A Confrontation between Confabulations on Paper and the Silver Screen in Mister Pip - A comparison between Matilda’s confabulations in Jones’ novel and Adamson’s movie adaption.

In 2006, Lloyd Jones’ novel Mister Pip was first published.[1] Half a decade later, Adam Adamson directed a movie by the same name.[2] The novel had to be adapted to be fit for the silver screen, but both the novel as well as the movie wish to tell their audiences the same story. This story takes place on the island Bougainville, a small island owned by Papua New Guinea.[3] It follows a young, black girl Matilda, who is growing up during the conflict of the 1990s. [4] In the early days of the conflict, all white people who lived on the island had taken the boat away from Bougainville, except one. Mr. Watts is the only white man left on the island, and he decides to re-open the school, so the children will at least have something to occupy their minds during the day. As he is not a real teacher, he decides to read them “the greatest novel by the greatest English writer of the nineteenth century, Charles Dickens”, Great Expectations.[5] Through reading this novel, Mr. Watts has an essential lesson to teach these children. He shows them that through literature, they can enter another world, they can find their voice and that voice can never be taken from them. They can enter a new world, they can imagine themselves into another’s life and emphasize with them.[6] All children, even many adults from their little village, grow attached to the story. They enjoy the opportunity to take their minds off the horrors and discomforts of the conflict, and for a while, they can escape to a world that is whole and good. Matilda especially has a close connection to the novel, and most of her thoughts relating to this novel can be read as confabulations. A confabulation is a consequence of a disturbed memory, defined as the production of fabricated or misinterpreted memories about oneself or the world, without the conscious intention to deceive or lie. A confabulation can be seen as a misinterpretation by a ‘disturbed’, for lack of a better term, mind.[7]

            Matilda’s confabulations play an important part in both the novel and the movie. This work seeks to compare the movie with the novel, placing specific focus on Matilda’s confabulations relating to Great Expectations. Of course, since the movie and the novel are different mediums, it is to be expected that there will be basic differences between the two. Other than these small differences because of the different media, there will also be bigger differences between the two stories. It is their intention to display the same gist of the story and Matilda’s confabulations, but the delivery is clearly different.

The methodology of this work is twofold. In order to properly analyse both the novel and the movie, this work will use psychoanalytical literary criticism and psychoanalytical film theory. Psychoanalytic literary criticism is the method of reading employed by Freud and later theorists to interpret texts. It argues that literary works express the unconscious desires and anxieties of the author. A literary work is a manifestation of the author’s own neuroses. This kind of literary criticism validates the importance of literature, as it is built on a literary key for the decoding. Through this method, it is possible to analyse any character in a novel.[8] Psychoanalytic film theory is also an important part the analysis of Matilda’s confabulations. Cinema seems to display a fundamental kinship with the irrational that psychoanalysis seems to explain.[9]

This work will focus on Matilda and her confabulations. The current hypothesis is that Matilda’s need for confabulations arises from mostly negative emotions, which drives her to seek an opportunity to escape them. The central thesis of this novel is: while the confabulations in the novel and the movie are different from each other, the feelings which feed the need for these confabulations are the same on paper and the silver screen.

The question that will be answered in the conclusion is: What are the differences and similarities between Matilda’s confabulations in the movie and the novel? In order to answer this question, this work will first focus on Matilda’s confabulations in the movie. This analysis will be supported by visual evidence: screenshots taken from the movie. The footnotes in this section of the novel will reference to the specific timeframe of the events in the movie. This has all been noted as accurately as possible. The analysis of the novel will follow after the analysis of the movie, after which the two will be compared. It will then be possible to answer the central question of this work, and to support the central thesis.

The differences between the novel and the movie begin quite early on in the observatory process. Lloyd Jones’ novel is called Mister Pip while Andrew Adamson’s move is called Mr Pip. This small difference suggests the two are similar, but the movie shows a slightly different version of Jones’ novel. Most differences between the novel and the movie arise from the difference of medium. There is a huge difference in telling a story on paper, and telling it on the silver screen. A different medium forces different choices, a different way of telling the story. It is the simple truth that an author has many more opportunities on paper than the director does behind the camera. Andrew Adamson had complete control over the narrative he wished to tell with the movie: he was both the writer of the screenplay as the director. ^[10] The movie is, including the credits, almost two hours long (1h:55m:27s to be precise). There is significantly less time to tell everything that needs to be told, than there is in 219 pages. Because of this, the storytelling pace of the movie is quite high. Certain aspects of the novel could not be touched upon in the movie, as it would take too much time away from the main narrative to follow every small digression. It is noteworthy that every character in the movie is true to those in Jones’ novel. Though not all details are present, the movie does attempt to create an accurate portrayal. There is one significant change in the movie, and one significant mistake, which can be considered to be quite sloppy, as it involves a detail of the protagonist’s history.

            The significant change Adamson has made in the movie has to do with the topic of this work. In the movie, he has created a special part especially for Matilda’s confabulations. They have their own story to tell, and they do so quite beautifully. They are clear, specific, new scenes which are not found anywhere in the novel. This change ensures that Matilda’s way of confabulating is essentially different in its most basic way from the way Matilda confabulates in the novel. More about this later on in this work.

            The first confabulation which occurs in both the movie as well as the novel has less to do with Great Expectations, and more with Mr Dickens himself. The children have just returned to school for the first time, and as they barely know Mr Watts, or Pop-Eye as they call him, they are all a bit nervous. He is to become their teacher, and the children have no idea what to expect. As Mr Watts walks in, he thanks them all for coming, and explains that he is no teacher, but that he will do his best and he will always tell them the truth. Together, they clean the school, to make it a place of light, a place of learning. They work while enjoying some music playing from an old radio. Mr Watts had been saving the batteries especially for a special occasion. When the school is finally cleansed and organised, he shares with the children the first line of Great Expectations. This confuses the children even more, and a small boy, Daniel, asks Mr Watts what they should call him: Mr Watts, Pop-Eye, or Mr Pip? Mr Watts explains that the words he just recited aren’t his, they belong to Mr Dickens, and promises that that tomorrow he “will introduce you all to Mr Dickens”.^[11] Every child in class and their parents create the same confabulation after receiving this information: Mr Watts must not be the last white man left in the village, there has to be another one. Each child is sent back to school the following day with a similar request: can Mr Dickens fix their generator, or does he have malaria tablets, or maybe some kerosene?

            Mr Watts understands their misunderstanding and rectifies this confabulation, by introducing them to Mr Dickens, telling them that “he is right here”, as he presents them with the novel Great Expectations. ^[12]

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            He then continues to explain to the children that when they begin reading a work of literature from a great author, you are in fact making his acquaintance. This argument has often been used and supported by psychoanalytic literary critics. Mr Watts explains that, at the end of the novel, some of them will know Mr Dickens. The novel is 59 chapters long, and as Mr Watts will read a chapter a day, some of them will know Mr Dickens on 6 February 1990. This is calculated by Matilda in just a few seconds, and it clearly impresses Mr Watts. ^[14] He asks her for her name, and Matilda tells him the origins of her name: it was given to her father by an Australian who worked at the mine, who gave it to her mother, who gave it to her. During her story, an older classmate, sitting a row behind Matilda, scoffs and spits on the floor in a manner full of contempt. It can be assumed this has to do with the mention of the Australians, or more broadly, the white people who have abandoned the people of Bougainville during the conflict. Matilda clearly looks uncomfortable, regretting telling that story in class. Mr Watts then comforts her that, in a way, Mr Dickens got Pip’s name from his father as well, and wonders out loud what else they might have in common. In this sense, it seems that Mr Watts suggests to Matilda that she search for similarities for her and Pip, and that this will be a source of comfort and safety for her.

            As Mr Watts begins reading, it is interesting that he skips the line he recited for the children the day before. He begins with Pip’s confabulations in the churchyard. Continuing with the story as voice over, the movie shows a part of Matilda’s house. In the frame there are a couple of photographs featuring her father, sometimes with her and her mother as well, sometimes alone. There is also a postcard, presumably from her father, who now lives in Australia. Mr Watts reads Pip’s ideas of his father, and how he came to those ideas. ^[15] By connecting these two scenes in this manner, Adamson suggests that Matilda wonders the same things about her father as Pip does about his. Even though Matilda knew her father when she was younger, as suggested by a photograph containing the three of them, she still feels like she doesn’t know who her father is anymore. Matilda never needs to wonder about her mother the way Pip does, but she does not have a warm and loving relationship she wished she had with her mother either. As Mr Watts moves on to Pip’s description of his little brother’s tombstones, the image shifts to a traditional burial at a hillside in Bougainville. The village is surrounding the mourning family and freshly dug grave. The casket being lowered into the grave is quite small, leading to the conclusion that the burial is for a child. ^[16] This connects Matilda to Pip in another, meaningful way. Both have known death, and will know death before their stories run out. As Mr Watts reads more of Great Expectations, Matilda finds more connections between Pip and herself, and attaches quite some importance to these connections. She ends up believing she really knows the hero Dickens novel. She assimilates her life into his and slowly the story gains more influence on Matilda. ^[17] As these connections grow stronger, Matilda imagines herself in a different world, in a different time. This feeling of freedom derived from being able to escape to another world, away from reality is in stark contrast to the situation on the island, entrapped as they are by the blockade.[18]

            Following the awkward scene in which Matilda feels very self-conscious, her confabulations grow stronger. First, she is merely looking for connections between herself and Pip, but as Mr Watts continues reading chapter one, Matilda imagines herself as a part of the story. The movie shows the five little stone lozenges Pip has just described in the novel and a graveyard. In the midst of all these graves and overgrowth stands Matilda, wearing a blue dress seemingly made in somewhat Victorian Style. As she looks around, she sees a strange, black boy, wearing clothes of old fashioned cut, but with bright colours. This is where Mr Watts voice over ceases, surrendering control to the confabulated scene. This scene is now in charge of the narrative of both the movie and Great Expectations¸ while it lasts. Matilda and Pip have a brief conversation before the rattling change of the convict alert them to the presence of another. Pip hides Matilda behind his parent’s headstone, and the narrative of Great Expectations continues as Charles Dickens had written it. ^[19]

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The confabulations in this movie are unlike any other portrayal of these scenes ever before. These changes can all be traced back to the key actor in all of them: Matilda. Firstly, quite notably, each character is imagined to be black as Matilda. This is quite understandable, as Matilda is used to everyone being black. It would have been more notable if each character had been true to their respective origins. Secondly, the part Matilda plays in her confabulations of Great Expectations is quite interesting. She is able to participate in the scene, converse with Pip, and ask him questions she otherwise couldn’t ask him. Within the novel, this is the main problem she has with Great Expectations: “.. it is a one-way conversation. There is no talking back.”.[21] In the movie, Matilda is more than capable of talking back, their conversation even reveals new aspects of the Pip Adamson has chosen to portray. As Matilda asks him what he is doing there, at the graveyard, he answers that he came to visit his little brothers, and explains that “I actually used to believe they had been born like that, on their backs with their hands in their trouser pockets. Just never taken them out. I prefer to think of them that way.”[22] Even though the difference between this quote and the actual quote from Great Expectations is very small, the difference does add a dimension to Pip that wasn’t there in the actual novel. It shows that Pip is aware of his confabulations, and knows that it makes no sense, but he still prefers to think of them that way. He doesn’t wish to imagine them suffering, just wants them to have given up and died quietly. Adds a certain touch of gentility to Pip’s character. The small difference in the quote allowed Adamson complete control over the narrative, even though Great Expectations has been around for centuries.

            Thirdly, the scenery in which the confrontation takes place is quite different from the original story. Great Expectations takes place in England, a place not exactly known for its sunny weather and dry fields. Yet the field in which the graveyard, not churchyard, as it was in the novel, is placed, is quite dry and sunny in the movie. The atmosphere, though still not quite happy, is not quite as bleak as described in the novel. Lastly there are the clothes worn by the characters. Though they do resemble clothes from the Victorian era, there are certain details which show they are not actually Victorian clothes. Matilda’s dress closes with an invisible zipper, and the fabrics and colours would never have been worn by poor people in those times. Each of these differences can be led back to Matilda: it is her imagination we are a part of. Her imagination is dependent on the knowledge she possesses of the world. She knows in Victorian days women wore beautiful dresses of fine fabrics, and men wore neat clothes and large top hats. She also knows what a graveyard is supposed to look like, and she can imagine all those things, but her knowledge of surroundings does not surpass the island. Matilda has never left the island, and therefore cannot but imagine Great Expectations on her island.

            Throughout the movie there are twelve scenes of confabulations, and seven of them are just like the scene described above. Each scene depicts Matilda as a part of a different scene in Great Expectations, always in conversation with Pip. The five scenes that are different are different in quite an essential way, and will be discussed more below, as they tie into the explanation why the scene leading up to this confabulation was so essential.

            The scene before the confabulation places Matilda in a sort of confrontational situation with her elder, male classmate. He is old enough to consider joining the rebels, and is more aware and thus more opinionated of the ongoing conflict in Bougainville. It is clear he detests the Australians, or more broadly, the white world, who seem to have forgotten all about them. His contempt makes her self-conscious and insecure, but it also reminds her of the dangerous times they live in. It reminds her that things are not back to the way they were. These feelings can be seen in each scene leading up to a confabulation. In most cases, Matilda is reminded of the conflict in some way, and seeks an escape in her safe world of Great Expectations. This world offers Matilda an escape, and so this world becomes a synonym for home, safety, empowerment, guidance and discovery of the unknown world.[23] Through all Matilda’s confabulations, there are certain things which are constant. One of these things is that Matilda is always wearing the colour blue. It’s different shades of blue, but it is always the same colour. Blue is valued as the colour of the sky, but also as the colour of loyalty, contentment or truth.[24] Matilda’s character is also constant in these confabulations; she doesn’t simply change her mind for the sake of the story. She has a clear opinion, and she’s sticking to it. This ensures that one confabulation features a confrontation between Pip and Matilda. After the novel was lost in the fire, and the children have taken to retrieving Great Expectations together, Matilda finally finds her way to London. She sees Pip walking down the street together with Herbert Pocket, and rushes to greet him. He doesn’t look happy at all to see her, and is quite brief with her. When Herbert asks: “Who was that, Handel?”, he answers: “Nobody”. This clearly angers Matilda, and she shouts: “His name is Pip. Or have you abandoned that too, along with Joe and everyone else?”.[25] Matilda considered Pip to be her best friend until he moved to London, and makes it clear at several points in the movie that she does not understand why his behaviour had to change the way it did once he moved there. She feels betrayed by him, abandoned in this crazy world where she thought she could rely on him. This is the last confabulation of the format described above in the movie. There are still five more confabulations in the movie, and each of these are interesting in their own right, and different from all others. The next four confabulations all share one determining aspect: they all take place in Matilda’s Bougainville. All seven earlier confabulations had taken place in a Victorian version of Bougainville, but now they all take place in the ‘real’ world. Matilda no longer runs to Pip when the fears and confrontation of the conflict come too close, she is no longer able to escape to this different world. Pip comes to her in times of extreme turmoil, and serves as a constant throughout the movie. The first time Pip steps into Matilda’s world, they are standing on the beach next to the lieutenant of the redskin soldiers. The soldiers have just taken Matilda’s mother away, and are chopping her up to feed to the pigs. This can be seen vaguely in the background of the scene, and Matilda is simply standing there, staring at the ocean. Her expression is completely blank. There is no fear, no sadness, no anger, nothing. Next to her, Pip is crying the tears Matilda should be crying at the loss of her teacher and her mother.[26] The second time Pip visits Matilda happens on the same day. Later that night, he is trying to comfort her, but Matilda looks annoyed, angry, and turns away from him.[27] After she turns away, Pip gets up and leaves. The horrors of the conflict, the losses she has suffered have closed off her heart, disabling her from reaching her world of confabulations and her former friend.

            The next confabulation takes place in a scene of extreme turmoil, and it was essential for Matilda’s survival. The morning after the funeral, Matilda gets up and walks away from the village, through the old copper mine, further and further away. After a while she comes to a wide river with a strong current, and sees the red clowns nose Mr Watts used to wear hanging on a branch in the water. Without thinking of the consequences, Matilda begins to wade into the river, with the clear intent of saving the last thing that is left from Mr Watts. The current soon turns out to be too strong for her, and she is pulled under. She is saved from drowning by a character from Great Expectations, though interestingly enough, it is not Pip. The character who saves Matilda is never named in the movie, but can be recognised through his clothing and hairdo. As the pictures on the next page will illustrate, Matilda is saved by Joe. Joe is the only character in Great Expectations who wears this orange checkered blouse and his hear in longer dreads. The first picture is from the scene where he dives into the water to save Matilda, and the second one is from a glimpse of a confabulation of Matilda and Pip joining Joe in his forge. It is logical for Adamson to have chosen Joe as Matilda’s saviour. Matilda’s opinion about Pip since he moved to London has been made clear: she dislikes him very much. In this sense, Mr Jaggers could never be considered to be the saviour he was in the novel,[28] as she doesn’t consider him to have saved Pip’s life, but to have ruined it.

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The last confabulation which takes place in Matilda’s world is situated, interestingly enough in the Dickens Museum in England. Matilda walks up to a glass wall, behind which a waxen figure of Mr Dickens has been seated. She stares at him, seemingly having some difficulty assimilating this image of Mr Dickens to ‘her’ Mr Dickens. As a reflection in the glass wall, Pip appears behind Matilda, saying: “I have met Mr Dickens, and that is not him. Yes, the Dickens I knew told stories too. And he wore a white suit and a red clowns nose and collected shells from sparkling blue waters”.[31] In this instant, Matilda and Pip finally re-connect, and as they embrace, the walls closing off Matilda’s emotions break. Throughout the movie, even as she grew up, Matilda never showed any emotions at the loss of Mr Watts or her mother, but now, at last in Pip’s arms again, she finally gives in and cries the tears she could not cry before.

            The last confabulations brings it all back round to the initial style of the confabulations, with one clear difference. The surroundings of this confabulation are as they were written by Charles Dickens. In this final confabulation, Matilda is once again clad in a beautiful blue dress, saying goodbye to Pip at the docks in London. She embraces him for the last time and watches as he rows away, as he did at the end in Great Expectations, never again to return home. After this last confabulation, Matilda decides to succeed where Pip has failed: she would return home. The final scene of the movie shows Matilda walking down the sunny Bougainville beach with her father, and all was well in the end. [32]

The next part of this work will be a brief analysis of Matilda’s confabulations in the novel. As this novel is most likely better known than the movie, this analysis will be shorter and more general than the movie.

            The confabulations that take place in the novel are quite different from those in the movie. In the novel, Matilda never imagines herself as a part of the story, she does not live the story. She imagines it as every reader does, images in her head. Mathilda doesn’t want to be part of the story, she is content simply seeing the story play out in her head: “I hadn’t been assigned a part – nothing like that; I wasn’t identifiable on the page, but I was definitely there.”.^[33] The connection Mathilda feels to the novel is there in the movie as it is in the novel: she feels drawn to Pip, sees certain similarities between the two of them. She can recognise herself in him, feels that his story is hers, even though she is a girl and her skin black as the night.^[34]

            An important confabulation Matilda creates about Great Expectations, is that it is not a story. Matilda believes she is listening to Pip giving an actual account of his life and the events that had all happened. ^[35] She also considers Pip to be an example to her, and uses the story of his life to guide her through difficult decisions. One of them happens quite late in the story, when the rebels have come back to the village. Mr Watts tells her that he has a way off the island for them and her mother, but asks her to promise not to tell anybody. Matilda promises, but still feels the need to warn her mother that her life was going to change at any moment. In order to do so, she tells her mother the part of the story where Mr Jaggers comes to Pip in his hometown and tells him of his Great Expectations. ^[36]

            The novel serves the same purpose in the movie as it does in the novel: it offers an escape, a world what was whole and good, with a story that had a proper ending and which made sense. Matilda’s reasons for confabulating have been portrayed correctly in the movie, as they are the same in the novel: they offer a way to escape the reality of the conflict. “Most of us had come to hear about a world we had never seen. We were greedy for that world. Any world other than this one, which we were sick of – sick of the fear it held.”.^[37]

Both the novel and the movie offer Matilda a way to escape, the movie has offered her more agency in her confabulations. By giving Matilda this extra agency, Adamson was able to obtain more control over the narrative of Great Expectations and Mister Pip. He was able to place emphasis on certain aspects to change the dimensions of the story. This has been explained in the example of Pip and his confabulation of his little brothers. While the reasons behind Matilda’s confabulations are the same in the novel and the book, this running away from negative feelings are made more clear in the movie. This clarity drives the viewer to seek underlying reasons, to connect to Matilda. This is the most clear difference between the novel and the movie where Matilda’s confabulations are concerned. Also, the movie has chosen very specifically which confabulations to portray, as it would have been impossible to show each confabulation in a special scene.

            The second clear difference between the novel and the movie is the nature of Matilda’s confabulations. The novel offers quite a different way of confabulating about Great Expectations, it shows how Mathilda connects the story to her own life, rather than deciding to live her life in the story. The novel Mathilda choses to face the confrontation between her life and Great Expectations, and manages to learn things from the novel. She learns how to say goodbye, how to leave without looking back. Novel Mathilda becomes a Dickens scholar, studying Charles Dickens, and constantly re-reading Great Expectations, learning more from the novel each time she does.

While movie Matilda also learns certain lessons from her confabulations, they are not as deep or valuable as the lessons novel Matilda learns. Movie Matilda is still in high-school at the end of the novel. The first day in her new school, she found Great Expectations sitting on a shelf in the library, and carefully places it back on the shelf. In the following years she reads each of Dickens novels multiple times, but she is unable to bring herself to re-read Great Expectations. She travels to England after she learns that Mr Watts had left his property in London to her. In this scene, the lawyer who shares this information with her mirrors Mr Jaggers, Mr Watts mirrors Magwich and Matilda mirrors Pip. She finds a beautiful copy of Great Expectations in Mrs Watts house, and she is allowed to keep that version. That is the first time, since the island that Matilda returned to Great Expectations. The movie also shows Matilda visiting the house Charles Dickens used to stand in for Satis house and the Dickens museum. This is where she finally re-connects to the part of her she thought she had lost on Bougainville years ago: her emotions. This is similar between novel and movie Matilda, though novel Matilda doesn’t necessarily re-connect to her emotions. The novel ends with Matilda choosing to try to go home, readers are never told if she succeeds or not. Adamson has chosen to end the movie on a happier note: Matilda has returned home with her father and they are walking down the beach smiling, remembering all that had happened, but being able to live with it all.

As is made clear, the movie is quite faithful to the novel. Though there are some obvious changes, the gist of the story remains the same. More importantly, Mathilda’s reasons for confabulating a different world, supported by Great Expectations have remained entirely the same. There is one detail, however, which is quite sloppy. It has to do with Matilda’s last name. In the novel, Matilda introduces her mother as Dolores Laimo.^[38] In the movie, this has changed to Naimo. This is not simply an error in the subtitles, as it is visually confirmed by the movie. At the very end of the movie, after Matilda has learned that Mr Watts has left her half the flat he used to live in with Grace, she finds Sarah’s baby room. As Mr Watts had told them, both he and Grace filled the walls with their thoughts, histories and good intentions. On Grace’s side of the wall, she had listed her entire lineage, including Matilda’s mother. In every other instance, the novel is a beautiful, correct, though somewhat confrontational portrayal of Lloyd Jones’ incredible novel.

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Kossew Sue, ‘“Pip in the Pacific”: Reading as Sensation in Lloyd Jones’s Mr Pip’, in Anthony Uhlmann; Helen Groth; Paul Sheehan; Stephen McLaren (eds.), Literature and Sensation, 280 – 289.

Latham, Monica, ‘Brining newness to the world: Lloyd Jones’s “Pacific version of Great Expectations”, Dickens Quarterly 28.1 (2011) 22-40.

Lorente, Ariadna Moreno, ‘“They called me Matilda, and I came to be known as Matilda”. A study of the concept of Identity in Lloyd Jones’ Mr. Pip and Andrew Adamson’s Film Adaption’, Universitat Autònoma de Barcelona. Departament de Filologia Anglesa i de Germanística (University of Barcelona, 2017).

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