Retelling a novel in a film adaption can be challenging. One needs to consider casting, as well as the context and setting of the story and more. Most important, the main theme should be faithfully represented. Nathaniel Hawthorne’s novel The scarlet letter (1850) and Roland Joffe’s film (1995) of the same title have certain things in common: both feature the hardened life of Hester Prynne, who commits adultery in Puritan Boston in the mid-seventeenth century. However, the differences between the novel and the film are so prominent that the film can be a problematic retelling. The novel reveals the tragic lives of the characters – Hester and Pearl Prynne, Arthur Dimmesdale and Roger Chillingworth – as the inevitable result of the narrow and relentless Puritan society in the mid-seventeenth century. The film, in contrast, gives its leading roles unrestricted liberty, both phys
一开始因为课程作业来看的，对这种名著改编的电影没什么兴趣，前面30min都是忍着无聊和老套的设定，一边吐槽一边看得，但是到1个小时以后，便开始被赫斯特超越时代的勇敢与坚韧吸引，剧情的矛盾和节奏都变得十分明晰起来，不知不觉就看完了两个多小时的电影。
最印象深刻的地方全部在审判的十字架下，有两次是亚瑟因为内心的煎熬在雨中自我审判，接着便是赫斯特抱着刚出生的pearl拒绝认错被带上象征通奸和耻辱的红色字母A,最后便是剧情最精彩的结尾部分
按照这个版本的剧情和人物设定，亚瑟是很爱海斯特，并且也愿意和她生死相随的，最后海斯特提出离开，亚瑟也毫不犹豫地跟她一起走了。
并且这个电影后半部分男女主面临的惨状和困境比原著中更甚，原著中罗杰只是报复亚瑟一个人，只是从精神层面折磨他。这里罗杰为了查出情夫是谁，不惜怂恿教会彻查参加茶话会的妇女，害死了女主的女奴，还要绞死希宾斯夫人，下一步就要绞死海斯特和珠儿，对亚瑟直接是亲自割喉扒头皮。
前半段海斯特刚来到殖民地的时候，是颇受当地各位地方长官的尊敬和欢迎的，安息日
sentence:—‘Be true! Be true! Be true! Show freely to the world, if not your worst, yet some trait whereby the worst may be inferred!’
It is a curious subject of observation and inquiry, whether hatred and love be not the same thing at bottom. Each, in its utmost development, supposes a high degree of intimacy and heart-knowledge; each renders one individual dependent for the food of his affections and spiritual fife upon another: each leaves the passionate lover, or the no less passionate hater, forlorn and desolate by the withdrawal of his subject.
看《红字》有感
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