From Pages to Popcorn Essay

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Leave it to Director Robert Enrico to resurrect the classical short from Ambrose Bierce’s, An Occurrence at Owl Creek Bridge, straight to the big screen to captivate audiences once again. This two-toned color marvel seems to leap right from the texted-version, every word crafted into a visual recreation. While both media and manuscript fair similar, there is still much room for interpretation. Great features come from both text form, and theater, as we experience a great read-along or a cinematic joyride. In the two different representations of the short, varied storytelling elements bring the story to life and each one provides its own flair to audiences alike. It is true talent that Bierce can engage the audience with his storytelling ability. In the book version, we see that the perspective of the story alternates from varying perspectives. Initially, his objective point of view allows the audience to picture a man with “a straight nose, firm mouth, broad forehead, from which his long, dark hair was combed straight back…He wore a moustache and a pointed beard, but no whiskers…” (Bierce). As the story progresses, we plunge into the stream with the panicking Farquhar through a third person roller-coaster. The advantage of the text is of the audience sharing the feeling and struggle in much more depth than in a film. Rich detail is present, such as noting “the prismatic colors in all the dewdrops upon a million blades of grass” (Bierce), portrays the imagery that the author promotes throughout this short. A major factor in the text is of the Union spy, which the film casually excludes for the sake of fluid action. All in all, the book version proves it can stand on its own as a masterpiece. With great respect to director Robert Enrico for the filmed version of Bierce’s, An Occurrence at Owl Creek Bridge, many agree that his representation of the classic was phenomenal. With the addition of sound effects and voice acting, it evolves into an action-packed thrill ride. The audience begins at an omniscient position to witness the full view of Farquhar’s “escape.” With visuals to appreciate, it is enough to recreate similar feelings of suspense and excitement the texted-version delivers. In this point of view we see literally every aspect of that fateful day amid the Civil War. However, we do not share the moment of the Farquhar
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