The role of the spy and the adaptability of the plot in Our Man in Havana, by Graham Greene
DOI:
https://doi.org/10.24310/Trasvasestlc.vi3.11962Keywords:
adaptation, satire, farce, cold war, spy fiction, Our Man in HavanaAbstract
The novel Our Man in Havana (1958), by Graham Greene, and its adaptations (the 1959 motion picture, directed by Carol Reed; and the 2009 theatrical version, written by Clive Francis) use satire as a means to mock the conventional spy plot in fiction. The analysis of these three works will study the figure of the spy in the novel and how the protagonist, Jim Wormold, is a mobile that emphasizes the historical aspect of Havana in terms of the film adaptation. The analysis of the theatrical representation with respect to the protagonist and the space in which he moves will expose what changes occur at the level of the plot by suppressing important aspects of the historical context. In this way, this analysis will demonstrate how the first two works exhibit different instances that employ satire to make a comment on the faults of English society in terms of espionage and how the periphery perceived it. The third, although circumscribed in the very atmosphere of the Cold War, deliberately dilutes the context to present a fast plot closer to the farce.
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