FINDINGS, PEDAGOGICAL IMPLICATIONS AND CONCLUSION

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1 274 V FINDINGS, PEDAGOGICAL IMPLICATIONS AND CONCLUSION 5.1 Preliminaries This is the concluding chapter. The chapter enumerates major findings of the present research. Then it states the pedagogical implications of the present study and suggests, rather appeals, to the Course Designers to incorporate Film Studies as a regular course in Indian Universities. The chapter also suggests some new lines for further research. The chapter comes to an end after making some concluding remarks. 5.2 Major Findings Five Point Someone and 3 Idiots As seen in the comparative study made in the previous chapter (cf ) the filmmakers of 3 Idiots also made an extensive use of expansion that the movie turned out to be quite different from the adapted novel Five Point Someone. The novel stops at the end of their college life but the movie goes beyond it. The filmmakers made use of the technique of expansion by enlarging the minor character Venkat ( Chatur in the film) to one of the major characters, and by introducing new characters like Mona and Ranchhoddas Shyamaldas Chanchad in the film. They, thus, expanded the sub-plots and added new plots (cf ). The character of Prof. Cherian as Dr. Viru Sahastrabuddhe better known as Virus - also gets expanded to a larger-than-life character, gives the film a new dimension. The filmmakers also made dumb Neha Cherian a doctor and gave her more footage in the film as the role is played by the leading actress Kareena Kapoor. The character of Ryan Oberoi who used to come last in the exams is played by the super star Aamir Khan in the film who just cannot be presented as a failure student. They turned Rancho (Ryan) to be a guy smarter than his Professor, who used to come out topper in every exam and turned out to be a scientist in the film.

2 275 The film has got very good songs and dances which is another reason for its excessive box office hit. There are five songs in the film. All total the film is expanded by 21 minutes and 24 seconds through songs and dances. In the novel, Five Point Some the lovers Hari and Neha get separated, but whether they get married is unclear. It is experienced that the Indian audience simply cannot accept a movie in which the hero and the heroine cannot reunite at the end. Therefore, the film makers made Pia (Kareena Kapoor), the heroine of the movie, remain unmarried for 10 years, and finally make her reunite with the hero Rancho (Aamir Khan) at the end of the movie. The web article sulekha.com points out: The book doesn t preach. It only presents. It brings to light the condition of Indian colleges without making a conscious attempt to do so. The best that the book did was to inspire a movie - Three Idiots, a film which manfully criticizes Indian society and its blinkered views, without compromising on the fun. Somewhere it succeeds in making educationists locate where exactly we are wrong in the education system. 34 The plot of the novel Five Point Someone is dark, humorous and slow. But the movie is a laugh riot and full of life messages. The filmmakers have not only expanded the sub- plots but they have also expanded the themes. Shamnad Basheer in article Three Idiots Controversy- An Analysis says: I personally think it s highly misleading and downright dishonest to claim that only 3-5% of the movie was taken, if at all it is possible to precisely quantify such factors. The net implication is that the rest of the movie script really originated from other authors, a proposition rather difficult to digest. To me, it appears that a significant portion of the book s storyline, most of its characters and sub-plots, including some dialogues were all reproduced in the movie. The fact that some new scenes and sub plots were added afresh to the movie does not detract from 34 Talkativewoman. Five Point Someone- A Review. Sulekha.com,

3 276 the fact that significant portions of the book were copied onto the movie in the first place. Therefore, the claim that the book only contributed 3-5% of the movie is blatantly false. On the contrary, Chetan could claim that the script borrows significant amount of copyrightable elements from his book and he is therefore legitimately entitled to be treated as a joint author of this script. Consequently, the lack of appropriate attribution in favour of Chetan amounts to a violation of his rights to authorship guaranteed by section 57 of the Indian copyright act. 35 The filmmakers and the writer of the novel have an issue over the percentage of materials taken from the source. The makers said it is 2% to 5% but the novelist claims it is more than 70%. But the present study shows that out of the total film time of 168 minutes the borrowed material from the novel covers only 48 minutes of film time which comes to about 27%. It seems certain that the main idea and the characters have been picked up from Chetan Bhagat s novel Five Point Someone. But we cannot deny the hard work of Raj Kumar Hirani and Abhijat Joshi who have expanded the sub-plots, the characters and themes to a higher level which makes the film highest gross film ever. Comparing the similarities and dissimilarities between the novel and the film, there is no denying that the basic structure of the film is inspired and adapted from the book and some of the plots are directly lifted from the novel. The changes made in the movie however are many, which are central to the movie alone and not to the novel. The similarities are not extensive and the degree of similarities is not such as to lead one to think that the film is taken as a whole constitutes a copying of Mr. Chetan Bhagat s novel under the copyright law Susanna s Seven Husbands and 7 Khoon Maaf The novella Susanna s Seven Husbands is of 59 pages. But the adapted film 7 Khoon Maaf is of 2 hours. 15 minutes, i.e. of 135 minutes. The original existence of this novella is in the form of a short story of the same title (undated) and is a slightly more than five pages length which one can finish reading within ten minutes. 35 Basheer, Shamnad. The 3 Idiots Copyright Controversy: Will All End Well? SpicyIp.

4 277 Likewise, one may take seventy or seventy-five minutes to complete the reading of the novella of fifty-nine pages. Transferring this print medium to its visual presentation may have taken hardly sixty minutes considering the fact that there are many descriptive passages which may have taken much less time in its visual presentation. It may be said that an entire descriptive page can be presented visually in a few seconds. All these facts become relevant and also crucial when the habits of Indian cine-goers are considered. They normally go to the theatre for a two-and-half hours entertainment. Anything less than that is considered a waste of money by most of the cine-goers. Keeping all this in mind, how does a Bollywood film-maker, then, fits a 59-page (1710 lines many of them not even full sentences) and the reading of which can take somewhat like one hour into a two-and-half-hour film? It should be remembered that the success of his film at the box-office has a direct bearing on the way he makes use of his creativity to handle this problem. As mentioned earlier (Cf.. 2.3), the film-maker has two techniques Expansion and Condensation for adapting his written material into a full-length film. Since in this case the written material is of a very short length the film-maker is somewhat bound to resort to the technique of expansion. For doing this, the filmmaker has certain ways and means at his disposal. He can make additions on certain fronts. He can add subplots and new characters. He can expand scenes and story lines. He can also enlarge the existing main characters like those of the hero, the heroine and the villain. As Indian audiences hardly think of a film without songs and dances the film-maker can easily integrate a few songs and dances and thus fill in the existing time gaps. A comparison between the novella Susanna s Seven Husbands and 7 Khoon Maaf, it is found that the filmmakers have extensively used the techniques of expansion in adapting the novella to the film. They have remained faithful to the novella in terms of plot, character, theme, setting and style. Apart from being faithful to the original text they have expanded the plot by expanding the role of DSP Keemat Lal, making him the fourth husband and the way he got killed. To fit him in the list of seven husbands the makers of the film resorted to the

5 278 technique of condensation by removing the husband Sammy Das from the film. The film makers might have thought that his obsession with mobile phones would be too trivial a reason to get him killed and the audience may not like it. There is also an expansion in terms of songs and dances as we know songs and dances are an integral part of Bollywood films. There are 4 songs and 1 dance sequence in the film 7 Khoon Maaf expanding the film material and time by 15 minutes 12 seconds. Again, the filmmakers through the last song called Yeshu of 1 minute and 55 seconds where how Susanna has murdered her husbands is shown which is not in the novella. The possible reason behind such an ending is that in a theatre or cinema hall where a large variety of people people from all walks of life starting from the most illiterate to highly literate- are watching the film together an ambiguous or half-solved or puzzling answer would not have worked. Moreover, the filmmakers made Susanna s character likeable by making the husbands cruel and imperfect beings. This is because Indian audience would not accept the main lead, especially their favourite female star to be in a negative role. Bond s novella is dark and simple while Bhardwaj made 7 Khoon Maaf dense and ornate with layered use of colour and music. The film got critically acclaimed and Priyanka Chopra fetched the Best Actress award for playing the role of Susanna. The songs in the movie are also well received by Indian audience. But the box office results showed the movie as not successful in terms of business. Comments We find that in both the adapted Bollywood films the film-makers have made extensive use of expansion to make their respective films blockbusters. But our analysis says that only one film i.e. 3 Idiots got success and the other film i.e. 7 Khoon Maaf got less success. The reason may be that 3 Idiots managed to reach a larger mass than 7 Khoon Maaf. The audience preferred a laugh riot and a film full of life messages to a serious and murderous one.

6 Q & A and Slumdog Millionaire A comparison between Vikas Swarup s novel Q & A and the adapted film Slumdog Millionaire directed by Danny Boyle and Screenplay written by Simon Beaufoy shows the film to be quite different from the source and is only loosely adapted from the book. The main plot of the film is definitely taken from the novel Q & A -- the protagonist gets arrested after winning a million rupees in a quiz show; he is accused of cheating in the quiz show. Rest of the sub-plots, how he is able to answer all questions correctly from his own experiences in life, are different from that of the novel. The novel is not just not about Ram Mohammad Thomas. There are several characters with whom Ram has spent few years. For example, the Chapters where Ram remains a passive character are The Death of a Hero, How to Speak Australian, Hold On To Your Buttons, A Soldier s Tale, License to Kill, and Tragedy Queen. But in the Film Ram (i.e. Jamal) is at the center of every scene. There is no single incident where Jamal is left out. There are more than 60 characters in the novel, but to incorporate them all in the film would have created great difficulty for the filmmakers. Usually a film has three central characters: the hero, the heroine and the villain. Rests are minor characters. The screenplay writer, Simon Beaufoy, condensed the subplots and minor characters of the novel and kept only three main characters in the film. These are Jamal- the hero, Latika- the heroine, and Salim- the villain. He moulded one bad guy out of the main character s best friend in the book, Salim, turning the friend into the hero s brother a brother with street smarts and survival skills, but lacking the morals that guide Jamal. Beaufoy takes a character from the book who preys upon street children, taking them to his orphanage where he has them blinded or crippled so that they will earn more money begging in the streets. Other characters he omitted entirely or shaded differently. The host of the game show, Prem Kumar (Anil Kapoor), in particular, has a much darker side in the book that ties in more with the hero s determination to get on the game show. In

7 280 the book, Ram is motivated to get on the show not just for the money, but by his desire to take revenge on Prem Kumar for the acts of violence he has committed on two female characters. In the film, the revenge thread is eliminated. In its place there is a sweeping melodrama about love and destiny, about these two characters who surpass overwhelming odds in order to be together. The money is just a side benefit. Simon Beaufoy simply doesn t pick up scenes from the book which are likely to fit into his screenplay. He adds new ideas which he has picked up from his time spent in India, creates entirely new scenes and characters and finds a far more effective way to expand the source material to the screen than just a mere literal transportation. He feels he has to be authentic for them. It s more important to be true to the place than to be true to the book and I don t mean that as disrespectful to the author, but as an outsider going in, you have to be true to that, says Boyle (Voynar 2008:1). The authenticity is very important, especially if you re making a film in a different culture, a different place (Ibid.). Beaufoy expands the theme by making it bigger than just a poor slum kid who becomes a millionaire. Beaufoy has himself experienced the life style of Mumbai s slums. He says: I went to Bombay; it s a very passionate place, a very romantic place, and I suddenly understood those weird Bollywood films the singing and the dancing and the romance and I thought, that s it, it s got to be a love story. That s what will override this money thing. I just didn t want to write a story about a guy getting rich, and I knew that was it (Ibid.). Beaufoy sets out to give his hero a heroine to love and to long for, which gives him the means to build a platform of classical-hero narrative structure over the foundation of the game show story. Once he is determined that the love story would become the central thread, he goes back to the source and decides what to pick up from the original story that would fit in with the romance angle, and what has to go. He knows that the tone of the film is crucial: this would be a melodramatic film, with moments of comedy and mirth interwoven with brutal violence, scenes of

8 281 crushing poverty and torture. Indian cinema isn t concerned with being authentic as a rule. That s a broad generalization, but it s largely true, Beaufoy says (Ibid.). In England, you couldn t get away with torture and comedy in the same movie, but here you could In the book, the boy is called Ram Mohammed Thomas; in the film he is Jamal Malik. The character in the book is named by the priest who takes him in as an infant and raises him after he has been abandoned by his mother. The Priest christens the boy with both Hindu and Muslim names to appease the men who are displeased by the idea of an Indian boy being raised by a white man, and since there is no way to know whether the boy s mother is Muslim or Hindu, the priest gives him names with both origins. Beaufoy realizes that there is always the Hindu-Muslim tension in India. He incorporates the Hindu-Muslim tensions into the film by having a conflict between the groups resulting in the death of Jamal and Salim s mother, he has to change the hero s entire personal background. In the film, Jamal is not an orphan at the start of the story; he becomes an orphan when his mother is killed. This crucial decision also allows the far earlier introduction of the love story thread that ties the film together: Jamal meets his love interest, Latika, when they are both young orphans living on the streets of Mumbai. Vikas Swarup complains that the film makers have -changed the title from Q&A to Slumdog Millionaire. ("That made a lot of sense," says Swarup.) They changed the ending. ("Danny thought the hero should be arrested on suspicion of cheating on the penultimate question, not after he wins as I had it. That was a successful idea.") They made friends into brothers, axed Bollywood stars and Mumbai hoodlums and left thrilling subplots on the cutting-room floor. Crucially, they changed the lead character's name from Ram Mohammad Thomas to Jamal Malik, thereby losing Swarup's notion that his hero would be an Indian everyman, one who sounded as though he was Hindu, Muslim and Christian. Instead, they made Jamal a Muslim whose mother is killed by a Hindu

9 282 mob. ("It's more dramatically focused as a result, perhaps more politically correct.") 36 He worries how that scene of Hindu mobs murdering Muslims will play when the film opens in India next week. "People in India are sensitive about how they're portrayed, so there will be criticisms. But a Bollywood director recently told me Slumdog Millionaire's failing was that it wasn't extreme enough to be truly Indian. India has a genius for recycling its contradictions." Swarup rewards my skeptical frown with an endearing smile (Ibid.). "I was forewarned of the changes by Simon Beaufoy, the screenwriter," Swarup says. And he's still happy. "The film is beautiful. The plot is riveting. The child actors are breathtaking"(ibid.). The film works on every level, from the casting, to the performances by the nine actors playing Jamal, Salim and Latika at various ages, to the way in which director Danny Boyle captures the wildly frenetic energy of the streets of Mumbai, to the fantastic use of music Visually, Slumdog is a stunning film; masterfully shot, overlaying the grimness, the shit and dirt and filth of the slums. The editing is superb. The film is fast and has no lags whatsoever. This film examines the lives of its poor characters without exploiting or sensationalizing them, and finds the humanity and hope amid the poverty and desperation. Although the script remains true to its source material in certain key ways, overall, the script is composed largely of original material that s the brainchild of the writer; the result is a film that is far better than a mere straight adaptation would have been, and in this case, the screenwriter deserves as much credit as the director for what we see on screen an entirely unique blending of melodrama, classic hero story arc, romance, adventure and Bollywood, that feels true to the culture of its setting Swarup, Vikas. Interview by Stuart Jeffries. I'm the luckiest novelist in the world The Guardian. 37 Voynar, Kim. Consider The Source: Simon Beaufoy s Adaptation of Slumdog Millionaire. Movie City News.

10 The Namesake and The Namesake According to our analysis the film The Namesake can be called a literal or faithful to use the much misinterpreted term - adaptation of the novel The Namesake by Jhumpa Lahiri. The film is exactly the same as the novel whether it is the plot, the characters, the theme and the style. The only difference is that the film takes a straight narration starting from Ashoke s train accident to the ending where Gogol starts reading the book gifted by his father. The novel is initially narrated in back and forth sequence. Ashima and Ashoke remember their past at the hospital. The novel is of 291 pages and it is not possible to incorporate in the film each and every event mentioned in the novel. So, the screen play writer Sooni Taraporevala and the director Mira Nair condensed some events of the novel two few scenes : for example, raising baby Gogol to his adolescent and Sonia s birth to her adolescent. Moreover, Gogol s meeting his first girlfriend Ruth, getting separated and his affair with a married woman is also not shown in the film. We directly see Gogol with Maxine spending time with her family. Episodes relating to Moushumi s past with his fiancée and lover Dimitri have been condensed. Moushumi and Gogol/Nikhil spending time with Astrid and Donald in Paris also gets condensed. The rest of the film s plot, characters, theme and setting remain faithful to the novel. The novel doesn't have a clear-cut narrative arc, it has few conversations. Mostly, an omniscient narrator tells us about the thoughts and feelings of the characters, and the reader is gently swept along by Lahiri's lucid writing. We rarely get to hear the protagonists speaking in their own voices. Gogol in particular: intellectually, we understand his confusion, the shifts in his feelings over time, and especially the effect his father's sudden death has on him, but we never completely get into his head. A frequent criticism of movie adaptations is that where the book allows us to participate in the creative process (using our imaginations to fill in the characters and settings, for instance), the film by its very nature makes everything explicit, closing the door on imagination. But it seems Nair's film is more satisfying than

11 284 the novel precisely because these characters are presented to us in specific terms, we see them talking to each other, and most importantly all this is done extremely well. The casting is near-perfect Irfan Khan, Tabu and Kal Penn bring an immediacy to the characters of Ashoke, Ashima and Gogol that is missing in the book. The various themes of the novel whether it is the theme of Name and Identity; Alienation; Culture; Relationships between Parents and Children; Tension between Life and Death; and Nostalgia are well presented by Director Mira Nair and Screen play writer Sooni Taraporevala. Sophisticated film lovers no longer insist that an adaptation be completely faithful to its source. We now recognize that sometimes the film is actually better. The Namesake is the rare case in which book and film are equally strong, and their differences actually complement each other. With Gogol as her focal point, Lahiri works out into the wider world, whereas Nair focuses on Ashima and Ashoke and works inwards. In both cases, youthful experiments are counterpointed with middle-aged accommodations. The voice of the novelist and the eye of the filmmaker are in perfect synergy. Scene after scene, Nair creates iconic images that depict intense emotions. Facial expressions, subtle gestures, and even pieces of furniture all capture the ineffable. Before they ve ever made eye contact, Ashima sees Ashoke s shoes, and the tiny moment in which she daringly slips her feet into them resonates throughout the entire film. The novelist has described these shoes in detail, but it is the filmmaker who shows us how well they fit. They re big, of course, but not too big. These shoes, on Ashoke s feet, will take Ashima to America, and she immediately senses that they will protect her without overwhelming her. 38 Fundamentally, the book and the film both deal with the same topic of displacement and the creation of identity, and the film, for the most part, is true to the narrative of the novel. It is only incidental that in the film Ashoke and Ashima come to New York instead of Boston, as the Queensboro Bridge over 38 Huttner, Jan Lisa. The Namesake: Jan s Review. Womenarts.org.

12 285 the East River in New York and the Howrah Bridge over the Hooghly in Calcutta cinematically connect the two cities and help in the comparison of two different cultures. 39 The film is the product of a rare combination of talents the novelist Jhumpa Lahiri, the screenplay-writer Sooni Taraporewalla, and the director Mira Nair all the three have a first-hand experience of the immigration dilemma. No doubt, the film made a name internationally as a cross-over cinema. Comments We find that in the adapted Hollywood films, the Slumdog Millionaire the filmmakers have made extensive use of expansion to make the film do well at the box office. The screen-play writer has altered the story to make it commercially successful. The filmmakers and the novelist have agreed that the changes in the film made the film a box office hit than a mere straight adaptation would have been. On the other hand, The Namesake is a straight adaptation. The filmmakers are true to their source novel and used less expansion. Rather they have used condensation to fit the novel into a 120-minute film. The Namesake turned out to be a critically acclaimed film but it didn t even come near the height of success that Slumdog Millionaire has reached. The reason is that Slumdog Millionaire is made keeping the audience s expectations and the commercial aspects film in mind. But The Namesake is made keeping the soul of the novel, or as the screen-play writer of the film Sooni Taraporevala uses the term spiritual DNA, in mind. 39 Saha, Amit Shankar. The Namesake: The Book and the Film. Desi Magazine. Issue No.3: 2007

13 Percentage of Adaptation and its Effect on Box Office Reception Table - 2 below shows the percentage of adaptation from the novels to their corresponding adapted films under study: Table - 2 Pages in Novel Film Run Time Material used from Novel Material Expanded Percentage of Material used Percentage of Expansion Type of Adaptation Five Points Susanna s Q & A The Namesake Someone and Seven and and 3 Idiots Husbands and Slumdog The Namesake 7 Khoon Maaf Millionaire 270 pages 59 pages 361 pages 291 pages 168 minutes 144 minutes 115 minutes 112 minutes 44 min. 68 min. 30 min. 104 min. 09 sec. 25 sec. 22 sec. 11 sec. 125 minutes 67 minutes 85 minutes 8 minutes 27% 47% 26 % 93 % 73% 53% 74% 7 % Loose Adaptation Intermediate Adaptation Loose Adaptation Literal Adaptation The present study shows that the four films that have been taken for analysis, the respective filmmakers have extensively used the theory of condensation and expansion to adapt the novels or novella to fit into two-to-two-and-half-hours films. These condensation and expansion are done through condensing or expanding the beginning and end of the films. Secondly, by condensing or losing the sub-plots. Only those sub-plots are there in the films which are important for overall understanding of the film. Thirdly, by expanding or adding new subplots. The new sub-plots are added to the film to make the film more interesting and to do well in box office. Seger (1992:4-7) points out: [i]t s important to remember that entertainment is show plus business, and producers need to be reasonably sure that they can make a profit on their

14 287 investment Films and television shows need to satisfy the masses to make a profit. Novels and plays have a more select audience, so they can cater to a more elite market: they can be thematic; they can deal with esoteric issues, or work with abstract styles. But the transition to film requires that the materials be accessible to the general public. A number of decisions can make material more commercially viable. Strengthening the story line is a first step, for audiences like a well-told story. A good story has movement and focus and engages audiences from beginning to end. Making it more commercial also means simplifying, sometimes spelling out a story line, and making sure that characters are not ambiguous. Table - 3 below indicates commercial reception of the films under study: Table - 3 Films Budget Box Office Hit or Flop collections 3 Idiots INR 55 crore INR 392 crore Super Hit US $ 8.7 million US $62 million 7 Khoon Maaf INR 15crore US $ 2.4 million INR 20crore US $ 3.2 million Flop Slumdog Millionaire $15 million $377.9 million Super Hit The Namesake $ 9.5 million $20 million Average It is also worthwhile to note here the observations made by S.W. Dawson (1970) in his book Drama and the Dramatic regarding the elements which are crucial to the success of the stage performance of a play. This is also true for a film in its success at the box office. Dawson (1970:12) observes: It is characteristic of drama, as of no other form of literature, that it makes an absolute and sustained demand on our attention. A play in performance demands our uninterrupted attention Sitting in silence without conspicuous movement for as long as an hour and a half is a considerable achievement, possible for most of us only when our attention is entirely engrossed. It follows that the dramatist s primary responsibility is to seize and hold our attention. This is why we commonly refer to plays and films as gripping.

15 288 A little later he points out another important quality of drama and this is also very important for the success of a film the quality of immediacy : A newspaper story has more in common with drama than has an ordinary story, since the writer is concerned with immediacy, a sense of its happening now, not in the past. (Headlines are usually in the present tense.) this immediacy is integral to drama, since what is happening on the stage is happening now, for the first time, and not in what Suszanne Langer calls the virtual past of narrative literature (Ibid.:13). Hutcheon suggests that, in experiencing a work as an adaptation, one oscillates between the adaptation and its source (2006:xv, 121). Hutcheon also describes this as flipping back and forth (2006; 69), which leads Leitch to propose more generally: Watching or reading an adaptation as an adaptation invites audience members to test their assumptions, not only about familiar texts project against the new ideas fostered by the adaptation and the new reading strategies it encourages (2008:116). The present study also shows that while condensing and expanding the sub-plots the characters in the respective novels also got condensed and expanded. It is also difficult to incorporate all the minor characters of the novel to the adapted film. For example, our study shows there are more than sixty characters in the novel Q & A and it is quite impossible to incorporate sixty characters in the film giving importance to each character as in the novel. The filmmaker Atul Agnihotri, Director of Hello!, who has adapted for this film Chetan Bhagat s One the Call Center tells the researcher in an informal conversation at the Mehboob Studio, Bandra (West), Mumbai, on 15 December 2012: We (filmmakers) have to work in limited time and with limited budget. We have to check the film production cost going over budget. For this reason we have to make changes. In a novel, anything we can write irrespective of budget. But film making is a serious business.

16 289 To say a book is always better than a movie made out of it is a cliché but writers love this, author Amish Tripathi contended at the 13th edition of the three-day FICCI-FRAMES global convention at Mumbai, March 15, 2012 (IANS): Although a cliché, we as writers love it. At the same time when people ask me if a movie should be made exactly like a book, I would say absolutely not, he said at a panel discussion on The journey from books to successful screenplays: The writers take. Tripathi said that the two books he has written so far are both around 400 pages. One page of a book roughly translates to a minute in a movie if made exactly as the book says. Now, it is a violation of human rights if a person has to watch a movie which is 400 minutes long. On the panel there were other big names such as author Chetan Bhagat, screenwriters Sooni Taraporewala and Shibani Bhathija and filmmaker Sudhir Mishra who unanimously opined that there are practical constraints that a filmmaker will face while adapting a book. Also posing a question at the discussion was Bhagat who asked as to why writers don t get the same visibility as stars or filmmakers. One of the probable reasons might be that authors are not as charismatic as stars, said Bhagat whose novel Five Point Someone was adapted into a super hit film 3 Idiots. Also, the power equation is a factor. In some cases, the filmmakers take credit for the success of the film and the author s name is buried in opening and closing credits, he added. Amish Tripathi said: There are some practical difficulties that a director faces while adapting literary work. I remember reading that the visually delightful science fiction film Avatar script was written 12 years before it was made into a movie. It was released so late as the technology required to make it was not available back then.

17 290 Taraporewala said: All difficulties aside, a book is always a win win. If a film adaptation succeeds, people praise the book and the author. If it doesn t, they say they did not do justice to the book. So, authors will never have to worry. Film maker Sudhir Mishra, however, put it in an easier way saying: Literature is a private medium where one sits and writes alone. As for films, it is a social medium involving interacting with people. He adds: Also, sometimes when people have nothing to say, they make movie adaptations of a book. We just have to ensure that the soul of the book is maintained while a movie is made Novelization in India Another interesting finding of the study is that in India the concept of novelization, as understood in Hollywood, has not yet properly begun. Novelization, as noted earlier (cf ), is the process of turning movies into books. Perhaps, such authors think that in India people are less fond of reading books. But it is not that in India novelization has not begun at all. Ruskin Bond s novella can be cited as an example. This is how it happened. Bond sent a collection of short stories to film maker Vishal Bhardwaj where he found the story Susanna s Seven Husbands. Bhardwaj requested Bond to elaborate the short story into a novella as characters in the story needed to be fleshed out further. Bond sent the novella after expansion. With the help of this novella Susanna s Seven Husbands, Bhardwaj and Matthew Robbins, co-writers, wrote the screen-play of the movie 7 Khoon Maaf. Vishal Bhardwaj thought it would be a good idea if they published the novella, short story and screen-play together, thus giving the reader an insight into the way a short story became a film story and then a screen-play. 40 Ensure book s soul not lost in moviemaking: Writers. IANS. sify.com

18 291 Likewise the screen-play of 3 Idiots was published after the release of the movie. The book 3 Idiots: The Original Screenplay revealed to us the inside matter through rare interviews, exclusive behind-the-scene photographs, and insightful first-person accounts. The book uncovered the journey of the personal philosophy of its makers. The book seemed to compel a nation to think on its education system. But it cannot be accepted as an example of novelization in its proper sense. It is a usual practice now-a-days that an adapted film whenever becomes a box office success the post-success edition of the novel comes with the cover page featuring the pictures of the stars of the movie. For example, Chetan Bhagat s novels after the release of their adapted movies, were reissued with changed cover pictures featuring the stars and the titles of the respective movies along with the novels original titles. Likewise, Vikas Swarup s Q&A earlier had a cover picture of a boy carrying tea kettle and cups on a tray. But after it was adapted into an Oscar-winning movie Slumdog Millionaire the title and cover of the novel were changed featuring the stars of the movie. The novel s title also got changed from Q&A to Slumdog Millionaire. These small changes boosted the selling of the novel. Before the movie was made, hardly anyone knew that a novel entitled Q&A existed. This is what a movie or film can give back to its adapted book -- immense popularity. This is also true with the novel The Namesake. After the release of the movie The Namesake the cover of the novel was changed from an unappealing one to an eye-catching one featuring the main leads of the movie. This is a technique resorted to by the publishers to attract those readers who buy books by looking at their attractive covers. By this the novelists as well as the filmmakers make a good deal of extra money.

19 Pedagogical Implications The present study also has certain pedagogical implications. It is in the fitness of things that some suggestions, based on the findings of the study, may be made for a more effective literature and language teaching and learning in the second language classroom The Indian Scenario It has been a common practice by the syllabus designers of Indian universities to prescribe one British novel at the B.A. (Pass) Compulsory, two British novels at the B.A. (Honours), and three to five British novels at the M.A. English Literature courses. Only about two decades ago some not all - universities started replacing the British novels by at least one Indo-Anglian novel only at the Under-Graduate level. The Indo-Anglian novel prescribed mostly is either Kanthapura by Raja Rao, or one of the novels of R. K. Narayan, usually The Guide. The problem is, in spite of these novels being set in the Indian background, their backgrounds remain typically south Indian. It becomes quite difficult for non-south Indian students to have total comprehension of the setting, the customs and manners of the area, the rituals, etc. Of course, any Indian novel will pose the same problem considering the multi-cultural nature of India with its myriad variety of traditions and customs. This problem of total comprehension becomes manifold when the prescribed novels are British. Now-a-days there are even special papers exclusively on American/Canadian/African/European (without British)/British novels as part of the Post-Graduate Literature Courses. One of the easiest solutions is provided by the adapted films of such prescribed novels. As Smith (2010:3) puts it: Using an adaptation to supplement the novel is a perfect solution Adaptation Studies as a Pedagogical Tool in Academic Institutions Overseas In a number of American and British Colleges and Universities Adaptation Studies form an important and regular part of the curriculum because of its enormous pedagogical potential. Even then Thomas Leitch in his article How to Teach Adaptations, and Why (2010:4) (Leitch as quoted by Smith 2010)

20 293 unhappily notes that even universities have yet to tap into the resources adaptations have to offer: I know of no English department, however generous in its views and text making or up-to-date in its theorizing of the relation between reading and writing, that assigns a central importance to adaptation studies. This is a shame, because the study of film adaptations has a great deal to offer contemporary English studies. Leitch seriously argues that Adaptation Studies should be made a compulsory course, not an elective one, at the Graduate level. He even proposes a basic four unit plan for educating students about adaptations. The first unit involves students recovering the sense of adaptations as adaptations. This means students will explore (i) what exactly constitutes an adaptation, and how an adaptation relates to its source text, even if the source text is not well-known. The second unit explores (ii) analyzing adaptations as necessary, contingent, and incessant writings. Students will analyze a particular familiar source text and its adaptations, their receptions, and any other related materials. (iii) The goal is for students to understand that adaptation is inevitable and natural. (iv) By exploring how a film is received, students can better understand how and why audiences felt the way they did. Citing the example of Shakespeare s play Romeo and Juliet s (1597) being made into West Side Story (1961) as a musical adaptation, Leitch suggests that a lively classroom discussion can be triggered as to why that story has remained popular, and why the updated story took on the form it did (set in 1950s New York City, with Latino Americans and Caucasians serving as the respective Capulets and Montagues). Students can then easily understand how the same problems from Shakespeare s time are still relevant today (like class disputes, teenage angst, violence, etc.) (Adopted from Smith 2010:16-18) Pedagogical Implications for India Bearing in mind the suggestions of Leitch and other scholars on Film Studies about the utmost importance of the inclusion of Adaptation Studies as a compulsory component of the syllabus at the Graduate Level even in an L1 (First Language) situation, it may be argued here that such a study gains much more

21 294 importance as an effective pedagogical tool in the L2 (Second Language) situation in India. But before it really takes a start in India certain preliminary courses regarding Adaptation Studies need to be introduced at the Under-Graduate English Literature (Honours) level. The courses should aim at the students achieving Visual Literacy or Cinematic Literacy. Film is a language this is the first fundamental principle the students must bear in mind. It is not simply a showcase of stars. They should understand that visual images can be read like other texts. For that, they should learn not only how the composition of a shot is made but also how camera distance, angle, lighting, and the placement of a shot in a sequence all affect a person s interpretation of the moving image. A film is a whole made up of many parts, the smallest part being the frame. Like learning the basic terminology of literary interpretations as students of literature, they must acquire a vocabulary of film terms, including types of shots and editing techniques. Students need to study basic science principles of lighting and apply that to understand how a cinematographer creates various visual effects. All these will help them understanding, analysing and interpreting a film effectively. There is another important distinction which the students should know, and as Hutcheon (2006: xi) emphasizes, without which one is unable to understand the process of adaptation -- that is, the distinction between story and discourse. The story, she continues, includes the content behind the narrative, comprising the chain of events, the characters and the setting, whereas the discourse is the means by which the content is communicated. Desmond and Hawkes (2006:39) also emphasize the same point: In simple terms, the story is the what in the narrative that is depicted, discourse is the how. It is, therefore, imperative for an adapter to identify the story behind a narrative in order to transpose it onto screen. For that a sound knowledge of the conventions of literature as well as that of the

22 295 cinema is highly important. By the same token, students should also have to acquire this knowledge of conventions. After the basics as mentioned above are taught, the novel and the adapted film should be presented to the students to make a comparative analysis Pedagogical Use of the Present Study It may be mentioned here that adaptation studies made in the present study of novels Five Point Someone, Susanna s Seven Husbands, Q & A, and The Namesake and their corresponding adapted films Three Idiots, 7 Khoon Maaf, Slumdog Millionaire, and The Namesake can also be used for the purposes of not only developing the second language students critical and analytical faculties but also their abilities to effectively use the second language, English. Moreover, the pedagogical suggestions mentioned above can also be fruitfully used if the novels studied here are prescribed for Indian Colleges and Universities. The adapted films can also be shown to them in the classrooms for a comparative study. The analyses and the findings of the present study will provide the Second Language Teachers and Learners with a useful and model guideline as to how to go about such a study. The pedagogical suggestions will also help the teachers to make their classrooms very interesting and highly rewarding Bringing Adaptation into Indian Classrooms Indian culture in the last few decades have become quite a visually dominated culture, though it is not so visually dominated as its western counterparts especially American and European are. The positive aspect of this is that students with a strong visual literacy are expected to excel in comprehension and communication. Moreover, as Bane (2006:6) observes: [adaptation] can become the perfect tool for promoting our own critical engagement with a particular work of literature and literature as a whole by reading texts in a different medium. From a pedagogical perspective, asking students to respond to literary texts through their filmic counterparts enhances students awareness of their own interpretive and

23 296 reading strategies, and thereby promotes active engagement with the literary originals on multiple levels of textuality. Hence, by providing Indian students in their classrooms the original text of Jane Austen s Pride and Prejudice (1813) (a recent edition as available), BBC Television adaptation by Andrew Davies (1995) with the same title, and Gurinder Chadha s Indianised adaptation Bride and Prejudice (2004) highly interesting, useful and rewarding discussions could be made possible. (This novel is chosen here as it is quite regularly prescribed for Indian students.) Some of these are: (i) As mentioned above the students will be exposed to three varieties of textuality. This exposure itself can stimulate their minds perhaps to have their own individual versions, if they get a chance to do so. However, this aspect could be exploited through discussions, and, may be later, in the form of paper presentations. Such papers could also be used as a reference point for future students. (ii) Students will be able to distinguish between story and discourse along the lines suggested by Hutcheon, and Desmond and Hawkes (Cf.. 1.3). They will also be able to point out what each adaptor has chosen from the novel and how each of them has presented them visually rather audio-visually - in two distinctive ways. They may also be asked how they would like to present the film with different themes as the focal points. (iii) A workable method with the Indian students will perhaps be to divide the novel episode-wise and make a critical analysis of how each episode has been presented by each of the adaptors (as has been done in the analyses in the present study). The students then will be able to notice the changes made in each episode. They should try to do this through group discussions (each group of four or five) finally the teacher should assess each group s performance, and then provide them certain guidelines so that they can make better assessments next time. By such an exercise with authentic materials the students will be able to make a comparative critical analysis of two modes (the written and the visual) of expression in perhaps the best manner possible.

24 297 (iv) Adaptation studies can also be fruitfully exploited in the Second Language Classroom for language acquisition. As noted by Aguillo (undated, unpaginated): Specifically, movies are highly recommended input sources for teaching listening and speaking skills outside an English speaking environment. Literary works complement the type of input provided, and also offer the opportunity of extending input reception beyond the classroom allocated time. The use of both tools can be justified by many of the theories that explain L2 acquisition, particularly if we combine viewing or reading with communicationbased activities with a focus on some grammatical point. 41 She further states: [both] films and books have the potential to create a very wide linguistic and extra-linguistic context that provides a relevant schema background, making language relevant and comprehensible (Stoller, 1988). For example, in the written mode we can see not only isolated words and sentences, but also discourse and textual elements such as reference, deixis, time and place clauses. On the other hand, the paralinguistic features of the filmed version allow learners to see and understand how discourse elements link all the parts of the text, specially with the use of images, music, movement, and the like. These contextual cues enrich or at least improve the students comprehension, and probably can also improve their competence, and even though the realisation of both modes is obviously different, they still constitute part of a context for comprehension and, hopefully, learning. Furthermore, if students are familiarised with the story line of the book or film, they can concentrate their efforts on the linguistic features. Also, the comparison of both modes can evoke a critical analysis: how the filmmaker conveys metaphors and descriptions, figures of speech in short, how he makes it possible to see rather than to read (Ross, 1991). 41 Aguillo, Gloria Luque. Reading Films and Watching Literary Texts: 5 Lesson Plans for Advanced TEFL Students Publications 1 st edition. University of Barcelona.

25 And most important of all, how the director makes it possible to spend one hour and a half watching a story that has taken many long hours, and days, or even weeks, to read (Ibid.). 298 The great potential of film adaptations as noted by Aguillo and as mentioned above should be an eye-opener for the syllabus designers of Indian Universities to teach our students, and also to make them adept in, not only critical analysis of literature, and comparative analysis of film adaptations, but also competent and effective second language users. 5.6 Confirmation of Hypotheses The present study proves that all the hypotheses as postulated in (cf..1.12) are true. (i) Film as Visual Literature Based on the analyses and findings of the present study it can be said that adapted films based on literary works are visual literature. As noted in (cf ), literature uses only the linguistic form in its written mode, but films use the visual mode as well as the linguistic form in its oral mode. Both are forms of narrative. Films have tools and techniques, what Jai Arjun terms as movie-making grammar (2011:1) peculiar to their forms of expression the audio-visual form. Literature is a highly specialised linguistic exercise where the writer uses his literary tools like metaphor, imagery, etc. In the same manner, a filmmaker uses all his cinematic tools like camera, colour, light and shade, etc. for his narrative presentation. Nonetheless, it is also kind of literature visual literature. The following books and theses also prove this point: (1) The Cambridge Companion to Literature on Screen (Cambridge Companions to Literature) by Deborah Cartmell (Editor), Imelda Whelehan (Editor) 2007; (2) Visualising Literature : Screen Adaptation and the Process of Reading/Viewing. George Douglas Raitt. Australia: Deakin University (Unpublished Ph.D. thesis) 2011; (3) From Page to Screen: Dancing to the Altar in Recent Film Adaptations of

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