Introduction
Alice Munroe’s “The Bear Came over the Mountain” is a short story about love. It is unique, given that the main characters are an elderly couple, with the woman beginning to exhibit signs and symptoms of Alzheimer’s disease. The film adaptation of Munro’s narrative is “Away from Her,” directed by Sarah Polley. The primary criterion for a story’s success is its unconventional plot, as well as the tragedy and complexity of the relationship, exemplified by the use of older adults. The text and film are undoubtedly unconventional, deeply emotional, and relevant, featuring captivating episodes that keep the audience engaged.
The Love Theme
Short Story
The theme of love amidst the effects of Alzheimer’s disease in old age is at the center. In the short story, Grant appears stressed over his wife’s memory loss, remembering how he had expressed his dedication by always loving her and keeping his drinking habits in check (Munroe, 2006). For instance, Grant “had not stayed away from her for a single night” (Munroe 2006, para. 47). His apparent loneliness leads him to believe he may be receiving punishment for the times he cheated on his wife. The success criterion lies in the romance and reflections occurring at their age.
Film
Likewise, in the film, the storyline focuses on the impact that Alzheimer’s disease has on love due to the memory loss it causes. Things take a turn for the worse in the couple’s life after Fiona checks into a nursing home (Polley, 2006). The admitting period upsets Grant, but “thirty days is such a small time compared to forty-four years” (Polley, 2006, 30:17). The stress of separating from his wife leaves Grant feeling depleted emotionally. Moreover, Fiona and Grant’s physical health is deteriorating, adding to the unconventionality of their relationship.
Due to Alzheimer’s, Fiona forgets Grant during the first month. She becomes fond of another patient, Aubrey, who helps her walk without her wheelchair and play games (Munroe, 2013). The growing relationship between them is well presented in the film.
When Grant visits his wife and asks about her new friend, she gladly says it is Aubrey: “The funny thing is I knew him years and years ago” (Polley, 2006, 49:37). Grant feels jealous and empty, adding to the success criterion: usually, such a state is associated with how young people behave. He feels the loss, and it hurts him, but there is nothing that he can do to save the situation.
Portrayal of Feelings
Short Story
The visual depiction of Grant’s emotions, through expressions, enhances the plot and enriches the central theme. In the short story, the author says that Grant’s first awaited meeting at the nursing home should have been “almost a spiritual expansion” (Munroe, 2013, para. 51). However, readers are unable to fully grasp Grant’s feelings when he visits his wife for physical intimacy.
Film
Conversely, the movie is directed to allow viewers to observe the changes and feelings that Grant experiences. After noticing that his wife has forgotten him, Grant sinks into depression, and grief is evident on his face. At some point, he says, “I sometimes wonder…I wonder if she is having some kind of act” so she can punish him for his past infidelity (Polley, 2006, 1:01:05). He keeps remembering the time he met Fiona when she was only eighteen years old. Grant decides to visit his wife, even though he hasn’t spoken to her, and sits back, watching her take care of Aubrey.
The film subtly alters the structure of conversations while retaining its deep emotional resonance. The film is more distinct and generalized compared to the original short story, which is written in the first person. Another example is when Fiona asks if they moved to the new house a year or two years ago, and he responds that it has been twelve years (Munroe, 2013, para. 18-20). The film adaptation replicates the scene where Grant and his wife have just arrived home from the hospital. She asks, “How long ago was that?” meaning the residence timing (Polley, 2003, 34:15). Grant responds that they moved into the house “20 years ago” (Polley, 2003, 34:20). Despite the slight change in the script, the emphasis on the extent of Fiona’s memory loss is still in the center – it is tragic and sympathetic.
Compared with the original story, the retelling is a great read, full of emotion, as the author employs literary devices to help readers create mental images of the situation. For example, the short story ends with Fiona recognizing her husband’s love for her. She tells him that he could have just driven away and forsaken her. However, Grant responds that there is “not a chance” that he would forget about her (Munroe, 2013, para. 262). The readers can imagine the sweet moment as the couple remembers their love for each other before everything returns to oblivion.
That last scene is even better depicted in the film’s final act. The viewers can see Fiona’s blue eyes brighten up as she places her hands on her husband’s chin in amazement (Polley, 2006). She then tells him that he could have “just driven away, just driven away without a care in the world and forsook me. Forsooken me. Forsaken.” (Polley, 2006, 1:44:56). The couple intimately embrace for a long time and leave the authors marveling at their love, fixing the high-pitched emotions. Thus, the adaptation does excellent justice to the film’s visual and auditory presentation, effectively portraying the mixed emotions throughout.
Conclusion
Thus, Munroe’s short story and its adaptation are both emotive and entertaining, while being non-standard yet authentic, which explains the franchise’s success. The central theme is the effect of Alzheimer’s disease on love for senior citizens. However, with Fiona’s onset of memory loss and doing things that could potentially endanger her, things turn bitter. Grant suffers immense loneliness and grief because he feels it is impossible to live without his wife. Thus, the contrasting emotions of love and heartbreak take the audience through a rollercoaster while keeping them entertained. The text provides a detailed description and imagery, while the film brings the story to life through visual and audio elements.
References
Munro, A. (2013). The bear came over the mountain. The New Yorker.
Polley, S. (2006). Away from her. Foundry Film.