{"id":257,"date":"2016-08-17T14:19:47","date_gmt":"2016-08-17T14:19:47","guid":{"rendered":"http:\/\/joshuagooch.com\/?p=257"},"modified":"2016-08-18T15:50:58","modified_gmt":"2016-08-18T15:50:58","slug":"on-cuarons-great-expectations","status":"publish","type":"post","link":"https:\/\/joshuagooch.com\/?p=257","title":{"rendered":"On Cuar\u00f3n’s Great Expectations"},"content":{"rendered":"

\"great_expectations_10\"<\/a><\/p>\n

I applaud everyone who has forgotten Cuar\u00f3n\u2019s 1998 remake of Dickens\u2019s Great Expectations<\/a>. It\u2019s an offensively bad adaptation of the book, but for whatever reason, I am increasingly convinced that there\u2019s something to be said about cultural production in the twenty-first century and the way that the film adapts Dickens\u2019s text.<\/p>\n

The key, to me, is how the film adapts the character of Pip to a postmodern US setting. In the novel, Pip is essentially a character without a profession. His desire to rise in status means that he leaves his apprenticeship as a blacksmith to become a gentleman, but this new status comes without profession, and he does not seek one out. Instead, Pip lives off the wealth of his unknown benefactor, lost in fantasies and mired in debt. When his expectations disappear, his adopted blacksmith father pays off his debts and he takes on the most gentlemanly but least skilled work he can find, as a clerk under his friend Herbert. What\u2019s important here is Pip\u2019s incapacity. It is central to his character. (Indeed, that he simply enjoys his new wealth without reflecting on the future has led biographers to connect the story with Dickens dissatisfaction with his adult children.)<\/p>\n

The film renames Pip as Finn, and gives him artistic pretensions. His sudden rise to fame is classed, but heavily mediated through art and the art world. Thus his class ascension includes a fancy NYC art show. The film smartly situates him as an outsider artist. Handled differently, this could use the art world to represent the much more diffuse and difficult to represent realities of class in the US. One can imagine the acceptance of Finn\u2019s work by the art world\u2014all of which is purchased by his criminal benefactor\u2014as variant on the rigid yet permeable Victorian class system, willing to recognize a new member only insofar as that member accepts a particular set of values and holds a certain amount of wealth. That\u2019s not the case in the film, though. The outsider artist story becomes a means of adapting Pip\u2019s shame of Joe, so that he at once narrates Joe out of his outsider story and is then embarrassed by his gauche appearance at the gallery opening. The fault lies with the outsider artist, not with the broader social, political, and economic milieu.<\/p>\n

Yet this reframing of the gentlemanly-as-artist is suggestive, and I guess that\u2019s why Cuar\u00f3n\u2019s adaptation sticks in my craw. Rather than taking this suggestive new situation and using it to explore the key thematic issue of the novel\u2014how understands one\u2019s position in the broader social world\u2014the film chooses instead to insist that Finn\u2019s new position in the world is the right position for him. Why? Because is a talented artist. This change in characterization is the film\u2019s critical mistake. If one follows the thematic logic of Dickens\u2019s novel, Finn should either be a terrible artist or one who wastes his talent by refusing to put in the effort of honing his craft. Were Finn even a merely passable but unimpressive artist, this thematic logic would hold. What matters is that the character needs to be in a fragile enough position that the final revelation of his criminal benefactor precipitates an all-encompassing destruction of his tissue of fantasies. After all, Pip does not get to be a fashionable gentleman at the end of the novel. He manages to land a job as a clerk and then, in the novel\u2019s epilogue, to become a partner in his firm. He has come down in the world and is content to be respectable. In Cuar\u00f3n\u2019s film, however, Finn does not come down. Instead, he achieves further artistic success after he discovers his benefactor. Crime launches his career without scruple, and the only expectation lost is his expectation of Estella.<\/p>\n

These shifts raise a number of intriguing critical possibilities. Is this a commentary on cultural production? Is it meant to imply that cultural production now relies on unscrupulous funding to secure positions for the economically tenuous cultural producers? And vis-\u00e0-vis Estalla, one might argue that making Finn an artist is a way to explore Estella via cinema\u2019s scopophilia, and thus make his expectations of Estella part of her objectification by the camera. The scenes of her being sketched nude certainly offers the possibility of such an idea.<\/p>\n

The reason I hesitate to explore these possibilities is the film\u2019s insistence that Finn is a talented artist. That is the basis of the narrative conclusion, not the criminality of cultural production or an exploration of Estella\u2019s experiences or thought beyond such objectification. The renaming of Pip as Finn underlines this problem. What\u2019s the difference between a pip and a fin? Pips come in groups and you spit them out after eating the fruit. One might become a seed, but maybe not. A fin, though? The answer is embedded in the film\u2019s production design. By relocating the initial scenes to the Florida coast and making our convict pop out of the water at Finn, the film telegraphs its meaning. A fin is a sign above the waterline of something substantial below. Making Finn an artist is thus an indicator of something more substantial underneath the apparently inconsequential signifier. It is this that makes Cuar\u00f3n\u2019s artist Finn different from Dickens\u2019s no-occupation Pip.<\/p>\n

This change in characterization effectively guts the meaning of the novel\u2019s title. Pip\u2019s great expectations are class and sex based delusions that the revelation of his benefactor shatters. The only thing below the surface with Pip is the possibility of being a better human being than the class-focused horror show that he is for most of the novel. By contrast, Finn\u2019s talents mean that he has great expectations in and of himself that no revelation can shatter. He has no better humanity to find, no revelation of connections with others, only a sense of his own specialness. In effect, the film endorses the very adolescent fantasies that the novel skewers.<\/p>\n

It\u2019s this fundamental selfishness that makes the film stick with me. This deformation of the novel\u2019s thematics is consistent with the valorization of cultural production in the 1990s: Art becomes a form of work that can move Finn out of the working class in one of the many fantasies of the petit bourgeois in the late twentieth and early twenty-first century. More than that, though, the film turns the great tale of adolescent selfishness and class priggishness into its artistic defense. I guess that\u2019s why it still gets me angry.<\/p>\n","protected":false},"excerpt":{"rendered":"

I applaud everyone who has forgotten Cuar\u00f3n\u2019s 1998 remake of Dickens\u2019s Great Expectations. It\u2019s an offensively bad adaptation of the book, but for whatever reason, I am increasingly convinced that there\u2019s something to be said…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[4,18],"tags":[],"class_list":["post-257","post","type-post","status-publish","format-standard","hentry","category-academic","category-film"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t