In the attempt to adapt Tom Wolfe’s novel A Man in Full for television, the substance of his social satire and the redeeming values of Stoicism got left behind. Wolfe’s novel is full of multifaceted characters and modern American tensions.
Any “big” book faces adaptation challenges of what to leave in and what to leave out. But the recent series adaptation is full of divergences from the original book. Most of all, a main hero of the book is relegated to a subplot.
For readers of the novel, it comes down to watching a TV series as a stand-alone story. The sequence and the characters must stand on their own merit. Were the cuts worth it? Did shifting the social concerns of the late 1990s work?
Each version of A Man in Full has strengths. Review the differences and how they work for a modern viewing audience.
Tom Wolfe’s Original Vision of A Man in Full
The novel A Man in Full follows two storylines that meet at the end to define what truly comprises “a man in full.”
First is Charlie Croker, a real estate mogul in Atlanta, Georgia, and a former football star. When we meet him, he seems to be at the pinnacle of success. As the story continues, his empire slowly begins to crumble, and so do his relationships with the people who surround him.
Far away in California, young, poor, and naive Conrad Hensley suffers a string of disasters that land him in prison. Remaining isolated from all the factions, he starts reading. In the library, he discovers the Stoic philosopher Epictetus by chance. Something clicks in his head, and Conrad finds meaning in his humbled life.
The two meet toward the end. Conrad introduces the struggling Charlie to the tenets of Stoicism. Through Conrad’s teaching, Charlie discovers what it means to be a man in full.
Wolfe employs his compelling storytelling and richly developed characters to do more than weave an engaging narrative. The novel elicits self-reflection, prompting readers to examine and contemplate their own observations of society and its complexities.
The Television Adaptation
In the series adaptation, key scenes crucial to developing themes in the book, particularly those exploring philosophical and existential debates, are either left out or slightly addressed. These changes affect the core of Wolfe’s message in the novel.
Although many of the same characters appear in the adaptation, the complexities of their personalities and their relationships are simplified for a broad audience. The story shifts to entertainment instead of Wolfe’s deeper themes. Social, political, and philosophical elements are pushed aside.
The changes are significant. The adaptation’s changes to plot lines and character representations shift the story’s focus. For instance, Conrad’s story is truncated and diminished into a subplot. The main plot is all about the magnate Charlie Crocker.
Compared to the book, the series’ approach to social and political commentary is less direct. The video adaptation exhibits a tempered approach to its exploration of race relations, economic disparities, and corruption. While this adjustment might attract a broader audience, it comes at the cost of the provocative insights that are central to the work’s identity.
Wolfe’s initial vision undergoes a softening, resulting in a narrative that, although still captivating and enjoyable, lacks the critical perspective that established the novel as a noteworthy and provocative commentary on American society.
These disparities emphasize the nature and potential challenges of translating literature’s intricate layers into a visual medium.
People who have read the book may feel disappointed. Newcomers to the television adaptation of A Man in Full will enjoy the drama of the battle of wits and fortunes in a woke depiction of modern-day Atlanta.
About the Author
Zara Altair is a writer and author of historical mysteries set in 6th Century Italy. She is passionate about books, film, film history, and sharing her knowledge with others. Engage with Zara, her educational insights, and her tips for fellow writers by following her on X(Twitter) and Threads.