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
先看了德国版的《红字》，再看这个版本的。觉得这样的顺序很好的帮助了我去了解这个故事的完整性。前者留下的悬念这这部里面都得到了补充，一个好的结局，一个不好的结局，亦满足了对悲喜的双追求。
丁牧师的布道看的我心潮澎湃。好像看到了那种信仰的力量。
相信一切都是神的旨意。
你的突然出现让我觉得这是一个美妙的惊吓。
我们的内心是来自天堂真正的声音。
谁能说在神的眼中什么才是罪？
丈夫的复仇之心亦是黑暗中的赎罪。
A (adultery:通奸）
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
All the encounters are reunions after a long separation in the world. I guess, Hester and Arthur must have seen much affliction before they meet each other. Their love sprouts like the seed of evil, and bursts into bloom.
Red roses in prison, which offer the fragrance and fragile beauty to the dying prisoners, have already predicted a vivid metaphor at the beginning. Love is beautiful, like rose; yet love is cold and painful, like its thorn.
黛米·摩尔出演，看《红字》有感
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