Jean Dominique Buaby Character Analysis

“Each day I wait for you.” (Schnabel) is the heart-wrenching, lump-in-the-throat moment that had us all grasping onto our seats which resonated with an intensity that defined the shades of the film as it began to wrap up. These emotionally riveting moments are portrayed through several instances throughout the movie and it overshadows his pitiful character in the book. Buaby’s inspiring endurance which formulates sympathy is quickly extinguished and Bauby’s personality tunes itself on a spectrum moving from page to screen.
The expectations of a man fighting the odds to survive through a rare physical condition is overlooked in the movie as we begin to zoom into the relationship of Jean Dominique Bauby with the women in the story. “The movie

As the adaptation of the book took place, the story moved along several stages from screenplay writer to director and producer, each with an interpretation unique to them. The variance in the final film owes itself to the artistic license that allowed them the right to mold the story to their will. As disproportionate changes of variable magnitude are made, the emotional undertone finds itself on a tangent. “She is not my wife. She is the mother of my children.” (Schnabel) The disengagement between Bauby and Sylvie is evident in both the book and the film. But although she played the sole role of “the mother of my children” in the book through their first interaction at the Cinecittà and on Father’s Day, her presence was ominous in the movie and the audience felt for her constantly as it speaks out to someone who loved, but was not loved. Florence Ben Sadoun is the self-centered mistress who refuses to be by the side of the man she claims to love and Bauby cares for so dearly. “Sweet Florence refuses to speak to me unless I first breathe noisily into the receiver that Sandrine holds glued to my ear. “Are you there, Jean-Do?” she asks anxiously over the air. And I have to admit that at times I do not know anymore” (Bauby 41) As we progress through these lines, a peaceful sadness engulfs us and transports us into the heart of

“That is why E dances proudly out in front, while W labors to hold on to place. B resents being pushed back next to V, and haughty J.” (Bauby 20). Bauby attempts at the use of sarcasm as subtle humor to cut through the serious tense his surroundings are strained by. The movie, however, heeds no indication of the same in the two hours. It does play the alphabet on a different proportional level by repetitive scenes of people going over the letters which is imperative to show the persistence use of the sequence as his primary and sole mode of communication. But the frustration that Bauby encounters and highlights in the book turns into effortless convenience in the