Abstract
Close observers of theatre hardly can be faulted for their curiosity, if not downright concern, when a significant work for the stage is adapted for the movie screen. Transplanting plays to film always has been chancy, with rather more misses than hits. One can point to exceptions, of course, such as movies made of Eugene O'Neill's Long Day's Journey Into Night, Tennessee Williams's Streetcar Named Desire, John Osborne's The Entertainer, Harold Pinter's Betrayal, Anthony Shaffer's Sleuth, Ronald Harwood's The Dresser, and a handful of others. But even in these instances, the acclaim typically is critical rather than popular in the commercial sense. While one lists successes such as these, one also must be conscious of the far greater number of disappointing movie adaptations made from hit dramas.
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