The Film Of A Passage Of India

When novels are adapted for the cinema, directors and writers frequently make changes in the plot, setting, characterization and themes of the novel. Sometimes the changes are made in adaptations due to the distinctive interpretations of the novel, which involve personal views of the book and choices of elements to retain, reproduce, change or leave out. On the contrary, a film is not just an illustrated version of the novel; it is a totally different medium. When adapting the novel, the director has to leave out a number of things for the simple reason of time difference. Furthermore, other structures and techniques must be added to the film to enhance the beauty and impressions of it. Like a

In any adaptation between a work of literature to film it is difficult to stay exactly true to the original material. The film 3:10 to Yuma directed by James Mangold is no exception to making creative choices that weren’t in the short story created by Elmore Leonard. Characters may be altered or added in order to make a film flow more smoothly or to add another element to the story. In this essay I will investigate how the deviation of the addition of characters from text to film in the 1957 adaptation of 3:10 to Yuma changed the meaning of the film.

As before, the story contains such a vivid description of life that the reader’ s sensibilities are shocked to read about Saeed’s parents’ intimate life, very much as we were shocked when the same was done for the parents of ‘you’ in How to Get Filthy Rich in Rising Asia. Why does Hamid do that, I wonder? Perhaps because in the typical Eastern context we cannot imagine such things happening, perhaps he is trying to make us realize that people who are parents are also very human. Indeed he is trying to break us out of our protective little shells. Another classic ingredient is the voice of the narrator, so present in Hamid’s stories and present with such life in Exit West that it, as the narrator of its predecessor, leaves the reader aching to know who this entity is speaking with such clarity, such wisdom and such poignancy. Yet another ingredient which made its debut, if I am not wrong, in Discontent and its Civilizations, was Mohsin Hamid’s regard towards other writers, some alive, some gone to their eternal rest, whom he called his friends. In Exit West, he pays tribute to a number of old friends and quite sweetly, his own works. And so we meet Conrad, Woolf and Hemingway and find a light reference to Moth Smoke and Rising Asia albeit in the characterisation of the ‘brave man, the old man’ which reminds one of ‘the pretty girls’. Writers love their babies, their works. It

Translating a book into a movie can be a very elusive task for many reasons. This is due to the fact that a book has many key points in it and compressing them all into a certain time frame can be very arduous. Mark Forster’s adaptation of Khaled Hosseini’s novel the Kite Runner is a rather weak portrayal of what the author had originally wrote because of its bad casting choices, very significant and harmful cuts to the novel and scenes added throughout the film. Although the director’s intention to recreate a very touching story into a movie was a great idea, the author could have given more attention to some crucial and important aspects of the novel.

Whenever books are adapted for film, changes inevitably have to be made. The medium of film offers several advantages and disadvantages over the book: it is not as adept at exploring the inner workings of people - it cannot explore their minds so easily; however, the added visual and audio capabilities of film open whole new areas of the imagination which, in the hands of a competent writer-director, can more than compensate.

The book points out many different attacks on Indian culture. John’s adoption, legal or not, by his kind but misguided parents demonstrates the tragedy that can come from cross-cultural adoption. The experiences of Marie’s cousin Reggie, who has the tapes of his family’s stories stolen and co-opted by Dr. Mather (who has convinced himself that he is doing the right thing because the find is anthropologically valuable) demonstrates the wrongs done by intellectuals who only view other cultures in terms of what they can learn from them. Truck Schultz and the three enraged college students demonstrate how quickly the underlying distrust of

Written by Tayeb Salih, the novel ‘Season of Migration to the North’ as described by The Observer “is an Arabian Nights in reverse, enclosing a pithy moral about international misconceptions and delusions.” The novel is set both in England and the Sudan, showing the stark social differences within these two locations. In this essay, I will evaluate the reasons supporting and opposing Mahjoub’s statement as defined in ‘Season of Migration to the North’.

In the second chapter of his book, Childhood Indians: Television, film and sustaining the White (sub)conscience, Raul Chavez describes the common notion of modern racism in America as something that is invisible and overlooked. Chavez discusses the effects of racist thinking as perpetuated by a collective denial of its existence in present society. The continuations of racism in modern America is, unfortunately, upheld by ignoring that it is still happening. The film The Exiles by Kent Mackenzie offers a way to counteract the denial and ignorance of continued racial thinking in modern society in a way that escapes common racial stereotypes.

We just started to leave Independence rock, I discovered that it's been getting hotter and hotter on the trail towards Oregon. We've had a couple cows die from bad water, and some chickens got crushed by the wheels of my wagon. We all are sunburned from the blazing sun, and we don't have any medication for that besides long sleeve shirts. I'm surprised that we haven't had any Indian attacks yet, I thought those would happen a lot. Hopefully when we do see some Indians, they will be friendly and kind instead of wanting to steal from us and kill us. I'm sure that we will encounter some good and bad ones along the south pass, so we should always be ready since we are very far from any stores or any other people. I have a pistol on the side of

In The Souls of Black Folk, W.E.B Du Bois’ speaks of a ‘veil’ that has hindered his race from living their lives to the fullest potential. This veil has made it seemingly impossible to integrate into the white, mainstream society. Similarly, in “A Passage to India”, E.M Forster describes the story of Dr. Aziz, a native Indian, and his interactions with the imperial British society in his hometown of Chandrapore, India. Dr. Aziz attempts to become friendly with the British, but ends up bringing them on an excursion to the Marabar caves which quickly illuminates the inability of such a bonding experience. In both the Reconstruction Era of America, and in Imperial India, there is a veil that comes it two parts: a physical veil of color and and

The story “Araby” as told by James Joyce is about a young boy that is fascinated with the girl across the street. But deeper down the story is about a very lonely boy lusting for her love and affection. Throughout the story, we see how the frustration of first love, isolation and high expectations breaks the main character emotionally and physically. James Joyce uses the first-person viewpoint to tell this story which helps influence the plot, characterization, themes, and understanding of the main character.

To act is to breath life into a story that is otherwise a corpse, filled with the paradox of potential energy. Also known as one of the most difficult crafts to master, acting is many things, but overall the skill of adapting words into a visual experience that audiences then digest and carry with them as they continue in their own lives. When a non-actor thinks about acting, one may assume it is an easy job, but the conscious psychological work (skilled) actors put forth in their performances is no easy feat, especially if they are able to come across so authentically that viewers assume acting is easy. However, acting is difficult, and even more difficult when playing a role that was adapted from a novel, as scholar Dudley Andrew asserts in his chapter “Adaptation” in James Naremore’s book “Film Adaptation.” He points out that because the novel has a large fan base before it is adapted, there is also a group of people waiting to scrutinize the film once made. This, in turn, grants the novel a greater sense of superiority over the adaptation, because viewers- fans of the novel- assume that the film will be worse.

The characters portrayed by Leila Aboulela to a great degree vary vastly in their levels of religiosity. This novel showcases a wide spectrum of Muslim identities. Most of the devout believers follow Islam, as they are constantly expressing their faith, thru means of prayer, recitation or other adorations. These religious members are accepting of veil culture, because they have more to value than materialistic objects and western culture. For instance, the young school girls that wore tobes, while Najwa skirts to university. Also, the servants she had back home, as she would be coming home from a party at dawn, they would be make their absolution, “A light bulb came on. They were getting ready to pray. They had dragged themselves from sleep in order to pray. I was wide awake and I didn’t,” this quote from the novel, illustrates a young Najwa understanding the basis of Islam and the importance of prayer (Aboulela, 32) However, this is an evident class divide, illustrating that those with wealth are more secular and those with less are humbled towards their faith. In her time in London, Najwa befriends woman at the local mosque and develops an interest her recitation. Her realization and locality to religiousness triggers her spirituality.

Mrs. Moore and Aziz's relationship is a bit more tangled than the cut and dry experience with Ms. Quested. Aziz only has three meetings with Mrs. Moore. Both characters have this great fondness for the other with no substance. They have some superficial similarities and Aziz proclaims she's Oriental! It seems like both want an unconventional friendship so acutely they immediately gravitate towards this "love" that transcends race lines. When Fielding misses the train and Aziz realizes he'll be alone with the two women his feelings from the mosque come rushing back for Mrs. Moore, "She was perfect as always, his dear Mrs. Moore." (Forster 145) But there is no real substance to their friendship only feelings and emotions. Fielding accurately describes the real relationship between the two, to Aziz on the roof after the trial, " You are so fantastic.... Miss Quested, you won't treat her generously;... Miss Quested anyhow behaved decently this morning, whereas the old lady never did anything for you at all." (Forster 282) Fielding is absolutely correct, Mrs. Moore never actually does anything for Aziz except be a friendly, slightly senile old lady. In fact

E.M. Forster’s classic novel “A Passage to India” tells the story of a young doctor, Dr. Aziz, and his interactions with the British citizens who are residing in India during the time of the British Raj. Throughout the novel, the reader gets many different viewpoints on the people and the culture of India during this point in history. The reader sees through the eyes of the Indian people primarily through the character of Dr. Aziz, and the perceptions of the British through the characters of Mr. Fielding, Adela Quested, and Mrs. Moore. Through the different characters, and their differing viewpoints, the reader can see that Forster was creating a work that expressed a criticism that he held of the behavior of the British towards their Indian subjects.