Peculiarities of cinematic implementation of the faustian motif based on the novel by P. Süskind «Perfume: the story of a murderer»
Authors:   Ukrainian State University of Chemical Technology, Kovalova N. 
Published: June 2024

The purpose of the article is to determine the peculiarities of the implementation of the Faustian motif in the film version of P. Süskind's novel «Perfume: The Story of a Murderer» (2006) and the remake – the TV series «Perfume (Parfum)» (2018), both based on the novel by Süskind. The objective of the research is to compare the implementation of genre features, the image of the main character, and the motivation of his and other characters’ actions in the film and the TV series, to analyze the use of artistic techniques in the literary adaptation. The objectives of the research were achieved via the employment of comparative and analytical methods, which facilitated establishing the peculiarities of the intermedial transformation of P. Süskind’s novel and analysis of the metamodernist manifestations in the cinematic versions of the novel. In the context of Faustianism, the proposed study of the film adaptation of Süskind's novel is carried out for the first time. It has been established that Tom Tykwer's film is dominated by elements of the genres of romantic detective and thriller, while in the series the elements of detective and erotic thriller prevail. Elements of other genres can also be recognized in the film, except for philosophical and educational. It is established that the task of rendering the smell the creators of the film solve through the use of artistic means – the props, non-verbal signs, musical accompaniment, and visual effects. It is revealed that the main problem faced by the creators of the film was the creation of a positive image of the main character, a marginalized person rejected by society. Tom Tykwer's team created the image of an attractive criminal, a lone genius who invented the perfect perfume at the cost of crime. In the film, the main motif of Faustianism is successfully implemented – the desire for knowledge, as for the other Faustian motifs – the connection with mystical forces, and the desire for beauty – they are painted sporadically. The film also does not show the main character’s attitude to God, to the concepts of good and evil. The plot of the «Perfume» series (2018) is based on the murder of the red-haired singer Katharina Läufer; memories and experiences of her friends from the Catholic boarding school, who were once impressed by Patrick Süskind's novel «Perfume: The Story of a Murderer», which inspired them to experiment with human odors, searching for the perfect fragrance. The creators of the series raised the question to the audience: is it possible to manipulate people with the help of smells? At the center of the plot are six teenagers and then later five friends of the singer Katharina Läufer, and three detectives. Grenouille's image from the novel is split into several protagonists. The main motive that determines their actions is the desire for love. In the novel «Perfume: The Story of a Murderer» the author manages to maintain the attention of the readers through his virtuoso mastery of style, whereas in the film and TV series, the emphasis is on feelings. The language of sensuality, widely used in Tom Tykwer's film, is one of the hallmarks of metamodernism. The «Perfume» series (2018), where the characters are in constant search, they worry and strive to become better, we consider to be a typical cultural product of the metamodernism era. The audience's perception of the film and the series, in contrast to the unfavorable attitude of critics and journalists, indicates the birth of a new socio-cultural reality and its influence on the work of filmmakers and writers. Keywords: Faustian, motive, micro-image of the smell, postmodernism, metamodernism, Patrick Süskind, Tom Tykwer.