How Does The Relationship Between Walter And Cheryl Change Throughout The Movie?

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The Cloak-and-dagger Life of Walter Mitty: Curt Story vs. Film

In 1939, James Thurber wrote a captivating story entitled The Clandestine Life of Walter Mitty. 74 years later, in 2013, Thurber'due south legacy was connected when the short story was adapted into a Hollywood moving picture. The theme of the story of Walter Mitty remained the aforementioned, even so, at that place were a few major additions and cuts to the plot, and to the character base. These changes were made to brand Mitty'due south story more interesting to the common person in 2013, and arguably made the plot more interesting.

In the brusk story, Walter is married to who we know as Mrs. Mitty. Their relationship appears to be strained at some times, for example when Mrs. Mitty criticises Walter for the mode he did his errands. Information technology appears that his declining relationship with Mrs. Mitty is one of the reasons that Walter spends much of his fourth dimension heedless; to escape his wife's constant nagging. In the motion-picture show adaptation yet, Walter is unmarried. Throughout the movie he pursues a adult female he works with; Cheryl Melhoff. In the same fashion, Cheryl is one of the causes of Walter'due south chronic heedless; for example, when he daydreams virtually saving Cheryl and her dog from a burning apartment building. The filmmakers likely changed this element in the story in gild to make the movie appeal more to the common person in 2013, and to thicken the plot. While Walter's relation to his love involvement differs from the story to the film, their roles in the story remain the same; to fuel Walter's daydreams.

While there are many differences from the brusque story to the film, the overall integrity of the plot remains intact. The most of import aspect of the story: Walter'south daydreaming is a large attribute of both the motion-picture show and the short story. Walter often gets caught daydreaming nearly what kind of person he wishes to get. For example; in Thurber's short story, Walter wishes he were more than of import. Every bit a result, he daydreams of being the centre of attention; as a specialist surgeon, operating on a millionaire broker; equally a sharpshooter, on trial for murder; and several more occasions where he dreams that he is the hero. In the motion-picture show, Walter wishes that he were bolder, and non afraid of anything. As a result of this, he dreams of himself standing up to his boss, and talking to the woman he desires. In both the film, and the flick, Mitty daydreams constantly to escape his reality, in which he leads a ho-hum and unimportant life.

Walter'southward daydreaming habits are similar in both the moving picture and the moving-picture show, however, what Walter does about his aspirations to get like he imagines himself differ in the film and short story. In the story, Walter's dreams are just that: dreams. He never acts on his desires to be a dissimilar person. In the moving-picture show however, Walter takes his fate into his own hands and acts on his yearnings. Mitty goes from heedless to going on a wild trip to Greenland, climbing a mountain, getting the girl he always wanted, appearing on the cover of Life magazine, and doing other things virtually people would only dream of doing. This is probable added to the plot in gild to lengthen the movie, and to add a happy catastrophe for Walter, which well-nigh moviegoers would look to see.

The Surreptitious Life of Walter Mitty maintains the same theme in both the motion-picture show and the curt story; which is Walter'due south heedless. However, the flick directors did exclude Mrs. Mitty in favour of a new beloved interest for Walter, and included an adventure for him too. These changes brand the picture show more heady, and appeal more to the average viewer. Walter Mitty's story is a timeless classic, in both story and film form, and will probable be enjoyed for a long time to come, and may fifty-fifty exist adapted once again, with another fix of additions and cuts to the plot.