A Comparison of The Cinematic Adaptation of a Raisin in The Sun From 1961 and The 2008 Television Version

The cinematic adaptation of A Raisin in the Sun. The 1961 version and the 2008 television version, differ in that the characters are depicted as having different level of concerns for the quality of life of other characters and social issues. In the 1961 film, Walter views Beneatha’s aspiration to become a doctor condescendingly, but he does not directly hold her back, unlike in the written play and the 2008 adaptation of the play. In the written play, Walter firmly says to Beneatha “Who the hell told you you had to become a doctor? If you so crazy ’bout messing round with sick people then go be a nurse like other women-or just get married and he quiet,” showing that he genuinely condemns Beneatha’s wish of becoming a doctor (Hansberry (497-498). The significance in these differences lies in the fact that there is a stark contrast between indifference and genuine refusal. The written play depicts this sense of refusal more powerfully so that readers can perceive Walter as more of a dominating figure who has a fixed sense of gender roles. While the written play suggests that. Walter feels that black women like Beneatha is more suitable for the inferior role of a nurse, the 1961 film suggests that he feels that Beneatha is incapable of reaching her goal of becoming a doctor.

The difference between the end scenes in the 1961 film and the 2008 film demonstrates a difference in the perception of racism. In the 1961 film, Mama and her family receives presents from Travis when the Youngers visit their new home. In the 2008 film, however, the movie ends with the Youngers’ potential white neighbors gazing at the Youngers in concern. The 1961 film clearly ends positively to suggest that a bright future is ahead, and racism is of little concem in this scene. In the 2008 film, however, the future does not seem sa bright. As it is foreshadowed that the Youngers will continue to face discrimination by their white neighbors. These differences suggest the unpredictable nature of the lives of black families in predominantly white neighborhoods. In addition to this, the contrast may also suggest that the only path to a bright future for such a family is through its own, meaning that the chances the Youngers will receive support from non-blacks is low.

Asagai’s role also differs in both the 1961 and the 2008 film adaptations of the play. While the 2008 version and the written play take a similar approach to developing the relationship between Beneatha and Asagal. The 1961 version, on the other hand, provides much less details on Asagai’s character. In the 1961, though Asagai is shown significantly less. One detail that should be noticed is that he seems more exasperated and submissive to Mama. It is clearly shown that Mama does not want Beneatha to associate with Asagai in any way. And instead of making this clear to Beneatha, it is instead made clear to Asagai directly. Essentially, Asagai’s loss of influence in Beneatha’s future is portrayed quickly in the 1961 film compared with the 2008 film and the written play. In the 2008 film, his loss of influence is developed gradually through the conversations between himself and Beneatha. This is very similar to the written play, where Asagai attempts to caste a greater influence in Beneatha. For example, he tells her that the feelings that a man would have for a woman like her “should be enough” (Hansberry 515). This reveals Asagai’s extreme gender discrimination and his indifference towards Beneatha’s desire to have multidimensional feelings towards others. In essence, Asagai attempts to compress Beneatha’s feelings into a state such that they are interior to his. This shows how little concern Asagai has for Beneatha, as he attempts to steer her life into a direction that appeases him, not her.

Cite this page