When words transform into image
Which is better, the book or the film?
The age-old question arises in the dialogue between bibliophiles and cinéphiles, readers and viewers - a quandary that must be addressed on a case-by-case basis, respecting the unique qualities of each art form. Shedding light on the topic with great clarity are the words of Italo Calvino, a passionate devotee of cinema: "Storytelling in literature and cinema are fundamentally different pursuits. In literature, one evokes specific images through inherently vague words, while in cinema, one conjures general emotions and ideas through inherently precise images".
Once upon a time, there was a small book that grew into a monumental success.
Mauro Mazza, Commissioner for Italy Guest of Honour at the Frankfurt Book Fair 2024, demonstrates this with a vivid example of how words can be transformed into images:
In the case of Once Upon a Time in America, the explanation is quite clear. Many people may not be aware that Sergio Leone's acclaimed film, first released in Italy 40 years ago, is in fact based on Harry Grey's 1952 autobiography, Mano armata. This is a prime example of a modest book, relatively unknown in Italy, transforming into a major film thanks to the vision of an Italian director.
A few years later, again in America, Robert Bloch's novel Psycho was published and later adapted into a film by Alfred Hitchcock, in 1960. Hitchcock even went so far as to purchase all the copies of the novel he could get hold of in an attempt to keep the ending a secret from audiences. A truly ingenious anti-spoiler tactic that highlights the complex interplay between film and fiction.
Leafing through a film, watching a book
This theme will also be explored at the Italian Pavilion during the Frankfurt Fair, with director Pupi Avati hosting the discussion together with director-producer Simona Ercolani. Pupi Avati, who expressed his gratitude to Commissioner Mauro Mazza and declared himself 'extremely flattered by the chance to participate in such a culturally significant initiative,' will focus his presentation on the figure of his beloved Dante. The director had previously dedicated a film to the supreme poet in 2022.
Ever intrigued by the interplay between writing and cinema, Avati remarked in a recent interview with Sole24 Ore: "The relationship you have with a book is unique because it allows for a personal, one-on-one interaction. Cinema, on the other hand, is different; you're not engaging with an individual, but rather speaking to an entire audience. That said, I’m a strong advocate for digital platforms, as they allow viewers to engage with my film on a personal level - pausing, rewinding and revisiting scenes, much like one would with the pages of a book".
"Show, don’t tell" was Ernest Hemingway’s guiding principle for effective writing, championing a dialogue-rich prose. This advice is still relevant for authors who imagine their stories being adapted for the screen. However, the 'mental cinema' Calvino discussed in Lezioni Americane should perhaps be seen as a metaphor, a reminder that literature has its own distinct essence, which should not be overly constrained by the expectations of film.
In the evolution of the arts
Italy's role as Guest of Honour at this year's Book Fair aims to identify emerging trends, compare them with historical experiences to envision the future and engage with the evolving landscape of the arts openly and without prejudice.
Indeed, the new era of streaming and digital platforms has without question greatly expanded the opportunities for combining different forms of expression. A prime example is the success of the RAI-HBO TV series based on Elena Ferrante’s quadrilogy L'amica geniale (My Brilliant Friend), with its final season premiering on 20th August at the Tribeca Film Festival in New York. Further evidence of the United States' admiration for Elena Ferrante is found in The New York Times, which hailed My Brilliant Friend as the best book of the 21st century. However, while Elena Ferrante may not be present in Frankfurt, maintaining her status as 'our brilliant absentee', the spotlight will turn to other notable publishing successes that have gained prominence through the intersection of new media, social networks and literature. One notable example is Erin Doom and her novel Fabbricante di lacrime, which was first published in installments on the social reading platform Wattpad. The novel rapidly became a bestseller and subsequently turned into the most-watched Italian film on Netflix. Erin Doom, who had initially been reluctant to reveal her identity, will now be present at the Frankfurt Book Fair to talk openly about her journey from self-publication to screen adaptation.
This will be followed by a brief overview of the numerous upcoming series and films, showcasing the renewed synergy between literature and visual media contemporary distribution platforms. Highlights include the eagerly anticipated second season of The Lord of the Rings for J.R.R. Tolkien enthusiasts, the miniseries Leopardi – Il poeta dell'infinito, which will premiere at the Venice Film Biennale, The Lions of Sicily airing on Rai at the end of September, and Netflix’s adaptation of The Leopard which will inevitably be compared to Visconti’s classic film. And then there's the second season of Everything Calls for Salvation, based on the novel by Davide Mencarelli, adding to the ever-growing list of new productions. This trend further confirms that books remain a rich reservoir of stories and a continual source of inspiration for both television and cinema.
So, which is better, the film or the book? As this question seems destined to linger, we might turn to the wisdom of the great Alfred Hitchcock. When François Truffaut posed this very dilemma, Hitchcock responded with a clever anecdote: "You probably know the story of the two goats eating a reel of film from a movie based on a very successful book. At a certain point, one goat says to the other, 'For me, the book was better'.