Being There: Difference between revisions

'''This novella and its film adaptation include examples of:'''

 

* [[Adaptational Attractiveness]] and [[Informed Attractiveness]]: The former is inverted with Chance -- when you think of a combination of Cary Grant and early-'70s Ted Kennedy, a graying, overweight Peter Sellers is ''not'' who comes to mind. As a result, the latter is invoked when the senator's wife tells Eve that "He's very, very sexy!" (That said, there are Sellers fangirls who ''do'' find Chance extremely attractive.)

* [[Adaptation Expansion]] ''and'' [[Pragmatic Adaptation]]: The film fleshes out many of the characters and there's a significant addition in Dr. Robert Allenby, but also removes extraneous material by combining the two maids into one, dropping the Russians' attempts to figure out Chance's identity as it only duplicates the FBI/CIA search, etc.

* [[Covert Pervert]]: Subverted ''hard''. Chance's "I like to watch" is misinterpreted by ''everyone'' that he's a voyeur. In reality, he just likes to watch television.

* [[Crystal Ball Scheduling]]: With the exceptions of a clip of the President and Chance's talk show appearance, every clip seen on a TV in the film -- and there are many, including ones seen in the background -- is from a real show/commercial. And most of them were airing, new or as reruns, around the time of the film's making and release. They comment on or underscore the situation at hand or just Chance's personality; others become something Chance adapts to his own situation.

* [[Development Hell]]: It took a long time getting the rights from Kosinski (he wanted to make a film version on his own; he did co-write the film that was made), as well as getting financial backing.

* [[Dyeing for Your Art]]: Half-averted -- Sellers let his gray hair show, unlike in most of his later films, but he did have it cut.

* [[Eiffel Tower Effect]]: The movie's set in Washington, D.C., but since the P.O.V. is confined to the townhouse until Chance leaves, ''and'' the townhouse is not in the nicest part of town, we don't see any landmarks until he's wandered far. (Up to that point, we only get one hint as to the setting: a ''Washington Post'' ad on TV.)

* [[Lonely Rich Kid]]: Chance fits the trope quite well, save for his physical age and his unawareness of his situation. Eve and Ben have aspects of this, as applied to adults, as well: Eve admits she doesn't have many friends (and they're mostly older than she is), and the Rand estate is apparently only populated by servants and medical professionals. Ultimately, they need Chance and he needs them to fill in the empty spaces in their lives.

* [[Lzherusskie]]: Richard Basehart, an American, as the Russian ambassador.

* [[Man Child]]: As Louise the maid puts it to Chance in the film, "You're always gonna be a little boy, ain't ya?"

* [[May-December Romance]]: Eve and Ben.

* [[No Name Given]]: Chance only knew his benefactor as "the Old Man" (in the film, the lawyers refer to him as a "Mr. Jennings"). We never learn Chance's last name; he introduces himself to others only as "Chance, the gardener". He may not even have one.

* [[One Dialogue, Two Conversations]]: Most of Chance's interactions with others are these.

* [[Parody Sue]]: Most of the other characters are affected by Chance's '''being there'''; it's just that the traits they cherish in him are ones they ''believe'' he has based on their own assumptions. Also, in the book, he's described by a character as resembling a cross between Ted Kennedy and Cary Grant.

* [[Peter Sellers]]: And how!