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Fowles suggests the novelist, though still a god because he is creator of his novel, is not the all-knowing omniscient god “of the Victorian image”, but one with freedom as his first principle (97).
The vast verdure, the whispering sea, the azure of the heavens; Lyme Regis in all its deceitful beauty, masking the harsh and bitter reality of Victorian society, is a fixture of John Fowles’ multi-layered, artfully crafted novel .
The social struggles within this small pocket of Victorian Britain distinctly portray a much darker image.
The film adaptation of accordingly allows the viewer to not only distinguish Mike, Anna, Charles, and Sarah individually, but analyze Charles through Mike and Sarah through Anna.
Though the director is not as noticeably present within the film as Fowles in his novel, Reisz is embodied by Mike and Anna as contemporary actors personifying their roles as well as conveying their twentieth century perspectives on their nineteenth century characters.
As the reader pictures their struggles with a twenty first century framework, Fowles’ twentieth century perspective grapples with distant Victorian society to create a bridge between three centuries of shifting ideologies.
In a similar manner, Karel Reisz, director of the film adaptation, tackles the concept of the bridge with the innovation of a film within a film.
This leads the reader to believe, either by his control or by the naturally organic development of his story, the pursuit and/or attainment of his characters’ emancipations are plausible if not absolute.
Multiperspectivism merges the reader’s perspective with Fowles’, transferring his authorial confidence in the freedom of possibility, the randomness and chance occurring in existentialism, to the reader.
It is only when our characters and events begin to disobey us that they begin to live” (96).
Sarah’s deviation from society also marks some deviation from Fowles’ authority, and leads the reader to believe the freedom and originality she sees in herself must exist.