Movie
The book was made into a movie entitled Konets Vechnosti (USSR, 1987). It broadly follows the novel, with the notable exception of the ending. The novel ends with Noÿs and Harlan mutually deciding that Eternity's suppression of spaceflight was not in the interest of humankind and then living "happily ever after". The Soviet-era film, however, ends very differently. The ending takes place in the mid-1980s Germany rather than 1932 Los Angeles, with Noÿs never fully describing why she wants Eternity destroyed (although in the middle of the movie, well before her true identity is revealed, she gives a shortened version of the explanation). Harlan yells at her that he was but a pawn in things, storms off, and there is a strong implication that he and Noÿs would not have any further contact. Following that, a scene shows Harlan observing both Twissell and Finge in 1980's clothing getting out of a Rolls Royce and walking together. The clear implication is that Twissel and Finge were using Harlan as a pawn to further their own materialistic gains. While out of step with the rest of the film as well as the novel, the ending does follow the Soviet concept that the "everyman" (Harlan) is frequently manipulated by the bourgeoisie as a pawn to the bourgeoisie's own ends. The movie ends with a long shot of Harlan walking away from the camera, alone, down a highway.
In 2008 New Regency acquired the rights to the novel for a possible film adaptation.
Read more about this topic: The End Of Eternity
Famous quotes containing the word movie:
“My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.”
—Robert Bresson (b. 1907)
“In the court of the movie Owner, none criticized, none doubted. And none dared speak of art. In the Owner’s mind art was a synonym for bankruptcy.... The movie Owners are the only troupe in the history of entertainment that has never been seduced by the adventure of the entertainment world.”
—Ben Hecht (1893–1964)
“It was easy to recognize in him the anti-social animus of a born evangelist, but there was also something else—a kind of voluptuous delight in the shabby and preposterous, a perverted aestheticism like that of a latter-day movie or radio fan, a wild will to roll in and snuffle balderdash as a cat rolls in and snuffles catnip.”
—H.L. (Henry Lewis)