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iRsSlw"><a class="RubricLk-gRWSOU fgWnkQ bric__lk" href="/culture/cultural-ment"><span class="RubricName-fVtemz cLxcNi">Cultural Comment</span></a></div></div></div><h1 data-ttid="ContentHearHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearHed-NCyCC iUEiRd NbxED hpJvIc">How Not to Adapt “Anne of Green Gabl”</h1></div><div class="ContentHearAccredatn-lfctVB cKRKZx ntent-hear__accredatn" data-ttid="ContentHearAccredatn"><div class="ContentHearByle-kmPyCa gvUmxJ"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearContributorImage-cvjZXn jKACOU"><picture class="RponsiveImagePicture-cWuUZO dUOtEa ContentHearContributorImage-cvjZXn jKACOU rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="66px"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="66px"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span><div class="ContentHearByleContent-dpPmNn DRFq"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl ContentHearByl-cZqgyJ bqbBYQ"><p class="ByleWrapper-jWHrLH ivtvgj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL eErqIx byle__name-lk button" href="/ntributors/sarah-larson">Sarah Larson</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2017-05-11T18:02:09-04:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd kYZrFA kEBrdf">May 11, 2017</time></div></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ContentHearLeadAsset-hGbumP iWPCcH lead-asset ContentHearLeadAssetWrapper-hfXHEc fTrSlG lead-asset--width-smallle" data-ttid="ContentHearLeadAsset"><figure class="ContentHearLeadAssetContent-kOfYSG dRGWbI"><div class="ContentHearLeadAssetContentMedia-bLEIpi jjhWdS lead-asset__ntent__photo"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearRponsiveAsset-bREgIb khLUzS"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz fXAMSS"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO KhjZz ContentHearRponsiveAsset-bREgIb khLUzS rponsive-image rponsive-image--expandable"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="The betrayal of “Anne wh an E” a new CBCNetflix adaptatn isnt the athetics but the emotn." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span><div class="CaptnWrapper-jSZdqE iTuhkZ ptn ContentHearLeadAssetCaptn-hPWmSN kuCzGS"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">The betrayal of “Anne wh an E,” a new CBC-Netflix adaptatn, isn’t the athetics but the emotn.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">PHOTOGRAPH BY MARVIN MOORE / NETFLIX</span></div></div></figure><div data-ttid="ContentHearLeadRailAnchor" class="ContentHearLeadRailAnchor-jYVcDc djtEof"></div></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg 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22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">In 1985, Kev Sullivan’s <a href=">screen adaptatn</a> of Lucy Md Montgomery’s beloved 1908 novel, “Anne of Green Gabl,” reawakened the story for a new generatn. The productn, visually stunng and emotnally tenr, shows the bety of Prce Edward Island, where Anne (Megan Follows), an orphan, is taken by the agg siblgs Matthew and Marilla Cuthbert (Richard Farnsworth and Colleen Dewhurst). The pleasure of s narrative style—which do not foc on the hardship of orphanhood or of farm life the eighteen-hundreds—creat iendly terra which to plant seeds of emotnal plexy. Sullivan’s thoughtful wrg and directn mirror Montgomery’s wry, lovg tone, which unrstands the absurdy of life and approach wh humor, à la Jane Aten. “Anne of Green Gabl” is fuelled by ias about pri, kdns, tst, secury, amic serns, and a kd of proto-femism, and exprs them through a seri of mostly ic plots, which Sullivan re-created perfectly. Anne sults the town snob and is forced to apologize, which she do theatrilly; Anne accintally gets a iend dnk; Anne accintally dy her hair green; Anne dreams of a drs wh <a href=">puffed sleev</a>, and Matthew shyly buys for her. Anne’s schoolroom rival and eventual love tert, Gilbert Blythe, played by <a href=">Jonathan Crombie</a>, managed to be dreams and rpectfulns—tras that stayed wh many of forever.</p><p class="paywall">To s cred, our dangeroly ahistoril era, “<a href=">Anne wh an E</a>,” a new CBC-Netflix “Anne of Green Gabl” adaptatn, which out tomorrow, aims to avoid sentimentaly. Its Emmy-wng shownner, director, and wrer, Moira Walley-Beckett, late of “Breakg Bad,” wanted to “look like a Jane Campn film, and do,” she <a href=">told the CBC</a>. But Walley-Beckett don’t stop at athetics. “I wanted to ground the foundatn of some of the story and some of the plot that’s already there but not fully explored,” she said. “So ’s like I sort of open up the spe of the book, reach between the l of the pag, and chart some new terrory.”</p><p class="paywall">She charted the hell out of . The rult is part the “Anne” we know and love—apple blossoms and hard-won unrstandgs, Cuthberts, raspberry rdial—and part untstworthy stranger, not “Anne of Green Gabl” at all. It adds new dialogue, scen, and plots; subtracts jolly and subtlety. And ’s no documentary. It opens wh a sequence that evok “Game of Thron”: mera sweepg over astal terra, strgs and poundg dms, horse and rir gallopg through water. Then shifts to an illtrated die-rock vio of a tle sequence, set to a song by the <a href=">Tragilly Hip</a>. Msage received: this is not your beloved Megan Follows seri. (Don’t get me started on the new Gilbert.)</p><p class="paywall">At tim, “Anne wh an E” feels like ’s slipped genr, like one of those <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">edi-recut-as-horror-movi trailers</a> that ma the rounds a few years ago. Walley-Beckett suff her scen wh a grim grayish light, showg the mud, the dirt, the ld. Anne, fifteen-year-old Amybeth McNulty, who was thirteen durg filmg, is, appropriately, th, red-haired, eckled, and sharp. In early episos, she’s bedraggled, wh jagged sectns of hair fallg loose om her braids. She’s quick to anger. When her face is at rt, she has a slightly open, turned-down mouth, as if wag for the next digny to e her way. It always do, and when do she yells at . When she go to raptur about the <a href=">Whe Way of Delight</a> or the Lake of Shg Waters, she sounds anx. Anne’s wild imagatn—her dreams of beg named Corlia, or of beg a Tennyson heroe—is prented as a “protective mechanism,” as Walley-Beckett put , om her tough childhood. This is a good ia, and is suggted Montgomery’s books, but Walley-Beckett wanted more. So we see flashbacks to Anne’s life wh an abive fay and the orphanage—another fe ia prciple. In one flashback, vic girls, sptg threats and sults, tnt Anne wh a ad moe a grimy alve; afterward, she forts herself by strokg s fur sorrowfully. When we cut back to the prent, she says, a hollow tone, “I’ll be as quiet as a moe,” as ad-eyed as the tws “<a href=">The Shg</a>.” We should empathize here, but we’re too by seethg.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">The betrayal of “Anne wh an E” isn’t the athetics but the emotn. Soon after, the seri shows another act of amazg vented celty. In the book, and the 1985 adaptatn, Marilla’s heirloom brooch go missg, and, thkg Anne has stolen , Marilla forbids her om gog to a piic. In Walley-Beckett’s versn, Marilla sends her back to the orphanage. When the mistake is realized, Matthew jumps on his horse, like Darcy off to force Wickham to the altar; that openg sequence was him tryg to out-gallop a tra. What follows is Dickensian and potls, volvg Anne hchg a ri to parts unknown wh a kman; Matthew nng to a cy street and smashg a rriage wdow wh his head; Matthew staggerg around the orphanage mummy-like bandag; wailg; agony; poetry recatns for hire; bterns; hardns; and a Bible-si renciliatn, which Anne tak the surname “Cuthbert.” The theme of the brooch episo, as Montgomery wrote , was the agile tst between foster parent and child—and she dramatized powerfully, and more effectively, wh nothg but a shawl and a piic.</p><p class="paywall">Meanns is everywhere “Anne wh an E,” as if life the ral Marim wasn’t hard enough whout hissg and sults. Durg the “Carrots” cint, when Gilbert teas Anne about her hair and Anne, hurt and embarrassed, whacks him wh her slate, she don’t h him over the top of his head—she <a href=">smash his face</a>, wh the sual vlence of a Mob enforcer. Townspeople tnt her like an angry mob a dream sequence; classmat say thgs like “I won’t eat next to dirty trash!”</p><p class="paywall">Walley-Beckett told the CBC that she wanted to create “a seamls teractn between Lucy Md’s words and me,” and said that she succeed. “What’s been wonrful is that  <em>is</em> seamls,” she said. “We’ve acplished a seamls mergg of this ntemporary adaptatn and Lucy’s words, so that by the time we get to the end, you n’t really tell what was there and what wasn’t.” The fact that she believ this to be te dit that she don’t really unrstand Montgomery’s work—and therefore hasn’t earned the right to change . There are joys to be had “Anne wh an E”—the jtic almost always right themselv the end, wh Anne’s sobs of relief to follow—but ltle lightns.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">If the 1985 productn saniz the past athetilly, also rpects enough to let thk for ourselv. Lnel Trillg, wrg about E. M. Forster, poted out that people often fail to realize that <a href=">the ser and the solemn are not the same thg</a>. “Nowadays even the lerate rear is likely to be unschooled the ic tradn and unaware of the ic serns,” he wrote. “Our spicn of gaiety art perhaps signifi an aquate serns ourselv.”</p><p class="paywall">In 1999, the Canadian director Patricia Rozema ma an adaptatn of “<a href=">Mansfield Park</a>” that brought slavery, sexual abe, and sexual hypocrisy out of the background of Aten’s narrative and also put words om Aten’s own letters and diari to Fanny Price’s dialogue. It was nfint, dac, and te to Aten’s world view. In an era of historil productns that romanticized wealth and, advertently, empire, “Mansfield Park” was rehgly plex. It also managed to be warmhearted: tenrly acted and directed, fdg love and humor between nocents that troubled world. (Rozema directs an episo of “Anne wh an E.”) A realistic but warmhearted “Anne” uld have been ma, wh the actors and the athetics, if s creator had had fah Montgomery’s narrative and had more clearly seen the power of what’s already there. I would have loved to see such an “Anne”—pecially now, when we need hope and realism together.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box ArticlePageSplAdRail-OyjwD jikppc"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="ArticlePageSplAdRailContent-jsltpq iZDmmY spl-ad-rail-ntent"><div class="ArticlePageSplAdRailTop-jUrrVY jzzFg"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="wpnasb"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot 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data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">On Killg Charl Dickens</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="On Killg Charl Dickens" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">I did everythg I uld to avoid wrg my historil novel. When I fally started “The Frd,” one prciple was clear: no Dickens.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Zadie Smh</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center 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target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Why Sarah Jsi Parker Keeps Playg Carrie Bradshaw" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">In all of her profsnal enavors, cludg the “Sex and the Cy” anchise, Parker nsirs herself a “bter enr.”</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div 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