South Gothic novel by Thomas P. Kalilin since 1966, "The Beguiled", has been a story for women. Here, all female residents of a seminaries in Virginia are distressed with the arrival of a wounded Union soldier in the wake of the civil war and what can be for each of them. This man, the corporate Johnon McBrey, seems to be harmless at the beginning, but separates a disturbing chain of events that stimulate rage, envy and resentment in women (and children). The slow combustion novel jumps through the perspectives, helping us gather an stunning, uncertain story of the outcome of the war and extending the hidden residents of the seminaries.

However, Kalilil's agonizing narrative narrative gives an agency to his female characters only in terms of McBuni, as their individual wants and desires disappears at the moment when it is not around. There are some The interior was patterned when the events culminated in an acute tragedy, but Culinary paints the concept of femininity in wide, terribly shallow blows. It is a novel for women, written by a man who is only interested in inflicting them through the narrow lenses of heteronormative desire and alubmorea. Solidarity and sisterhood are foreign for the premise of "The Beguiled" and any adaptation worth salt will undoubtedly have to handle and fix this glittering issue without prior complexity.

Don Siegel and Clint Eastwood teamed up to bring "The Beguiled" to life in 1971 to Exceptional Controversial effect. Although critics missed out because of his misogyinistic, sexual intertwining, Eastwood said the film was bombarded because of poor marketing and his attempt to play against the type (What, in his case, was a lonely wolf-heroism and stoic masculinity). Taking the novel of Siegel and Eastwood feels pretty superficial, the focus on McBuni's sexual charm (manipulative) and how it provokes the most violent, dangerous impulses in women around it. Although McBrey on Eastwood is intended to be an unwanted predator, his victims are engraved as cartoons, pale shadows for who are intended.

More than 40 years after the release of the film, Sofia Coppola decided to rewrite "tight" With women at the forefront of the heinous Gothic Story of Horror.

Coppola's "The Beguiled" premiered at the Cannes Film Festival in 2017 and immediately influenced the historic victory for the best director. However, this adaptation became equipped with GET-Go controversy: although the film was superior to the 1971 version in the treatment of femininity and female agency, it seemed to have deliberately avoided the intersection. The only black image of the novel, Matthey, is visibly missing from the film, and Edvar, a woman from the source material, is shown by Kirsten Dunst in this adaptation. Coppola justified some of these elections in a statement published on Indiewire:

"There are many examples of how slaves are appropriated and" given voice "by white artists. Instead of an act of denial, my decision not to include targets (the only black face in the novel) in the film originated in respect (...) Some said it was not responsible for making a movie set during the civil war and not to handle directly with slavery and the characteristics of slaves. Continue to do that. "

Coppola has also continued to say that she does not want to "immortalize the deplorable stereotype" that was embedded in the original material that informed her decision to focus exclusively on the "male and female dynamics of power that can apply to all women" . Although the intention not to regulate harmful stereotypes is understandable, the story of "beguiled" is only half complete when the perspectives of color characters are completely left out. It is a feminist perspective that is not inclusive in generalby eliminating the integral layer of race -based policy in the narrative civil war set in the Confederation South.

If you are able to neglect these grave wrong steps, then the Coppola version is certainly more reliable and reinforcing than Eastwood's adaptation, as it does not approach female sexuality from fetishist lenses. He reveals the original material by investing depth in female characters who were originally written to cause cheap sensationalism, and Coppola occupies a langid, measured approach to the story of development. In an interview with The movie school rejectsThe director explained why she decided to rewrite the 1971 controversial film:

"When I saw the film, it was so fascinating for me that these macho directors - Don Siegel and Clint Eastwood - will make a story set at a girl's school in the south. It is such a male point of view of a group of women that I thought "okay, I want to tell that story from women's point of view" (...) I felt like I had to give these women a voice, and then I thought to I browse from their point of view and (show) women during the military period; You always see stories about men in war, but I don't think I've seen what is happening to women who leave behind. "

In addition, Coppola's film improves on the psycho-dramatic aspects of the novel by revealing rot under the sophisticated facades. Colin Farrell plays the corporate Johnon McBernie in this iteration, and his awake treatment of women feels more pointed and awkward Because on his powerless facade. However, this lack of feminist reintegration suffers from the same traps as the novel on which it is based: we see very little on which these women are out of their temporal, complex feelings for the only man in their vicinity.

Perhaps, it is best if we collectively leave the "initial" behind as a novel worth adjusting and focusing on countless stories in the center of women who actually deserve to be brought to life.