《红字》小说结局与电影结局的对比

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论95版电影《红字》与原著的区别-文档资料

论95版电影《红字》与原著的区别-文档资料论95版电影《红字》与原著的区别95 版电影《红字》是根据美国19世纪浪漫主义作家霍桑名著改编的电影，这部电影在对原著的处理上进行了大胆的创新，打破了原著的束缚，糅合了很多原著里没有的元素，引起了人们褒贬不一的评论。

本文主要分析其与原著处理方式不同的得与失。

一、叙事视角的改变原著采用的是全知全能的视角，作家走入人物的内心，将人物在人性与神性的较量中，内心的挣扎刻画得细致入微、入木三分，使作品成为美国文学史上第一部真正意义上的心理小说，为作家赢得了在文学史上不可动摇的地位。

而在电影中，导演放弃了这种全知全能的视角，由已经成年的珠儿作为叙述者，从女儿的角度，以回忆的方式来展现作品。

在电影的开头和结尾，我们可以听到珠儿的画外音，以一个后人的身份，阐述了她对父母之间故事的理解与评判。

珠儿成为导演的传声筒，间接地表达了现代导演对整个事件的见解，引导观众从现代人的角度去解读整个影片。

而在原著中，作者对整个故事情节的看法是隐晦的，作者没有做出道德的判断而是引导读者做出自己的判断，整个小说中蕴含很多模糊性，使得仁者见仁，智者见智。

二、场面描写的填补电影在描述细致入微的心理活动上处于劣势，而处理场面上占尽优势。

为了彰显电影的优势，导演增添了许多原著中没有的情节，增强观众的视觉效果。

比如，在电影的开头，观众先看到的是土著印第安居民的一些祭祀的仪式，让观众一下子接触到了印第安文明，远离现代文明，给人以视觉冲击。

而后与这个画面相对应的，一群移民坐船来到了美国，从他们的服饰和言谈中，我们知道他们来这里追求宗教信仰的自由，以全景形式展现美国早期殖民地生活，增加了整个影片的历史感和真实感，而这在原著中是缺失的。

作为一部爱情电影，电影中还增加了性爱场面。

在海斯特经历了偷窥丁梅斯代尔在小溪边的裸浴，在其寓所互吐爱意，在浴缸里欣赏自己的裸体，享受性幻想，到最后，与丁梅斯代尔共浴爱河，展现了整个恋爱的过程与激情之美，使电影充满浪漫色彩，增加影片的卖点。

从小说到电影：《红字》中主要人物命运的全新改写

57MOVIE REVIEW 电影评介2015年第20期19世纪美国浪漫主义作家霍桑的长篇小说《红字》创作于1851年。

小说以两百多年前的殖民地时代的美洲为题材，讲述一个发生在北美殖民地新英格兰的一个恋爱悲剧，但揭露的却是19世纪资本主义发展时代美利坚合众国社会典法的残酷、宗教的欺骗和道德的虚伪。

这本书在当时成为一部畅销书，作家霍桑在不违背自己良心的前提下，也使这本书取得了一定的商业效益，招徕了众多读者。

主人公海斯特被写成了崇高道德的化身,她不但感化了表里不一的丁梅斯代尔，同时也在感化着充满罪恶的社会。

1955年由导演罗兰德·乔菲根据小说执导的《红字》，改编自这部小说，电影毕竟是一种演示性叙述为主的艺术形式，增加看点、卖点以吸引观众的目的是主要的，导演结合了特定历史因素，以白人和印第安人矛盾冲突的真实历史为整个故事情节提供叙事背景，使整部电影像一部宏大的史诗巨献，吸引了观众，增加了看点。

导演在原著的基础上对主要人物的性格及命运进行了重新改写，取得了极大的成功。

一、海斯特海斯特在原著中是一个惨遭教会统治迫害的妇女形象，这个善良美丽的姑娘却不幸嫁给了伪善、心理阴暗的罗杰·奇林沃思，毁掉了自己的幸福。

故事的开始，她移居到马萨诸塞州的波斯顿，丈夫被俘失踪，她独自一人生活，期间她遇到了牧师狄梅斯迪尔，开始了一段浪漫的爱情，两人真心相爱并生下一女，她在与当时的黑暗教会斗争时，表现得一直很勇敢，事发后，她被逼戴上那个代表通奸意思的红字“A”并像犯人一样游行，她强忍内心的痛苦，当被逼说出那个通奸者的名字时，海斯特坚决不肯，终日里受着那些上层阶级妇女的轻蔑和侮辱，她不回击任何打击，极富忍耐力，因为她乐于助人和善良的天性，很多人开始不按原来的意思去理解那个红字，不把它看作罪恶的象征，他们说那是“能干”的意思，海斯特用自己的善良改变了舆论对她的看法。

相较于自己的情人，在经历了这么多年的磨炼，她早已变得坚强。

小说《红字》与其1995年同名改编电影的比较

小说《红字》与其1995年同名改编电影的比较［作者简介］付涵，男，河南商丘人，上海理工大学硕士研究生，研究方向：英国文学；王斌，男，上海理工大学教授，博士，研究方向：英美文学、认知语言学。

A Comparison between the Novel the Scarlet Letter and Its 1995 V ersion Movie AdaptionFu HanWang Bin（University of Shanghai for Science and Technology，Shanghai，200093）［Abstract］The Scarlet Letter is a novel by the American romantic writer Nathaniel Hawthorne. As a love tragedy，this story took place in the puritan society of colonial North America. However，more than a century and a half after its publication，new thoughts，movements，and values have sprung up influencing and changing the spirit of the American society and the American people. As a tool of mass communication，movies could be regarded as the manifestation of the spirit and value orientation of a society. based on the original text of the Scarlet Letter and its movie adaption by the director Roland Joffe in 1995，this paper analyzes the differences of the novel and the movie adaption in the respect of puritanism and the endings in both works with the hope to have the conclusion that how the modern American society views this story.［Key words］Nathaniel Hawthorne，the Scarlet Letter，movie adaption［中图分类号］I106.4［文献标识码］A［文章编号］1672\|8610(2015)10\|0072\|02I. IntroductionNathaniel Hawthorne is one of the most important romantic writers in the late 19th century. His masterwork the Scarlet Letter created much of a stir since its publication. And it still remains to be an eternal classic until the present. With its profound theme，symbolic and metaphorical means of artistic expression，this novel has always been the study subject of the academic field. This novel takes the life of New England of the colonial era as its background，and tells the story from a crime of adultery，meticulously depicting the mental world of the three figures relating to the crime.The movie the Scarlet Letter was adapted from Hawthorne’s novel of the same name and was directed by Roland Joffe. Although this novel was adapted into many movie versions，this version remained to be the most controversial one due to its many changes and additions of the original story. This paper will select the major changes，and compare and analyze them. Ⅱ. Literature ReviewSince its publication in 1850，the novel the Scarlet Letter has never ceased to be popular among the readers and has always remained to be an important work to be studied by the scholars，literary reviewers and critics. The study subjects are concentrated on the psychological descriptions of the main characters，biblical archetypes，puritanism，feminism and symbolism，etc.However，foreign academic studies of the Scarlet Letter are more extensive and have a much longer history than the domestic ones. For example，we can see from the concise and conclusive comments by Rita K. Gollin (1994)：“before twentieth-century，early reviewers read the novel as a moral book，as an allegory；in the early stage of twentieth-century，the Puritanism appeared in the novel is very important；in the middle of twentieth-century new critics focused on the symbolism and the organic unity of the novel；more recently，poststructuralists，feminists and new literary historians have studied Hawthorne.”Domestic studies on the Scarlet Letter are comparatively late. Ren Xiaojin and Wei Ling (2000) published their paper named the Ambiguity，Polysemy and Contradictoriness of Symbolism and Prototypes in the Scarlet Letter，pointing out that the ambiguity，polysemy and contradictoriness in the Scarlet Letter have reflected a philosopher’s multiple thoughts on the meaning of life and the society. Other scholars focused their studies on symbolism，redemption of human nature and narrative techniques. The Chinese academic circle is catching up with its western counterparts in studying Hawthorne and his novel the Scarlet Letter.This paper takes a comparatively new approach，intending to study this novel in a different angle by comparing the original novel to its movie adaption and aiming to analyze that，more than 150 years later，how the modern American people interpret the novel and how their point of views change toward the story in this novel.Ⅲ. Comparisons of Puritanism between the Novelthe Scarlet Letter and Its Movie AdaptionSince the World War Two，especially the 1960s，America’s social values have been through many changes，and at the same time，the V alues of the American Family have undergone new changes. And how the changes are like remains to be a subject of study.The movie adaption has some differences from the original novel in manifesting Puritanism. For example，Hawthorne could not totally free himself from attacking Puritanism；he implicitly criticized what he deemed to be wrong. He is contradictorytowards the love between Hester and Arthur. At one hand，he implicitly expressed his sympathy and praise to their love and let two people love each other；and one the other hand he made them subjected to torture，made them wear a scarlet letter，and made one of them die.However，the director of the movie has increased the scenes of their meetings in the film.These increased scenes make Hester establish a strong，brave woman image in the hearts of the audience and make the audience feel that her love with Arthur Dimmesdale is true. The audience can see that her heart is gradually becoming stronger，she is brave enough to face the psychological violence，the persecutions of the Puritan Tribunal and，through her own efforts and self-redemption，she makes the scarlet letter A no longer a sinful symbol，but a symbol of an angel and the reflection of personal ideas in Transcendentalism.The director of the movie has explicitly demonstrated Hawthorne’s implicit sympathy and praise towards the two people’s love in the screen. For example，in the novel，Hester is confused，and she refused to give in the name of her lover in order to protect him and vowed not to reveal her husband’s identity to others due to her guilt and fear. However，in the movie，Hester has a firm mind，never considered herself to be guilty，and fully stand by her lover’s side. The different manifestations of Hester between the original novel and the movie adaption show that Hawthorne is contradictory in love and puritan doctrines. He believes that the love between Hester and Arthur is great and a gift from god，but also regards adultery as a sin. The movie director obviously put “love”，the need of humanity to be in the first place. And he is defending the behaviors of the two people.Ⅳ. Comparison of the EndingsHawthorne’s novel is from the religious Atonement logic，ending in tragedy：with heavy guilt and the stings of conscience，the minister Dimmesdale finally overcomes his will of fleeing. When passing through the scaffold，he broke Chillingworth’s fetters，with Hester Prynne’s arm，he boarded the gallows，and he took Pearl，speaking out the secrets buried in his heart forseven years in front of the crowd. He is little Pearl’s father，and exposed the scarlet letter. And，finally，in the crowd’s horrific sound，this long-suffered soul died. However，the movie is in a completely different way in presenting its ending — Dimmesdale saved Hester and Pearl. In the ruins of the war，the three reunited after the calamity，and they rode towards the west to start up a new life，which is undoubtedly a happy ending. In Puritan culture，such a love legend cannot be tolerated，but in the logic of the American movie industry，it is very correct and necessary. Ordinary audience is looking forward to see a happy ending，so the director has met their needs，which also reflects how the modern American people would like to see this story and what the differences between their point of views towards love，marriage and family from those of their ancestors.Although the last scene of the movie is the old routine Hollywood scene，it can reflect the need of the modern audience and what the contemporary incline to see this story：Hester and Pearl would leave，and Arthur only hesitated for a moment，then jumped into the carriage，exclaiming：“Hester，I’m not letting you go without me!”Pearl sat on the back seat of the carriage，and then Hester and Arthur kissed in the running carriage watched by the crowd with astonishment，and at the same time，the voiceover of the adult Pearl began：“in the far away Carolinas，my parents were last to find the measure of the happiness that have been denied for them for so long. My father died before I reached my teens；some say that was a punishment. My mother never remarried nor loved another；some say that was a punishment.”The ending of this movie is not only the commercial consideration of the movie producers；it is more because of the tremendous changes of the contemporary Americans’thoughts，conceptions and values after a century and a half.Ⅴ. ConclusionMovie adaptions of classic works have been an important genre in the movie industry. On the other hand，their visualized and popularized interpretation provides us with a different angle to analyze the literary works. In this paper，the author has compared the original novel the Scarlet Letter and its movie adaption in 1994 in regards of puritanism，symbolism and the ending，with the conclusion that though contemporary Americans accept some of the traditional American values such as freedom，equality and braveness，they also have pursued the emancipation of personality and basic needs of human nature，which lay the foundation of their conceptions of love，marriage and family.【References 】［1］Gollin，R. 1994. The Heath Anthology of American Literature［M］.New Y ork：Bantam Dell.\[2\] 任晓晋. 魏玲.《红字》中象征与原型的模糊性、多义性和矛盾性［J］.外国文学研究，2000(1).\[3\] 罗兰德·乔菲.红色禁恋［EB/OL］.好莱坞电影制片公司，1995.付涵王斌（上海理工学院，上海200093）［摘要］小说《红字》是美国浪漫主义作家纳撒尼尔·霍桑的作品。

对《红字》原著和电影版结局的对比和反思——短暂的快乐和灵魂的救赎

为。
主义的角度诠释了复杂的社会现实：邪
恶势力终将自取灭亡，而正义和善行则
是美好生活的秘诀。比起电影中皆大欢喜的结局，我
认为原著中的故事结局更接近于一种灵魂的救赎。
辱，直面了他本人在某个深夜里的隐秘画面，这本身也是在向原作者致敬的行同时，改编并不是仅仅是从小说
生活。
但是，鉴于电影制作需要兼顾艺
术和商业的特殊性，对原著的改动和重
刑架一幕，这点是非常值得称道的。海斯特和丁梅斯代尔的迥异境地在这一幕中昭然若揭。在绞刑架面前，海斯特面临的公众责难和丁梅斯代尔灵魂的煎熬形成了讽刺性的对比。丁梅斯代尔选择与海斯特母女一同站上绞刑架，终于回应了海斯特七年前所受的公开羞忏悔。审判目的绞刑架可以视作赎罪的
的代表作。本文针对《红字》原著和电影版结局进行了对比和反思。关键词：《红字》；原著；电影版结局；对比；反思影片导演呈献给观众的是一个好的 “ Ａ ” 字也被理解成 “ Ａｂｌｅ ” ，成为削弱了小说主题的深刻内涵，没有成
霍桑本人对于其家族历史一直有象征，以及使灵魂接近上帝的一个平台。矛盾的情结。他的祖先约翰・霍桑曾作经过激烈和痛苦的思想斗争，丁梅斯代
电影的形式转换那么简单，而是涉及电为清教徒审判官参与了臭名昭著的 “ 女尔最终站上了这个平台，承认了自己的影制作人员和原作者之间的深层次交巫审判 ”事件，他因此而怀有负罪感。罪孽。而最后，所有的罪孽和负疚都在流，难免要掺杂编剧和导演自身对原著

英美文学鉴赏-红字影评

《红字》，是美国小说家霍桑最著名的作品之一。

这里要和小说进行比较的，是1995年黛米摩尔主演的电影版本。

同样是《红字》，故事框架似乎差不多，比起小说，《红字》的电影表现的是现代得多的东西。

不仅如此，为了影片的票房考虑，电影中还增加了许多商业元素。

小说原著的文笔流畅，但是由于作者的时代局限性，也就是其个人对于未来发展的迷茫，所以看起来十分压抑。

电影就要酣畅许多。

明显的一点就是，影片中的牧师，比我想象中要狂野许多。

从表现出来的思想上看，原著主要讨论的是人的罪，即人皆有罪。

而通过赎罪和将罪行袒露出来，可以使灵魂得到升华。

这和作者本身是清教徒身份以及对家族以前犯下的罪过产生的宿命感分不开的。

而且，作者虽然觉得当时对人思想的禁锢是不对的，但是，他对变革也抱有怀疑态度。

但是电影就不一样了。

时代向前推进了不是一点半点，现在思想解放已被公认，所以在影片中，海斯特的言行就更加坚定。

霍桑只是向未来窥探，而导演却是回望，自然占了很大便宜。

因此，再在电影中单纯的表现人皆有罪的思想便会显得不合时宜甚至怪异晦涩了。

是以海斯特的丈夫的戏份被明显减少了。

那么用什么来填补思想的空白呢？电影中表现海斯特和牧师间的爱情的戏份增加了，印第安人的戏份也明显增加了。

特别是后者，甚至带来了影片结尾的大规模战斗场面，也许导演想为沉闷的全局制造一个高潮吧。

恐怕用心白费了，因为后来强安上去的大团圆结尾实在突兀。

小说中海斯特是迷茫的，她为了爱人而拒绝说出情夫的名字，又因为愧疚和恐惧发誓不向他人透露自己丈夫的身份。

电影中海斯特是坚定的，从不认为自己有罪，也完全站在爱人的一边。

在影片中她去警告了牧师约瑟，而影片刚开始海斯特乘马车去找房子的时候，镇上的人都在看她，说明到镇上的人不多，每个新人都很受关注，约瑟不可能不知道海斯特的丈夫的身份。

事实上，从后面的情节中可以知道，他知道的。

海斯特的不同表现表明，霍桑对爱情和教义本身就存在迷茫，他既肯定两人之间的爱是伟大的，是上天的赐予，又认定通奸是罪。

结局的解读：《红字》中的道德与罪恶

结局的解读：《红字》中的道德与罪恶
简介
《红字》是美国作家纳撒尼尔·霍桑于1850年出版的一部小说。

这部小说通过描述一个女性因婚外情而怀孕，被判定犯有通奸罪的故事，探讨了人性、道德和罪恶的复杂关系。

本文将对小说的结局进行解读，并分析其中所涉及到的道德观念和罪恶之间的关联。

结局分析
1. 强烈的道德意味
小说通过描述女主角希斯特玛丽在公开草地上展示她所佩戴的红色"A"字，暴露了她与牧师唐·道卞发生不正当关系并怀孕这一事实。

这个结局强调了社会对于婚外情和通奸行为存有极大厌恶感与道德谴责。

2. 矛盾的罪恶表达
结局中，希斯特玛丽不仅向公众展示自己被贴着红字标记为罪人，还坚守着秘密拒绝透露爱女的父亲是谁。

这一矛盾使得罪恶既被公开承认，又带有深藏不露的成分，进一步加深人们对罪恶本质的思考。

3. 罪恶与道德观念的冲突
小说中，唐·道卞作为一个行事正直、以道德规范为准则的牧师，在与希斯特玛丽发生婚外情后，面临到了巨大的道德困境。

他辜负了自己诺言并坦诚面对错误，但仍然无法摆脱内在的罪恶感和思想上的挣扎。

结论
通过《红字》这个故事的结局解读，我们可以看到作家试图表达出道德与罪恶之间复杂而矛盾的关系。

小说揭示了社会对于婚外情和通奸行为持负面态度，并强调了罪人必须承担后果的道德观念。

然而，同样也指出了个体内心深处可能存在着无法根除的罪恶感与复杂情感。

最终，《红字》中结局呈现出一种深思熟虑和辩证的态度，引发了人们对道德观念和罪恶本质的思考与探索。

从文本到荧幕———论小说《红字》的电影改编

摘要:本文从叙事方式、情节安排、人物塑造、意象使用四个方面比较分析了罗兰德·乔菲执导、黛米·摩尔主演的同名电影《红字》和原著《红字》的不同之处，同时探讨了电影中展现的爱情观、文化历史背景等信息，肯定了电影改编这种艺术创作形式对文学著作的推动作用。

关键词:《红字》电影改编解读0引言小说《红字》是19世纪美国浪漫主义时期作家纳撒尼尔·霍桑（Nathaniel Hawthorne，1804-1864）的代表作。

该部作品以深邃的主题、细腻的心理刻画、丰富的象征和隐喻著称，自诞生之后的160多年里，不仅影响过海明威、福克纳等作家，也以改编而成的戏剧、歌剧、电影等其他文学形式给广大受众带去视听冲击和思考。

国内众多研究者以该作品中典型的清教文化和文学魅力为媒介解读美国文学和文化。

根据中国期刊全文库、全国报刊索引检索，在研究霍桑的400多篇文章中，有关《红字》的文章高达300篇[1]，主要立足以下几点：首先，对作品主题的探讨涵盖了宗教伦理、人性、女性主题等。

其次，对作品风格的鉴赏，尤其是对作品的象征手法和各类意象的解读。

值得强调的是，随着时代的发展，研究视角也呈现多元化特色，既有传统的心理分析、社会文化批评、原型批评，也有女性主义视角的阐释和不同媒介的文学形式的比较研究。

对《红字》的研究层出不穷，正说明了《红字》经久不衰的文学魅力。

“无论采用何种批评手法对《红字》进行解读都可能产生有意义的释义———《红字》的多解性更增添了这部名著的神秘与魅力。

[2]”《红字》所受的追捧不仅体现在对其作品本身的研究，也体现在多次被改编成电影搬上荧幕。

1995年美国西纳吉影片公司出品，罗兰德·乔菲执导，黛米·摩尔主演的同名电影是一次大胆的艺术再创作。

然而，任何文学名著的影视改编都或多或少受到改编者所处时代的影响，充满改编者的取舍。

正是因为很多影视评论者带着原著的条条框框去苛责改编的电影，使得该部电影受到颇多非议。

论95版电影《红字》与原著的区别

、
的身份．阐述了她对父母之间故事的理解与评判珠儿成为导演的传声筒．间接地表达了现代导演对整个事件的见解．引导观众从现代人的角度去解读整个影片。而在原著中．作者对整个故事情节的看法是隐晦的．作者没有做出道德的判断而是引导读者做出自己的判断．整个小说中蕴含很多模糊性，使得仁者见仁，智者见智二、场面描写的填补电影在描述细致人微的心理活动上处于劣势．而处理场面上占尽优势为了彰显电影的优势．导演增添了许多原著中没有的情节，增强观众的视觉效果。比如．在电影的开头．观众先看到的是土著印第安居民的一些祭祀的仪式．让观众一下子接触到了印第安文明，远离现代文明，给人以视觉冲击。而后与这个画面相对应的．一群移民坐船来到了美国．从他们的服饰和言谈中．我们知道他们来这里追求宗教信仰的自由．以全景形式展现美国早期殖民地生活．增加了整个影片的历史感和真实感．而这在原著中是缺失的作为一部爱情电影．电影中还增加了性爱场面在海斯特经历了偷窥丁梅斯代尔在小溪边的裸浴．在其寓所互吐爱意．在浴缸里欣赏自己的裸体．享受性幻想，到最后．与丁梅斯代尔共浴爱河。展现了整个恋爱的过程与激情之美．使电影充满浪漫色彩。增加影片的卖点。电影的另一个卖点是印第安文化的加入导演将少数民族的元素增加到影片中，一方面，再现早期殖民地时期的白人与印第安人的冲突．突出两种文化的不同，土著文化点缀了整部电影，不但赋予视觉刺激

灵魂的与通俗的_电影_红色禁恋_与原著_红字_比较谈

艺术空间作家杂志Writer Magazine 2010No.8张芸引言改编自霍桑的著名小说《红字》的好莱坞爱情电影《红色禁恋》，通过欧洲移民刚刚踏上北美大陆，在欲求确定自己理想的社会秩序过程中发生的一个爱情故事，向我们展示了一幅全景式美国历史的画面：善良美丽而又性格坚强的海斯特（黛咪摩儿饰）在丈夫的安排下，先于丈夫来到新英格兰。

这样，只身的海斯特与牧师丁梅斯代尔（盖瑞欧德曼饰）发生了强烈的感情纠葛，后来还怀有身孕。

面对社会的压力，海斯特坦承奸情并且接受穿上带有鲜红的“A ”字衣服作为终生的惩罚，却不肯袒露情人的名字。

恰恰在这时海斯特的丈夫齐灵沃斯（劳勃杜瓦饰）在被印第安人俘虏后返回。

面对妻子的背叛，盛怒与羞愧使齐灵沃斯为复仇烈火所炙烤，他一步步实施自己的报复计划，这不但危及本已倍受歧视的海斯特的生活，还加速了对教友派的打击，更挑起与印地安人的冲突。

最后齐灵沃斯悬梁自尽，海斯特与丁梅斯代尔在经历了血与火的洗礼后带着他们的女儿驾着马车，为建立一个新世界而驶向远方。

一摄人心魄的大背景影片中由深邃的历史含义和丰富的文化因素烘托出大背景，是电影对原著重新解读时最震撼观众的大手笔，这对我们理解主人公那段感情无疑起到了积极的作用。

小说《红字》讲述了一个基于浓郁宗教色彩的激情与理智相冲突的情感故事，一个源自于自觉追求、自觉压抑，最后伴有自觉忏悔的令人感动的情感故事。

小说的引言部分，即《海关》的作用是举足轻重的。

作者用细腻而又饱含感情的文字，不仅仅告诉了读者这个故事的真实性，也不仅仅为故事的展开提供了了一个使读者迅速融入的大背景，更为故事中的人物打上了浓重到近于使人窒息的忏悔的烙印，同时也能让读者在解读故事时从内心深处审视并体会这种忏悔的魅力。

事实上，小说中的“我”，直面家族历史时由衷的忏悔意识和作品中的人物随故事情节的发展而自觉不自觉的忏悔和拒绝忏悔，紧密地交织在一起，这正是这部作品之所以伟大的一个最重要的原因。

关于红字文本版和电影版结局的对比：世俗的和灵魂的

英语语言文学12硕6121390003 凌慧雯My Reviews on Different Ends of the Scarlet Letter—— a temporal happiness VS a spiritual salvation The director gave a Hollywood ending in the movie. Chillingworth, the representation of the true evil, hanged himself after stirring up the conflict with the Indians. Dimmensdale, the young priest, encouraged by the impact of love, he confessed he was Hester’s partner in crime publicly, saved her from the scaffold, settled quarrels and drove a wagon to a happy life with his family.This typical Hollywood ending gave an ideal interpretation to the complicated reality: the evil devil inevitably goes to ruin; justice and mercy leads to better life.Compared with the worldly happy ending of the movie, I regard the ending of the novel as a salvation of the soul.Hawthorne himself had ambivalent feelings about the role of his ancestors in his life. His Puritan ancestors John Hathorne acted as a particularly cruel prosecutor during the witch hysteria. His Puritan ancestry makes him feel guilty. In his autobiographical sketch, Hawthorne described his ancestors as "dim and dusky", "bitter persecutors “whose "better deeds" would be diminished by their bad ones.In the reflection of the ancesto r’s glory and sin, in the contradiction between the education of the doctrine and the inhuman behavior in the doctrine, Hawthorne described a rebellious and tragic love story. And with this paradoxical mentality, Hawthorne showed tolerance to all the characters in the end based on their confession.The novel ends when Hester and Dimmensdale’s adultery becomes public knowledge. Dimmensdale is also freed, although he dies after the confession, he is finally freed from the guilt of unconfessed, hidden sin and the evil hold of Chillingworth over him. He died with peace through confession.Hester no longer bears the scarlet letter alone. She chooses to continue to live in Boston. Her advice is sought by the community and the letter A has changed into Able.Chillingworth dies soon after D’s death, no longer suffering from hatred for Dimmensdale. he leaves his property to Pearl.The ending of the movie reserves the final scaffold scene of the novel. The reservation deserves to be applauded. The scaffold is an important symbol of the difference between Hester’s and Dimmesdale’s situations. It helps to establish an ironic contrast between her public torments and his inner anguish. Dimmensdale’s standing with Hester and Pearl atop the scaffold echoes Hester’s public shaming seven years earlier and the priest’s secret confession of sin that dark night. It is a symbol of penitence and God’s platform on the Day of Judgment. It is a reflection of appearing before the Almighty God in one’s weakness. Dimmesdale has great difficulty in standing on the platform and confessing his sin. But in the end ,all sin and guilty get forgive on the scaffold.Hawthorne views that people are all sinners, the Puritan are no exception. Thedeeper Puritans conceal their sin, the further they are from God. Only do they admit and atone for their sin, they could be forgiven and been redeemed by God. For Hawthorne, the journey from innocence to maturity requires a confrontation with evil. The sin and evil can be seen as a way through which to achieve the self and know the real human nature, and the alienation, the loss of innocence and happiness can be interpreted not only as the punishment but also as the opportunity for achieving independent self, one which can morally transcend the society and culture. So considering their mental anguish and physical weakness, everyone gets forgiveness in the end of the novel, including Chillingworth.The reflection of sin and knowledge makes the novel a great work, but the movie debilitates the contradiction and makes evil and goodness two opposite characteristics. It has weakened the depth of the novel’s theme, and failed to convey Hawthorne’s view of evil which he discussed in almost every book: Evil exists in the human heart. Human heart is the source of evil. Everyone possesses some evil secret. Evil is man’s birthmark.But considering that filmmaking involves both art and commerce, proper rearrangement is unobjectionable. On the other hand, movie adapted from literature helps to disseminate the work, attracting more readers and researchers working on it. There is nothing to objected if the screenwriter and director take the advantaged of visual art , holding audience mind during the adaptation .Dramatizing the novel and making it into a motion picture is also a way to show their respects to the author.Meanwhile, adaptation is not simply a conversion of style from literature to film, but an exchange between the crewmembers and the author. Unavoidably, it embodies the personal understanding of the screenwriter and director. But undeniably, It provides a new perspective to interpret the novel. Though it has weakened the sense of the nature of evil and lessened Hawthorne’s tolerance for sin and guilty , in general terms, the movie has been a succe ss.。

对《红字》原著和电影版结局的对比和反思

对《红字》原著和电影版结局的对比和反思纳撒尼尔·霍桑生于1804年，是美国19世纪影响力最大的浪漫主义小说家和心理小说家。

长篇小说《红字》是他的代表作。

本文针对《红字》原著和电影版结局进行了对比和反思。

标签：《红字》;原著;电影版结局;对比;反思影片导演呈献给观众的是一个好莱坞式结局。

代表邪恶一方的齐灵渥斯，在激起与印第安人的冲突之后上吊自杀。

而年轻的牧师丁梅斯代尔在真爱的驱使下，当众承认了自己就是与海斯特通奸之人，将她从绞刑架救下。

事端平息后，一家三口坐上马车驶向了幸福生活。

这种典型的好莱坞式结局从理想主义的角度诠释了复杂的社会现实：邪恶势力终将自取灭亡，而正义和善行则是美好生活的秘诀。

比起电影中皆大欢喜的结局，我认为原著中的故事结局更接近于一种灵魂的救赎。

霍桑本人对于其家族历史一直有矛盾的情结。

他的祖先约翰·霍桑曾作为清教徒审判官参与了臭名昭著的“女巫审判”事件，他因此而怀有负罪感。

在霍桑的一篇自传文中，他将祖先描述为“残酷的迫害者”，并认为他们做过的所有好事都无法弥补所犯下的罪孽。

在对其祖先的荣耀与罪行、教会宣讲与非人道行为之间的矛盾的反思中，霍桑谱写了这部具有反叛精神的爱情悲歌。

也是在一种矛盾心态的作用下，霍桑对文中作出忏悔之人最终都笔下留情。

当海斯特和丁梅斯代尔的私情众人皆知的时候，整部小说也画上了句号。

丁梅斯代尔终于从齐灵渥斯邪恶的控制和多年来的内心煎熬中获得了永久的解脱。

在对所犯下的罪孽做出忏悔之后，他平静地辞世。

海斯特也不再是一个人苦守“红字”的秘密了。

她最终选择留在波士顿，并赢得了当地人的尊重。

红色的“A”字也被理解成“Able”，成为才干的象征。

将向丁梅斯代尔复仇视作人生唯一目的的齐灵渥斯，也在仇敌离世后不久郁郁而死。

他将大笔遗产都留给了海斯特的女儿珠儿。

电影结局中保留了原著结局的绞刑架一幕，这点是非常值得称道的。

海斯特和丁梅斯代尔的迥异境地在这一幕中昭然若揭。

对《红字》原著和电影版结局的对比和反思--短暂的快乐和灵魂的救赎

对《红字》原著和电影版结局的对比和反思--短暂的快乐和灵
魂的救赎
凌慧雯
【期刊名称】《求知导刊》
【年(卷),期】2014(0)11
【摘要】纳撒尼尔·霍桑生于1804年，是美国19世纪影响力最大的浪漫主义小说家和心理小说家。

长篇小说《红字》是他的代表作。

本文针对《红字》原著和电影版结局进行了对比和反思。

【总页数】1页(P160-160)
【作者】凌慧雯
【作者单位】江苏无锡太湖学院
【正文语种】中文
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3.灵魂的救赎:电影《红字》的重新解读 [J], 付晓丹
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