Up to Adam (And Eve): The Film Adaptations of Mircea Eliade’s Fantastic Fiction

This article investigates the cinematic adaptation of Mircea Eliade’s prose in three Romanian films: Miss Christina (1992, director Viorel Sergovici; 2013, director Alexandru Maftei), I am Adam! (1996, dir. Dan Pița) and The Snake (1996, director Viorel Sergovici). Eliade’s literary work is deeply infused with mythological structures, reflections on the sacred and profane, and metaphysical inquiries of human existence. These characteristics render his narrative both captivating and complex for cinematic interpretation, as filmmakers face the challenge of converting symbolic, abstract, and frequently philosophical prose into a format that depends on visual and auditory elements. The research begins with the assertion that Eliade’s works should not be assessed merely on the basis of fidelity, but rather as interpretive endeavours that re-mediate and re-contextualize literature for diverse audiences, eras and cultural contexts. The article employs an interdisciplinary approach grounded in five major theoretical frameworks within adaptation studies. The foundation for examining the interplay between narrative, medium, and audience reception during the transition from prose to film is established by Linda Hutcheon’s adaptation theory (2006). To interpret visual metaphors, cultural codes, and the dialogic aspect of adaptation, Robert Stam’s intertextual and semiotic model (2005) is employed. The discourse on fragmentation, nonlinearity, and ontological instability in cinematic portrayals of Eliade’s mythic time is directed by Gordon Slethaug’s postmodern perspective (2014). Alex Piñar’s methodological view (2019), which encompasses textual, contextual, and interdisciplinary elements, provides a robust framework for the comparative case studies. Lastly, Deborah Cartmell’s pedagogical and cultural lens (2005) sheds light on how adaptation functions as a means of cultural transmission, influenced by national identity, historical trauma and ideological transformation. Through close readings of the films, this article tries to identify significant adaptive techniques. In Miss Christina, both Sergovici (1992) and Maftei (2013) contend with Eliade’s fusion of Ghotic ambiance, eroticism and myth; however, Maftei’s interpretation places a stronger focus on trauma, memory and gendered violence, thereby situating the film within the larger cultural discussion of the post-communist era. Conversely, I am Adam! (1996) poses a distinct challenge as Pița weaves together various Eliade narratives into a mosaic format, emphasizing themes of identity, exile, and metaphysical duality. The disjointed narrative underscores Eliade’s preoccupation with the fluidity of reality and the boundaries between the sacred and the profane, while also mirroring the confusion experienced by Romania in the 1990s. In The Snake (1996), Sergovici transforms Eliade’s allegorical narrative into a cinematic parable exploring temptation, illusion, and moral complexity. By utilizing surreal visuals and symbolic duality, the film highlights psychological and spiritual disorientation, providing a reflection on freedom and limitation in a society transitioning from authoritarian rule. The comparative analysis indicates that these adaptations serve not only as retellings but also as cultural re-mediations that engage with collective identity, memory, and national trauma. While Miss Christina (1992, 2013) emphasizes themes of gender, desire and intergenerational conflict, I am Adam! (1996) prioritizes the concepts of confusion and ontological uncertainty, and The Snake (1996) provides a more allegorical exploration of temptation and freedom. Collectively, these films demonstrate the variety of strategies that can be employed to translate Eliade’s mythic universe into the language of cinema. In conclusion, the article illustrates that adaptation theory offers essential frameworks for comprehending the ways in which Eliade’s literary works have been reinterpreted in Romanian cinema. By placing these films within the context of theoretical discussion and cultural history, the research contends that Eliade’s cinematic adaptations are valuable not only as artistic reinterpretations but also as cultural artifacts that embody Romania’s process of identity negotiation during the late and post-communist periods.