Popeye is a character in William Faulkner's 1931 novel Sanctuary. He is a Memphis, Tennessee-based criminal who rapes Temple Drake and introduces her into a criminal world which corrupts her.
Popeye is unable to sexually perform. [1] Owing to this aspect of his body, in the original novel, Popeye instead uses a corncob to violate her. Doreen Fowler, author of "Reading for the "Other Side": Beloved and Requiem for a Nun," wrote that Popeye wished to "despoil and possess the secret dark inner reaches of woman." [2]
In the 1933 film The Story of Temple Drake he is replaced by Trigger, played by Jack La Rue. Trigger is able to sexually perform. [1]
In the 1961 film Sanctuary the equivalent character is named Candy Man, played by Yves Montand. He is an amalgamation of the original Popeye; Red, another gangster; and Pete, Red's brother. Pauline Degenfelder, who analyzed several Faulkner stories and wrote academic articles about them, described him as Cajun, [3] while a publicity poster called him " Creole". [4] Gene D. Phillips of Loyola University of Chicago wrote that Candy's "French accent gives him an exotic quality" attracting Temple to him; the film has the character originate in New Orleans to match the change. [5] Candy Man is able to sexually perform, and Phillips stated that when Temple is raped, Candy Man "demonstrates his virility unequivocally". [6] According Degenfelder, the new character name is a reference to his sexual allure and his job illegally transporting alcohol, as "candy" also referred to alcohol. [7] Phillips stated that the merging of Pete into Candy Man means the film is made "more tightly into a continuous narrative" from the plots of the two original works, and also that the film does not have to make efforts to establish a new character towards the film's end. [8]
T. H. Adamowski wrote in Canadian Review of American Studies that usual characterizations of Popeye reflect an ""electric-light-stamped-tin" syndrome". [9] Philip G. Cohen, David Krase, and Karl F. Zender, authors of a section on William Faulkner in Sixteen Modern American Authors, wrote that Adamowski's analysis of Popeye was "philosophically and psychologically sophisticated". [10]
Gene D. Phillips of Loyola University of Chicago wrote that Slim Grisson of No Orchids for Miss Blandish was "modeled after Popeye." [11]
Popeye is a character in William Faulkner's 1931 novel Sanctuary. He is a Memphis, Tennessee-based criminal who rapes Temple Drake and introduces her into a criminal world which corrupts her.
Popeye is unable to sexually perform. [1] Owing to this aspect of his body, in the original novel, Popeye instead uses a corncob to violate her. Doreen Fowler, author of "Reading for the "Other Side": Beloved and Requiem for a Nun," wrote that Popeye wished to "despoil and possess the secret dark inner reaches of woman." [2]
In the 1933 film The Story of Temple Drake he is replaced by Trigger, played by Jack La Rue. Trigger is able to sexually perform. [1]
In the 1961 film Sanctuary the equivalent character is named Candy Man, played by Yves Montand. He is an amalgamation of the original Popeye; Red, another gangster; and Pete, Red's brother. Pauline Degenfelder, who analyzed several Faulkner stories and wrote academic articles about them, described him as Cajun, [3] while a publicity poster called him " Creole". [4] Gene D. Phillips of Loyola University of Chicago wrote that Candy's "French accent gives him an exotic quality" attracting Temple to him; the film has the character originate in New Orleans to match the change. [5] Candy Man is able to sexually perform, and Phillips stated that when Temple is raped, Candy Man "demonstrates his virility unequivocally". [6] According Degenfelder, the new character name is a reference to his sexual allure and his job illegally transporting alcohol, as "candy" also referred to alcohol. [7] Phillips stated that the merging of Pete into Candy Man means the film is made "more tightly into a continuous narrative" from the plots of the two original works, and also that the film does not have to make efforts to establish a new character towards the film's end. [8]
T. H. Adamowski wrote in Canadian Review of American Studies that usual characterizations of Popeye reflect an ""electric-light-stamped-tin" syndrome". [9] Philip G. Cohen, David Krase, and Karl F. Zender, authors of a section on William Faulkner in Sixteen Modern American Authors, wrote that Adamowski's analysis of Popeye was "philosophically and psychologically sophisticated". [10]
Gene D. Phillips of Loyola University of Chicago wrote that Slim Grisson of No Orchids for Miss Blandish was "modeled after Popeye." [11]