Charlie
Lisa is shown walking in the lawns, smoking. Charlie another under
butler surprises her from behind and holds her in his arms to kiss
her. Miss Kenton with a basket of flower chances upon them and
calls out to Lisa to make beds and walk away. Charlie asks Lisa if
she has told Miss Kenton as yet. Lisa says, she is too old to
understand but Charlie counters her and says that she must be
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feeling young as she is picking pretty flowers. This scene which is an
addition, in which a love affair blossoming between two staff
members highlights and provides a contrast to the developing
relationship between Stevens and Kenton. Its placement in the film is
also important as the following scene shows the developing intimacy
between Stevens and Kenton. This technique is very commonplace
and yet effective in the tradition of filmmaking
Scene 42 :Kenton Visits Stevens in his Parlour
Mis.s Kenton walks into Stevens' pantry with her basket of flowers.
Stevens is sleeping in a chair with a book in his hand. The room is in
semi-darkness. Miss Kenton asks him about the book and that
whether it was racy and Stevens refuses to answer. As if to escape
her he walks away with the book clutched tightly to his bosom and
stands with his back to the wall. Miss Kenton walks up to him with
eyes wide· in excitement and refuses to listen to Stevens. Stevens
protests about the invasion of his privacy. Miss Kenton slowly prises
the book out of his hand one finger at a time, the background music
heightens to a frenzy as if to highlight the tension in the scene. Their
physical proximity, their expressions, Miss Kenton's nervous yet
determined body language all adds to this effect. Stevens seems
almost helpless, and pleads with his back against the wall and holds
back all emotions in his characteristic reticent manner. This is the
closest they ever come. In the source text, the scene ends with
Kenton finding the book to be a sentimental novel. But in the film
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Stevens explains that he read those books to improve his language
and further his education, which is almost a snub and Miss Kenton
retreats hurt. What appears as a rebuff in the film, in the source text
is Stevens' incapability to fall in love. His entire life is oriented
towards what is dignified in his profession. The following lines from
the source text reveals Stevens' stance clearly:
"A butler of any quality must be seen to inhabit his role, utterly and fully; he cannot be seen casting it aside one moment simply to don it again the next as though it were nothing more than a pantorrume costume, there is one situation and one situation only in which a butler who cares about his dignity may feel free to unburden himself of his role; that is to say, when he is entirely alone. You will appreciate then that in the event of Miss Kenton bursting in at a time when I had presumed, not unreasonably, that I was to be alone, it came to be a crucial matter of principle, a matter indeed of dignity that I did not appear in anything less than my full and proper role. {p.169}.
Scene 43:
Charlie and Lisa walk up to a door and Lisa knocks and enters a
room, Miss Kenton is shown sitting. Lisa tells her that she wishes to
give in her notice as she plans to get married to Charlie. Kenton
argues that she may be disappointed and would need money. Lisa
says with vehemence that they love each other and they wouldn't
need anything else. She walks out; and the sound of her feet on
wooden floorboard increases as she vanishes from sight, conveying
her eagerness to inform Charlie. They embrace as ringing call bells
provide a backdrop to their joy and they run away from the camera
hand in hand. Lisa in the source text goes away without notifying
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leaving only a letter addressed to Miss Kenton. An additional scene
like this has been created to provide a contrast between the
relationship of Lisa and Charlie and of Stevens and Kenton and is a
simplistic narrative device to comment on Stevens and Kenton's
relationship, by throwing it in relief.
By devoting so much cinematic footage on Lisa and Charlie, the
director has made his intentions clear and that is, the love angle will
be foregrounded in the film while other aspects of the story will be
only incidental. However, we lose Stevens of the source text in the
process of conveying Lisa's conviction in love and Miss Kenton's lack
of it. To highlight Stevens' and Kenton's lack of zest, youthful vigour
to bring their love to fruition the Lisa and Charlie episode is no doubt
effective.
SC,ene 44: Cocoa Session
Miss Kenton SlpS Cocoa and looks thoughtful. Stevens tries to
console her by saying that they did whatever they could for Charlie
and Lisa. Miss Kenton feels that Lisa is sure to be disappointed.
Stevens wishes to continue discussing arrangements for the
forthcoming week. Miss Kenton says that she is tired and gradually
grows hysterical and says ''why don't you understand that I am tired"
the pent up rage, frustration all well up in that one sentence. Kenton
conveys her anger her hurt, her unrequited love for Stevens in that
one gesture. This scene has been created by condensing two separate
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scenes together. The Cocoa drinking evenings sessions occur in the
source text several times Stevens describes them as something he
looked forward to and the breach between the two of them occur in
one such meeting. Stevens inspite of protests from Miss Kenton calls
off these evening meetings altogether; a man who at the slightest hint
of familiarity withdraws in alarm. Miss Kenton reminds Stevens that
she won't be at home the next day either. The viewer knows that this
gulf cannot be bridged ever
Scene 45: Kenton Meets Benn
This scene in the film again is an addition and cannot be located in
the text. The screenplay with its focus on Stevens and Kenton's
deteriorating relationship perhaps demands such a scene. The scene
opens with a shot of Kenton walking away with her cycle from
Darlington Hall with Stevens fram~d in a barred window looking at
her receding figure. He looks forlorn, lonely and barred at the window
unable to step out of Darlington Hall and his dignified profession of a
butler.
The symbolism is far too obvious, visually eloquent: no VOIce-over
required, no commentary is necessary. Meanings constituted thus
need help of no literary devices. Next shot is that of a pub and we see
Mr. Benn speaking to Kenton about his intentions to leave Sir Jeffrey
and his Black Shirts and set up a business of his own. He intends
setting up a small shop selling tobacco or newspapers or a boarding
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house at Clevedon near the sea. Kenton speaks about how Stevens'
profession is his life and how he thinks that they should be only
concerned with their profession alone. Tom provides an antithesis to
Stevens with his irreverent use of language. Tom forces Kenton to
stay back beyond her curfew time and tells her that she does not
have to report to the barracks. He walks out with her, comments on
her rather serious sounding name Sarah and calls her intimately.
Sally. He asks her if she were asked to come and stay at a boarding
house would she agree and then kisses her passionately. Kenton
confused takes her time to put her arm around him hesitantly and
immediately withdraws. She cycles away on an ill lit and wet street in
confusion and embarrassment. A scene with Tom was perhaps
necessary to show that Miss Kenton is being forced by Stevens' rebuff
to accept Tom on the rebound. Her pent up frustrations somehow
receive an outlet in Tom and provide her with a way to escape. Tom
provides her with hope of a future companionship and togetherness
to help her get away from Stevens. The film has now almost
completely veered away from the source text to who will be Miss
Kenton's choice as a life partner? In the source text however the
reader is curious to find out what would happen to Stevens in the
immense backdrop of world events.
Scene 46: Lord Darlington waits for Guests
Lord Darlington is shown sitting in semi-darkness, wearing a woolen
cap fully dressed with a blanket over his legs, deep in thought.
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Stevens walks in to the room for some errand. There is thunder and
storm on the soundtrack. Mr. Reginald Cardinal is shown arriving
and being received by Stevens. Reginald enquires if he could stay
over-night and Stevens informs him that they are expecting guests
after dinner.
Scene 47: Kenton Informs Stevens about Benn's Marriage
Proposal
Stevens walks into Miss Kenton's Parlour where she is shown sitting,
lool.cing into space not doing anything in particular. Stevens informs
her about Mr. Cardinal's arrival and that he could have his usual
room. Miss Kenton says that she would do it before she left in the
evening. Then she stops Stevens and tells him how her acquaintance
has proposed marriage to her and how she is thinking about it. She
pauses after each sentence; Stevens' face is inscrutable as ever. He
merely says, "I see" and wishes her an entertaining evening. This
scene has been recreated from pages 241-215. The enactment of the
two protagonists adds to the source text and brings in an element of
pathos and anxiety. Miss Kenton at the end of the scene turns her
back to the camera as if to hide her tears.
Scene 48: Dinner Scene
Lord Darlington is shown having dinner with Reginald Cardinal while
Stevens serves. Reginald enquires about his expected guests and
Lord Darlington asks him to make himself scarce and calls him a
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news hound. A cordial pleasing conversation takes place between the
two, unlike in the source text.
Scene 49: Arrival of Midnight Guests
The scene begins with a collage of shots, Reginald Cardinal is shown .. wearing spectacles tiptoeing to a window and trying to see from
behind the curtains the approaching cars. Overhead crane shot of
three cars arriving in the night. Next shot is that of Lord Darlington
welcoming his guests, he ref~rs to one of them as the Prime Minister
(Ch.amberlain) and the other as President. A shot of Cardinal typing
conveys that he is filing a story on the secret meeting. An overhead
shot of four Gentlemen entering the huge drawing room. Another
shot of gentlemen shown into a room full of paintings, by Stevens.
They appreciate the decor of the room. The escorts comment on the
beauty of the paintings and are asked to take down the details for
future. This scene is not present in the source text, and indicates the
Germans advancing and marching into Britain. All the men converse
in German, which is subtitled on the screen. Lord Darlington walks
in and welcomes them, introductions are made and they follow him.
Stevens looks at his watch.
Scene 50: The Secret Meet
These gentlemen are shown discussing topical issues. Once again we
witness a scene which is not there in the source text. According to
Stevens' account there were only four men including Herr Ribbentrop
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the German ambassador in the source text. In the film, there's a
German, who is more of a stereotype in his arrogant manner and
looks and is reminiscent of such characters in other films. The
collage of shots in the previous scene and this one creates an
ambience of something of consequence about to commence. The
soundtrack plays music of tension and suspense. The German
gentleman is referred to as his Excellency and could be the German
ambassador Ribbentrop of the source text, however he is not the
same German whom we see during the conference. A discussion
ensues about the Germans not wishing to involve the British Empire
into war and that they are marching into Czechoslovakia. They feel
that a small country like that should submit to the thousand year old
Reich. This scene conveys the imminence of war, Germans gaining
grounds and things turning out to be quite different from Lord
Darlington's expectations. Stevens IS shown speaking to his
colleagues and consulting his watch. He looking at his watch conveys
mixed meanings, it is too late while the meeting continues, too late
for Miss Kenton's return, too late for Lord Darlington to stop the
wheels of destiny and also too late perhaps for Stevens to hold back
Miss Kenton. The source text does not tell the reader what transpires
at the secret meeting but through Cardinal's reporting we merely
suspect. Cardinal lets us in on this secret and manages to keep the
suspense alive, however in the film by trying to recreate the secret
meeting, the suspense is killed. Since whatever Reginald Cardinal'
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reports in the novel cannot be traced back to Lord Darlington and we
never witness Lord Darlington actually playing in the hands of Nazis,
we never really condemn him in the source text. In the film we
actually see him hobnobbing with Nazi aggressors and that takes
away all the mystery of his character and all attempts to paint him as
a pro-Semitic elsewhere in the film fails to absolve him in the final
analysis.
Scene 51: The Secret Meet
Steyens is shown walking towards a corridor where two under
butlers are shown seated in attendance. There's a doorbell and
Stevens' goes to open the door and rolises the attendants. He finds
Miss Kenton escorted by two policemen seeking confirmation of her
identity. Miss Kenton walks in and Stevens walks ahead in a hurry,
and says that, '1 hope you had an entertaining evening' Kenton calls
out to him and tells, him that she had accepted the marriage
proposal. Stevens congratulates her and hurries away. Kenton calls
out to him again and says that if that was all he could say after so
many years of her service. He excuses himself as he feels things of
global importance were unfolding upstairs. Kenton retorts 'when are
they not? As if in vengeance Kenton proceeds to tell Stevens how she
mimics Stevens' mannerisms to Benn and how it makes them laugh.
A desperate and a rude attempt to shake Stevens out of his almost
frigid indifference. Stevens smiles to that and merely says, "indeed"
and looks a little hurt. Kenton further stalls him by demanding to be
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relieved at the earliest but even that cannot hold Stevens back. This
scene has been culled from pages 218-219.
Kenton's following Stevens in the corridor to heap further insults on
him, visually translated has a greater impact. The reader has no
clues to the expression of Stevens and Kenton in the source text. The
performances of the actors are interpretations, which the screenplay
writer and the director have arrived on their own. Hence, what we
have here is not only a visually translated text but also an
interpreted text.
Scene 52: Cardinal Speaks to Reginald
Cardinal is shown typing while Stevens walks in with a drink.
Cardinal makes Stevens sit and tells him about Lord Darlington's
meeting and how he is there on a tip-off. Once again, two events have
reached a climax together. Miss Kenton's decision to get married and
Lord Darlington's meeting with the Germans. Cardinal tells Stevens
that the honorable Lord Darlington has been used as a pawn by the
Germans. Stevens has no opinions except that he feels Lord
Darlington's intentions are good and meant for peace in our times.
This scene has been createdfrom pages 219 to 225 and the scene is
about four minutes long. It touches upon all that Cardinal says
about Lord Darlington in the source text including how he was out of
depth and an amateur but the scene leaves out two distinct things.
One Cardinal mentions how Lord Darlington is tIying to get his
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majesty visit Hitler and secondly that our King' is pro- Nazi. Which is
again an attempt to refurbish the British image. In the source text
Cardinal is not shown typing, - but looking at books in the library.
Cardinal in his rather shortened speech (it is a fajrly long one in the
source text) mentions that the conference was held three years ago
and that according to the time frame of the film makes the present as
year 1941 (1938 being the year of the conference in the film as
against 1923 of the source text). A bare room, a statue, fireplace and
green lamp form the decor of a large uncarpeted room where
cardinal confronts Stevens.
Scene 53: Stevens Walks in on a Tearful Miss Kenton
Stevens shown walking down a corridor unlocking a door. Miss
Kenton calls out to him from a doorway; her face and eyes are puffy
and she looks apologetic. She apologies to Stevens for having been
rude to him earlier. Stevens characteristically brushes it aside and
excuses himself. It looks like another rebuff and Miss Kenton retreats
in the shadows of her door even before Stevens finishes speaking. It
conveys her rejection allover again. Stevens walks down a few steps
and enters a cellar to collect a wine bottle. Series of wine bottles are
shown stacked. He scrutinises the label on the bottle after wiping off
the moisture. He starts walking up the stairs but stumbles and the
wine bottle falls to smithereens. An external visualisation of an
internal conflict, the ever so careful Stevens shown faltering but not
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so in the source text. Stevens shown walking back to the corridor,
sound of weeping on the soundtrack and Stevens walks toward Miss
Kenton's door. Camera focuses on his footsteps walking in tiptoes
and stops short of a huddled figure. Miss Kenton is on the floor,
crying with her head on a stool. Stevens calls out to her and once
again the viewer and Miss Kenton eagerly wait to hear Stevens
acknowledge his love for her or show some sympathy. Instead,
Stevens reminds her of an unattended chore.
The reader-viewer however cannot recall the scene and remembers
an earlier scene in the source text when Miss Kenton's aunt dies and
Stevens instead of expressing his condolences walks in on a crying
Miss Kenton and reminds her of an errand. The placement of this
scene in the film is of significance. The focus is on the deteriorating
relationship between the two and Stevens' refusal to make any move
to stop Miss Kenton from leaving. In the entire scene the camera is
focussed on Miss Kenton's tear stricken face and Stevens' dialogues
show the changing expressions on .. >her face, from one of hope to
bewilderment to hopelessness. As Stevens walks off we see Kenton
doubling up over the stool crying uncontrollably a picture of complete
rejection, and hopelessness. With this scene flashback five ends in
the film.
This flashback achieves two things, one, it does not leave to
imagination the complete severing of ties between Stevens and
Kenton, and secondly it manages to highlight Stevens' inability to
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communicate his feelings, his absolute lack of prosperity as regards
relationships. However it misses out on other areas which the source
text so eloquently foregrounds for example the political backdrop.
While the film gives prominence to the end of the relationship the
source text merely suggests it and focuses on Stevens' personal
triumph as a butler. Stevens' recollection of that day in the source
text is very different in flavour and tenor, which the film fails to
capture. Stevens in the source text recalls:
At first, my mood was, I do not mind admitting it somewhat downcast. But then as I continued to stand there, a curious thing began to take place; that is to say, a deep feeling of triumph started to well up within me. I had, after all, just come through an extremely trying evening, throughout which I had managed to preserve a -dignity' in keeping with my position and had done so, moreover in a manner even my father might have been proud of. And there across the hall, behind the very doors upon which my gaze was then resting, within the very room where I had just executed my duties, the most powerful gentlemen of Europe were conferring over the fate of our continent, who would doubt at that moment that I had indeed come as close to the great hub of things as any butler could wish? I would suppose, then, that as I stood there pondering over the events of the evening- those that had unfolded and those still in the process of doing so- they appeared to me a sort of summary of all that I had come to achieve thus far in my life. I can see few other explanations for that sense of triumph I came to be uplifted by that night. (pp.227-228).
With this scene, the reader-viewer realises that the film has produced
an altogether new text very different from the written one. The
foregrounding of the relationship between Stevens and Kenton in the
film leads to a reconstitution of the text and hence the meaning. The
Stevens of the source text and the recreated Stevens are two entirely
different personalities. This transformation occurs not only at the
level of the screenplay but also at the level of performance and
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visualisation of details. The reader-viewer has been left far behind;
from now on, it is only the viewer and the cinematic text.
Scene 54: Kenton Meets Benn
Background score plays on the soundtrack as Stevens drives into a
seaside town. Tight frames of the town besides the pier on the sea are
shown followed by a shot of Miss Kenton touching up her make-up
before the mirror. She chooses a scarf then discards it. She is shown
walking down the stairs of the same boarding house seen in an
earlier scene in the beginning of the film. We see Tom slightly aged,
waylaying Miss Kenton to speak to her. Miss Kenton tries to excuse
herself, as she is on her way out presumably to meet Stevens. She
agrees to spare sometime and they proceed to the lounge of the
boarding house. The girl at the counter, looks on with curiosity. Tom
tells Kenton how he had wished to own a boarding house like this
and how everything did not turn out as he had planned. He is a
failure like Stevens, Stevens fails in love, Tom fails in life. He tells her
that he misses her and informs her about their daughter Catherine's
pregnancy. Miss Kenton exclaims in delight and even softens a little
towards Tom. Tom encouraged asks permission to escort her on
Sunday for tea at Catherine's.
This scene once again has been recreated entirely out of sundry
details in the source text but no such scene exists in the source text.
In fact, Miss Kenton is never actually seen in the present time frame
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of the source text either with Tom or with Stevens. There are enough
indications in the film that Kenton might reconcile with her husband.
It was perhaps necessary to visualise this scene to show the viewer
that how Miss Kenton has choices this time but how her priorities
have changed. Tom is apologetic, Stevens continues to be reticent,
but willing to make amends. Kenton's love for her daughter makes
everything else insignificant.
Scene 55: Stevens Meets Kenton
St~vens shown sitting in a restaurant reading Miss Kenton's letter.
Miss Kenton's voice-over on the soundtrack mentions, how she
remembers the wonderful days spent at Darlington Hall. The waitress
asks him if he needs some more tea. He sees Miss Kenton now Mrs.
Benn walking up to his table. They exchange greetings and Stevens
mentions how she hasn't changed a bit. Sf3.Xophone plays a happy
dance tune, Mr. Stevens drumming his finger on the table, sunshine
streaming through the large windows in all- a happy ambience is
created. The music changes to a romantic sad song, -blue moon you
saw me standing alone without a dream in my heart', and couples
are shown dancing.
The camera pans on the dance floor and finally focuses on their
table. Mrs. Benn shown smoking and expressing her regret over Lord
Darlington's libel suit in the court. Stevens informs her about Lord
Darlington's last days, when no one came to see him and how he
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spent his days in the library speaking to himself as if arguing and
how Mr. Cardinal his Godson was killed in the war. Stevens also
informs her about his new employer the American Mr. Lewis. Mrs.
Benn mentions how she had wanted to go back to work. Stevens
looks hopeful but Mrs. Benn tells him how things have changed, with
her daughter expecting and she would want to stay near her
daughter and her grandchild. Stevens has the expression of a
rejected lover just like Miss Kenton had in the earlier scene.
The meeting between Stevens and Mrs. Benn is entirely a recollection
by Stevens in the source text and does not take place in the present
time frame. In fact in the episodic division in the source text there is
no episode titled -Day Five' which is when Stevens meets Mrs. Benn.
It is recollected on 'Day Six' of the source text and Stevens mentions
how it has been two days since he met Mrs. Benn. In visualising the
scene in the present time, we once again see scenes unfolding
through an omnipresent narrator's eyes rather than through
Stevens'. Moreover, the viewer who has' been waiting to meet Miss
Kenton so many years later (20 years according to the film) would
have been disheartened to see the meeting in flashback. Moreover
this sequential visualising of the narrative delays the end and also
holds the viewer's attention for a longer time. In the source text the
meeting takes place in a gloomy tearoom, next to a bay window in a
'gray' pool of light, with it raining outside. Miss Kenton comes to meet
Stevens earlier than her appointed time in the novel waiting alone in
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a tea lounge. In the mm, the scene is bright and gay and Stevens sits
waiting for Mrs.Benn. Mrs. Benn looks a self-assured woman of the
world. Change of music shows time elapsing and mirrors Stevens'
feeling.
Scene 56: Stevens at the Pier with Kenton
The scene shifts to the walk beside the pier on the sea. The music is
carnivalesque. Both Mrs. Benn and Stevens are shown walking.
Again a scene which is totally absent in the source text. Their
me~ting has been lengthened to catch up perhaps with the
intervening years. In the source text their meeting is as brief and as
unsatisfying as their interaction at Darlington Hall. The film perhaps
fills in and sketches a finale in detail to visualise the end of a
relationship and thus once again shifting the focus from Stevens' life
to Stevens: relationship with Mrs. Benn. While the source text
studiously avoids any interaction with Mrs. Benn, the mm constantly
hinges upon it, foregrounding the relationship over everything else.
The source text unfolds Stevens' entire life where his relationship
with Mrs. Benn is only a part of it. Mrs. Benn tells Stevens how at
times she feels she made a mistake in her life. In the source text her
confessions are more candid, she says that even now at times she
walks out on her husband whenever she imagines a life with Stevens.
She however knows that the clock cannot be turned back. In the
source text Stevens asks her if she was unhappy but in the f11m it
seems Stevens has all the answers. They sit down on a seat on the
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pIer; shots of seagulls flying around and their cnes on the
soundtrack rent the air. It is evening and Mrs. Benn says how some
people say that evening is best part of the day and mentions the
custom of how everyone claps when lights are put on in the pier in
the evening. Once again, Mrs. Benn speaks in the film what was not
there in the source text. It is interesting to note how the meaning
shifts. A stranger says this to Stevens in the source text after Stevens
almost breaks down in agony and confesses his failures to a complete
stranger:
His Lordship was a courageous man, He chose a certain path in life, it proved to be a misguided one, but there, he chose it, he can say that at least. As far myself, I cannot even claim that. You see I trusted. I trusted in his Lordship's wisdom. All these years I served him, I trusted I was doing some thing worthwhile. I can't even say I made my own mistakes. Really- one has to ask one self- what dignity is there in that? (p.243).
So we see that Stevens' tragedy in the source text emerges from his ,
realisation of the fact that he did not choo~e, either to have his own
opinions or love. But the film seems to be almost an unrequited love
story where first Miss Kenton gets rejected by Stevens and when
Stevens wishes to make amends it is too late. Mrs. Benn than says to
Stevens that, "some say evening is the best time of the day" It seems
that. she has accepted what life has to offer her in future and is
consoling Stevens.
Elsewhere in the same scene Stevens despondently mentions that his
future holds work, work and more work and his absent-minded look
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as he looks around the pier conveys the sadness that surrounds him.
The reticent, reserved and laconic Stevens refuses to let his emotions
take over and we are once again left wondering whether Stevens had
ever any depth of feeling or any capacity to feel. In the source text
however Stevens emerges from this gloom with the following self-
suggestion: -
Perhaps it is indeed time I began to look at this whole matter of bantering more enthusiastically. After all, when one thinks about it, it is not such a foolish thing to indulge in - particularly it is the case that in bantering lies the key to human warmth. (p.24S)
In the source text Stevens seems to have found the eternal
truth about life but in the film Stevens continues to be incarcerated
in the image that the director has imposed on him, that of an
emotionally frigid butler with a failed love interest in life.
Scene 57: Farewell at the Bus Stop
Stevens is shown holding an umbrella standing in the rain and
looking in the distance waiting for a bus. Mrs. Benn calls out to him
from behind standing in a bus shade. Stevens wishes her the best in
life and hopes that she will live with her husband happily. The bus
arrives and Mrs. Benn gets on the bus. They take leave of each other
by shaking hands, which they almost reluctantly let go and the
camera focuses on their disengaging hands dangling in mid air and
the bus takes off. We see Mrs. Benn's tearful figure framed against
the bus door with a curtain of rain separating her from Stevens.
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Stevens looks on as the bus moves away from the camera. He gets
into his car and sits behind his car wheel staring into the camera, his
expression inscrutable but the rain on the car windshield is
symbolic, Stevens is perhaps in tears. The shots of tearful Mrs. Benn
framed in a moving bus and Stevens sitting in his car staring into the
rain, heightens the sadness of the film, and acutely conveys the final
parting between Stevens and Mrs. Benn
Scene 58: Last Scene
The last scene of the film again cannot be located in the text. Mr.
Lewis is shown walking down the familiar blue ornate staircase and
Stevens walks out from the secret door in the staircase landing. The
camera shows how the portrait of a portly Victorian gentleman
bought by Mr. Lewis is being brought in and hung on the wall (used
as a linking device). Chandeliers are lowered and polished. Mr. Lewis
asks for Stevens' comment on his new suit and walks into the now
empty billiard room. Stevens informs him about the new
housekeeper a matron from boy's reformatory school. Mr. Lewis
comments that she would keep them from misbehaving, Mr. Lewis
tries to recall what he said during the 1938 conference and Stevens
immediately feigns ignorance (why would Stevens do that now? why
couldn't he say 'Sir, you had called Lord Darlington an amateur and
you were right?' Perhaps the director does not visualise Stevens as
someone who can accept his mistakes and face the truth in the eye).
Just then, a pigeon flies in and Lewis and Stevens try their best to
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shoo it away. The pigeon hits the ceiling window and comes crashing
down. Lewis picks it up and releases it outside the window. Stevens
closes the large French windows and looks out at the flying pigeon,
framed against the window, the shot dissolves into a frontal shot of
Darlington Hall and the camera zooms out slowly and cranes up to
reveal lush countryside and Darlington Hall nestled in its midst.
This scene is rich in visual symbolism. Stevens will remain within
Darlington Hall as a part of the lost legacy of Lord Darlington unable
to flyaway. May be because his existence is synonymous to that of
Darlington Hall and the outside holds nothing for him. The film ends
with an indelible image of a man unable to step out from a self-
imposed prison.It ends with the image of a butler whose entire life
is only full of revelations about the true meaning of dignity. The
meaning shifts in visual compositions and a sub- text emerges as a
result of cinematic compUlsions, or purely marketing compUlsions. ,
At the end of this detailed analysis of the film, a brief summation of
the reader-viewer response would be pertinent. This critical response
would also suggest a graphic model of various sub-texts that emerge
during the making and viewing of such a film adaptation based on a
novel
The Remains o/the Day: The Novel and the film; A reader-viewer response.
The Remains of the Day (1989) a Booker prize winning novel by Kazuo
Ishiguro, is a restrained account of an old butler Stevens, who is on a
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holiday in the west country in England. His memories of his service
in a grand English House-Darlington Hall, against the backdrop of
Second World War are a gripping narrative of an individual's failure
to achieve selfhood. It is the story of an old man who is nearing the
end of his career and is desperately seeking to justify in the summer
of 1956, and a life of self denying, emotionally stifling service to an
aristocratic fascist sympathiser.
The novel opens with Stevens in the employment of Mr. Farraday, the
American owner of Darlington Hall, who is at times worried about the
authenticity of his employee and his acquisition: -
I mean to say, Stevens, this is a genuine grand old English house, isn't it? That's what I paid for. And you're a genuine old-fashioned English butler, not just some waiter pretending to be one. You're the real thing, aren't you? That's what I wanted, isn't that what I have? (p.124).
Darlington Hall is almost a living entity in the novel, it presents
a microcosm of British aristocracy, culture, civility, a benign political
influence and encapsulates within its folir wall the authenticity of
Englishness. Both Stevens and Darlington Hall acquire a mythical
status in the novel invoking the bygone eras of British aristocracy.
In the beginning of the novel Stevens is seen running Darlington Hall
with a reduced staff of four as against twenty-eight in the past. He
keeps worrying about his staff plan, which he feels is the
'cornerstone of any decent butler's skills'. He attributes his
occasional lapses to a faulty staff plan, without seeing like his father
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before him that his errors are a sign of his age. Stevens is seen
planning a holiday to visit Miss Kenton, the exemplary, professional
housekeeper who left Darlington Hall in 1936 to get married. In a
nostalgic letter to Stevens, she mentions her separation from her
husband. Stevens proposes to motor down to Cornwall in order to
find out if Miss Kenton could be induced to join Darlington Hall once
agrun.
Stevens sets out in Mr. Farraday's vintage Ford and travels,
absorbed in his own memories from Salisbury to Taunton, from
Taunton to Tavistok and comes at last to Little Compton in
Cornwall. This journey undertaken by Stevens can be seen as a
journey from self-delusion to self-revelation. Before this journey
Stevens has never really spent time with himself. His journey to the
sea in Cornwall has a cinema like quality, where his entire life
passes before his eyes in a flashback and at the end of the day, he ,
experienc§s a cathartic revelation. The journey to the sea in a way
in a way forces him to encounter with his submerged self.
Stevens ruminates the past, the memorable days in the 1920's and
30's when Lord Darlington hosted, behind the scenes meetings
between powerful politicians in the hope of influencing the course of
European affairs. Stevens recalls how Lord Darlington, motivated
at first by his dislike of the way Germany was treated after the First
World War, and subsequently exploited by Von-Ribbentrop and the
Nazis, whose betrayal and villainy he failed to grasp, gets enmeshed
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In a fascist design. Motoring through England Stevens repeatedly
returns to the question, which has been the sole agenda of his life
and that being: "In what does the greatness of a butler consist?"
Stevens has always called it 'Dignity'. According to Stevens, 'dignity'
was something that his father had, with his self control, his 'dark
awesome features', 'severe presence and his preference for being
addressed as 'Father' even in direct speech.' Stevens attempts a
working definition of 'dignity'. First, it was clearly essential that one
should be employed in a 'distinguished' household. Secondly,
'dignity' has to do crucially with a butler's ability not to abandon
the professional being he inhabits: -
A butler must be seen to inhabit his role utterly and fully; he cannot be seen as casting it aside one moment simply in order to don it the next, as if it were nothing more than a pantomime costume". (p.169)
Stevens is so concerned with 'dignity' as a condition that one must
struggle to achieve that he does not realise that it becomes a
condition from which one cannot escape. It precludes close personal
relations: -
There is one situation and one situation only in which a butler, who cares about his dignity may feel free to unburden himself of his role; that is to say, when he is entirely alone. (p. 169)
Stevens' dignity forces blindness when others try to express
affection. He is not only unable to acknowledge Miss Kenton's love
but loses it in the pursuit of an ideal service. His self-repressed life
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dedicated to his master and his house turns out to be of no value.
Stevens manages to delude himself for years that his prestige and
dignity lay in the moral worth of his employer, in whose service one
can hope to make some "small contributions to the creation of a
better world". It takes him a meeting with Miss Kenton after twenty
years to make him realise that his life has been a failure and he
says: -
I trusted I was doing something worth while, ... "I can't even say if I made my own mistakes. Really one-has to ask-what dignity is there in that? (p. 243).
Stevens eventually breaks down at the Weymouth pier, wondering
in the sunset of his life what to do with the remains of his days.
Stevens presents a tragic figure of self-deception, self-denial and
self-repression. Kazuo Ishiguro presents a tragedy of an individual
who is a commoner suffering from a 'false consciousness'. Stevens
is truly Colonised because he never attempts to define himself
outside of his subordinate relation to Lord Darlington. Stevens
plays his carved out slotted role in a hierarchy, which not only
politically disempowers him but also dehumanises him. Stevens
cannot for instance understand Mr. Harry Smith's definition of
'dignity':
" ..... there's no dignity to be had in being a slave. That's what we fought for and that's what we won. We won the right to be free that no matter who you are, no matter if you're rich or poor, you're born free and you're born so you can express your opinion freely ..... That's what dignity is all about, if you'll excuse me, sir". (p.186)
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Stevens however unknowingly subscribes to Lord Darlington's view
that democracy is outmoded and the will of the people being the
wisest arbitrator is sheer nonsense. He plays a willing Colonised to
a Coloniser by giving up his own political opinion in the world
affairs. Stevens' character paints a picture of confusion, conflict and
contradiction. He tries to reclaim a past in his quest for identity and
meaning. Stevens' characters is reminiscent of other such post
colonial character like Deven in Anita Desai's In Custody who gets
trapped in the past unable to apply the lessons of history to the
modern world. Stevens also fails to learn his lesson.
The awakening to the meaning of his life allows Stevens to receive
some retribution for his suffering, although the traces of
Colonialism and Imperialism cannot be fully erased. Stevens will
now try to learn to banter with his new master or Coloniser and
learn his language to c;ommunicate once again surrendering his
own. Even as he acknowledges the waste of his life in service to a
discredited master, he prepares to devote the rest of his life to
another. In the film version however Stevens' new preoccupation to
learn the art of bantering to please his new master is entirely
absent. Stevens' repartees to his employer are rather impolite. He
corrects his master's assessment of the situation at Darlington Hall
and calls it a faulty staff plan. However there are very few
interactions in the film between Stevens and his new employer to
suggest Stevens' new identity.
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At many levels, the novel is about the repression and reclamation of
history, both global and individual. For Stevens, the evaluations of
his own personal history is inseparable from the evaluation of his
master's role in the important events of global history. The forces
and events of history are powerfully present in the novel and
enmeshed within an individual's experience. In all three of
Ishiguro's novel, A Pale View of Hills (1982), An Artist of the floating
world (1986.) and The Remains of the day (1989) there is a
devastating piece of history which remains unspoken and yet .'""'~
shapes the characters in the novel. The novel, The Remains of the
day begins in July 1956 and recounts events of 1930's. One of the
landmark events that led to the dissolution of the British Empire
after the Second World War took place in 1956 and is known as the
Suez Crisis. The Egyptian President, Gamal Abdel Nasser riding the
wave of nationalism took over the control of Suez Canal. England
and France lost their influence in the Middle East and the sun
finally set in the British Empire. The Suez Canal crisis marks major
shifts in the power relations of western Europe, signaling the rising
importance of cold war politics in international crises, and the
continuing decrease of Britain's influence as a Colonial and
Imperial power. Stevens's journey towards self realisation somehow
coincides with this historical event, just as his self-delusion and self
deception coincides with the rise of Nazism in Germany.
These historical events make their presence felt unobtrusively In
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the book. However, in the film, except for the post First World War
phase, the postcolonial convulsions are not apparent. The film
version does not mention that the story unfolds in July 1956 as in
the novel. In fact, the great conference of 1923 in the novel is
mentioned as the conference of 1936, hence there's no sanctity of
dates preserved except for highlighting the fact that Stevens'
memories lead up to the Second World War. In the film, Stevens'
failed love story gains precedence over history. A foregrounding of
Miss Kenton and Stevens' relationship in the film places the novel
in a more commercially viable genre.
In the novel Stevens uses many anecdotes to relate the importance
of dignity and restrain in his profession. He posits that his
profession itself is in some way representative of England. He says
that the "greatness of a great butler is tied to the emotional
restraint which only the English are capable of ". (p,43). Stevens
feels that the English landscape with 'lack of obvious drama and
spectacle', is beautiful-because of its 'calmness and restraint' and
i.e. the dignity which Stevens aspires for. In the novel Stevens takes
pains to describe the scenic beauty of the countryside but once
again all that visual is missing in the film version. The direct
correlation of the English landscape with England's dignified
Imperial power is totally absent in the film. Stevens' reflection on
how the Boer War is related to sharp decline in professional
standards among butlers is both humorous and insightful. But
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such insights are however, absent in the film and we hardly see
Stevens' 'false consciousness' at work.
Kazuo Ishiguro uses geography to structure the novel into various
sections - titled as Darlington Hall, Salisbury, Mortimer's Pond,
Dorset, Taunton, Somerset, Moscombe, near Tavistok, Devon and
little Compton, Cornwall and each of this section highlights issues
of national identity, class division, morality, human sociability etc.
The film on the other hand overlooks the geographical details and
skips the entire route plan which Stevens meticulously sketches in
the novel.
Ishiguro employs an interesting narrative structure in the novel.
The speaking narrative voice in the novel is not only in the first
person but addresses an implied narratee whose absence requires
the speaker some moment of revelation or self discovery. To use the
terminology of Gerard Genette, Stevens is an intradiegetic narrator.
An intradiegetic narrator is a narrating speaker who is both outside
and inside the events being narrated. A tension is produced
between these 'two characters' i.e. one of the 'narrating Stevens' and
the 'narrated Stevens'. Kazuo Ishiguro uses these two Stevens
along with the narratee to conceal and reveal information about
Stevens. If the reader assumes the role of the narratee then he is
inevitably drawn into an intimate complicity with Stevens' own acts
of self-deception and self-denial. By the end of the novel when the
narrator himself collapses, the identity with which he began
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crumbles, the narratee and the reader immediately distance
themselves to view Stevens as what he really represents. Stevens
stands disrobed, behind the cultivated, dignified, fa<;;ade of a loyal
butler we view a Colonised individual comfortable in his servitude.
His moment of epiphany goes by wasted as he grabs his mask once
agaIn.
In the film version, we have two voices reminiscing through letters.
The film begins with Miss Kenton's letter and her voice-over and
hence it is through her eyes that we see Darlington Hall first. Then
we have Mr. Stevens' letter replying to Miss Kenton remembering
days spent with her. Hence, both the main characters assume the
role of the narratee alternately. Instead of an absent narratee of the
first person account of Stevens in the novel, a narratee like Miss
Kenton in the film does not provide any room for Mr. Stevens to
self-examine himself. In fact the momentous seen on the pier,
where Stevens breaks down and confesses his failure to a complete
stranger is entirely missing in the film. Instead, we see a sad
Stevens sitting next to Miss Kenton and merely expressing
dissatisfaction with his present state of affairs. There's no self -
revelation for Stevens in the film. Stevens' deferential manner and
self-depreciatory style in the novel makes the reader reluctant to
call his assessments into question. The film does not give such
scope to Stevens and he remains reticent, reserved and almost
rudely arrogant. His characterisation instead of evoking pathos and
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sympathy evokes a frustration among his viewers.
In the novel and in the film Stevens represses his emotions to such
an extent that he is unable to recognise his feelings towards Miss
Kenton. Whereas the character of Miss Kenton hardly acquires an
identity in the novel and in Stevens' constant rejection she is almost
reduced to a non-entity in the novel. In the film, the love angle is
foregrounded and Miss Kenton appears in almost all the scenes and
hence is pivotal. The final constitution of meaning that takes place
is a failed relationship of Mr. Stevens and Miss Kenton. The film
without straying too far from the novel tries in its own limited way
to evoke a sense of romance when Stevens finally meets Miss
Kenton. They are seen sitting at a table in a restaurant where
couples are seen dancing to a romantic tune. In the novel while the
narrative continuously progresses towards Stevens meeting with
Miss Kenton, when it finally reaches that point in narrative, the
narrative skips the episode and then looks back at the meeting. In
the novel, Miss Kenton is a part of Stevens' memory- his past and
she is denied a life in the present unlike characters like Mr. Harry
Smith and others. In the film the viewer sees and feels Miss
Kenton's presence. The film thus reiterates the acceptance of
woman in reclamation of past and history unlike the postcolonial
novels.
The Remains of the Day, was a challenging novel to film as it was
thought to be sparse and cerebral. Harold Pinter tried his hand at
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the screenplay and failed. Ismail Merchant and James Ivory took it
upon themselves to complete the project. Ruth Prawer Jhabvala
known for her screenplays, which are mostly adaptations from
novels, gave a new structure to the novel trying at the same time to
retain the flavour. The difficult areas like the narrative voice, the
structure of narration with its frequent flash backs, has been
handled deftly and innovatively.
Stevens comes through as a conscientious butler whose identity is
shaped by Darlington Hall and its owner. Anthony Hopkins bereft of
all his humorous observations about life, appears a cold, frigid
middle aged man who has acquired a stiffer upper lip than his
master. Miss Kenton played by Emma Thompson; a minor
character in the novel on the contrary appears full-bodied with her
hopes, joys and sorrows, which is the fulcrum of the film. Lord
Darlington played by James Fox fits the role of a metaphor for the
decline of Britain. The new A~~rican owner of Darlington Hall, Mr.
Lewis played by Christopher Reeves, operates as statement in the
film as he not only replaces the bantering Mr. Farraday of the novel
but is shown to be the same Congressman who had called Lord
Darlington an amateur in the 1923 conference. Mr. Lewis is thus
shown to be right in his assessment, as he is now the leader of the
New World order and the savior of British Heritage synonymous
with Darlington Hall.
While Mr. Farraday in the novel is shown constantly grappling with
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Stevens' inconsistencies and wonders if he is the real thing, Mr.
Lewis seems to be at ease with him and in fact teases him about
Miss Kenton. By making Mr. Lewis the new owner of Darlington
Hall in the film, I sense an intervention of the Hollywood film
industry. It would make the film more endearing if an American is
shown to be more foresighted and the saviour of British culture and
heritage. Inspite of such efforts the film failed to receive any Oscars
and merely remained a strong contender.
The nominations for Oscars however secured the market both for
Ishiguro and Merchant-Ivory. The film can be seen as a popular
rendering of the novel with all it's intricacies and nuances missing.
The added meanings in the film however make an interesting
statement about the market driven products of art. Merchant-Ivory
productions also need to be associated with certain kinds of film
even if they were adaptations of novels. The authors they have
chosen for their films Henry James (The Bostonians, The Americans)
E.M.Forster (A Passage to India, The Howard's End, A Room With A
View), Ruth Prawer Jhabvala (Heat and Dust) are all known for their
outsider's perspective on Britain and the British. By the same logic,
Kazuo Ishiguro's novel The Remains of the Day met the
requirements of Merchant -Ivory productions.
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