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The screen adaptation is far less graphic.
The defining quality of Gaskell's novel and of this screen adaptation is generosity of spirit.
The first part of Peter Jackson's "The Hobbit" — a three-part screen adaptation — is subtitled "An Unexpected Journey," though that does little justice to the result.
Writer Robert Schenkkan, who also penned the play, stressed that the screen adaptation is inherently more cinematic, and that in order to make it work as a film he cut scenes, and added new sequences to "go deeper than we were able to get onstage".
In the novel Thompson used Ford's hypnotic interior monologue to draw attention away from the claptrap plot; the challenge in a screen adaptation is to find another way to accomplish that sleight of hand, and Mr. Winterbottom hasn't quite managed it.
This on screen adaptation is long overdo, especially considering the thriving world of female superheroes on the page.
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Its 1963 screen adaptation, was directed by Mervyn LeRoy with Debbie Reynolds and Barry Nelson.
Having seen the English translation of Yasmina Reza's play Le Dieu du carnage on stage in London, where it was a scabrous hoot, I can testify that the drab failings of Roman Polanski's clunky-as-hell screen adaptation are almost entirely the film-makers' fault.
Deadline reports that the big-screen adaptation is currently being written by Zak Penn, who VICE spoke to earlier this year when he was promoting his documentary about digging up long-buried Atari games, Atari: Game Over.
Comparisons between novels and screen adaptations are inevitable, particularly when a film announces its literary pedigree as this one reasonably does.
The most recent big-screen adaptation was in 1994 and starred Winona Ryder, Kirsten Dunst and Susan Sarandon.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com