Abstract
The aim of the present article is to recover the history of the cinematic adaptations of the novel An American Tragedy (1925), by Theodore Dreiser, reinstating the discussions of the drowning scene. Sergei Eisenstein’s writings on the possibilities of the use of the interior monologue in films and Bertolt Brecht’s remarks on the role of the soundtrack in Dreiser’s novel adaptation offer an important entry into the analysis of the film Match Point (2005), by Woody Allen. In Match Point, the use of the soundtrack, in particular the collage with the opera Otello (1887), by Giuseppe Verdi, instigates the spectator to reflect on the narrative possibilities of film adaptation.
Keywords:
Woody Allen; Theodore Dreiser; Sergei Eisenstein; Opera; Cinema and War