From Pages to Frames
The Intertwined Journey of Literature and Indian Cinema
Dr. Alok Ranjan Pandey
The bond between literature and cinema is truly remarkable, inseperable characterised by a reciprocal relationship where each enriches and complements the other. If we view cinema as a reflection of literature, then literature serves as the mirror of cinema. Both mediums serve as powerful tools for catalysing social, economic, and political change.
Through literature, stories are woven, characters brought to life, and dramas enacted on the stage. Over time, the stage evolved into the modern cinematic temple, marking the intertwined evolution of literature and cinema.
Renowned Western scholar Herbert Read aptly captured the essence of this relationship when he remarked, "Those who fail to recognise the connection between screenplay and literature are mistaken." He emphasised the role of emotional depth in great writing, the ability to evoke vivid imagery, and to stimulate the imagination. Indeed, literature, from the epics of Homer to the works of Shakespeare and modern poets, has always served to project images and events onto the screen of the mind- a characteristic that resonates in the artistry of a good film.
While comparing literature and films, we find a stark contrast between their essence and impact. Literature embodies a timeless truth, while films, with their realistic visuals, become bound by time. The visual aspects, like costumes and adornments, hold great significance in films, anchoring its reality firmly in the tangible. Unlike literature, which transcends time, films are constrained within a temporal framework.
Cinema emerges as the embodiment of modernity, offering a more influential and accessible medium to reach the masses compared to literature. Its origins can be traced back to literary inspirations, such as the adaptation of Bharatendu Harishchandra's play 'Harishchandra' for India's first film.
India's cinematic journey spans over a century, marked by significant milestones such as the introduction of sound in films with 'Alam Ara' in 1931. Hindi cinema, in particular, has emerged as a global representative of Indian cinema, reflecting the cultural richness of the nation. However, despite the abundance of literary treasures in Hindi literature, films based on literary works remain a rarity in Mumbai's film industry. Despite a few exceptions, filmmakers often shy away from adapting Hindi literary pieces into films, resulting in a scarcity of such cinematic ventures.
In the early days of talking films, echoes of Parsi theater resounded with melodrama and music. As cinema evolved, a broader spectrum of subjects emerged, prompting filmmakers to seek inspiration from established literary figures. One such luminary was Premchand, a towering figure in Hindi literature, who was invited to Mumbai by Ajanta Movie Tone Company in 1933, just two years after the advent of talking films. Mohan Bhavnani directed 'Mil Mazdoor,' based on Premchand's story, albeit with alterations that displeased the author. Further dismay followed when British censors heavily edited the film, leading Premchand to denounce it as the murder of his work. The film, banned in Mumbai, saw release in Punjab under the title 'Garib Mazdoor.'
In subsequent years, attempts to adapt Premchand's works, such as 'Navjeevan' and 'Seva Sadan' in 1934, and 'Triya Charitra' in 'Swami' by A.R. Kardar in 1941, met with little success. Similar disappointments befell adaptations of his novel 'Rangbhoomi' in 1946. Meanwhile, other literary stalwarts like Upendranath Ashk, Amritlal Nagar, Bhagwati Charan Varma, and Pandey Bechan Sharma ventured into cinema with a 'rebellious' streak. Despite their insights into the medium's demands and constraints, they refrained from directly adapting literary works into films, focusing instead on script writing and dialogue crafting.
The reticence towards literary adaptations persisted even as filmmakers like Kishor Sahu and Kedar Sharma navigated the industry. Sahu, though facilitating opportunities for writers like Ashk and Varma, couldn't translate literary works into successful films, exemplified by the failure of 'Hamlet.' However, Kedar Sharma's adaptation of Bhagwati Charan Varma's 'Chitralekha' in 1941 marked a rare triumph. Yet, this success failed to ignite a trend of literary adaptations, as subsequent attempts, like films based on Chandra Dhar Sharma Guleri's 'Usne Kaha Tha' and Acharya Chatursen Shastri's 'Dharmaputra’, met with failure.
Even acclaimed storytellers like Rajendra Singh Bedi faced disappointment when 'Ek Chadar Maili Si' was adapted into a film, underscoring the challenges of translating literary brilliance onto the cinematic canvas.
In the aftermath of Premchand's passing, a handful of films were made based on his stories, among which Satyajit Ray's 'Shatranj Ke Khiladi' stands out as a notable example. Yet, it raises the question: were visionaries like Ray the sole torchbearers capable of translating Hindi literature onto celluloid? Despite Premchand's widespread acclaim across languages, it seemed his literary treasure trove failed to find resonance on the silver screen. Was this due to a dearth of Hindi-speaking filmmakers, or a preference for pilfering foreign storylines over adapting indigenous literature?
By the 1960s, dissent against the neglect of Hindi literary works in cinema reached government corridors. The then Film Finance Corporation even spearheaded productions based on renowned writers' works, albeit to little avail. While these films saw limited releases, their lackluster reception relegated them to obscurity, failing to ignite broader discourse beyond intellectual circles.
The reality is, several factors contributed to the dearth of successful adaptations of Hindi literary works. Literary creation is a deeply personal endeavour, while filmmaking hinges on collaborative interpretations by directors, actors, and cinematographers. Cinema caters to a mass audience, whereas literature often appeals to intellects- a disconnect many authors struggled to reconcile.
Since Premchand's era, authors often found themselves sidelined in the film industry, perceived as secondary figures. This disregard disillusioned many, leading to waning interest among contemporary and subsequent generations of writers in cinematic ventures.
Moreover, the financial backers in the film industry typically lacked a vested interest in literature.
Adapting literature for the screen presents its own set of challenges. Directors and producers must grasp the essence of the literary work while navigating market pressures and entertainment demands. Unlike literature, which allows readers to interpret stories through their imagination, filmmakers must convey narratives visually and audibly to resonate with diverse audiences.
Interestingly, Bengali filmmakers succeeded in bridging the gap between authorial sensitivity, market demands, and cinematic adaptation. They not only adapted Bengali literary works for Hindi audiences but also found commercial success in doing so. Films like 'Devdas,' 'Parineeta,' and 'Sahib Bibi Aur Ghulam' exemplify this symbiosis between literature and cinema, proving that when filmmakers align themselves with the author's vision, masterpieces can emerge from the celluloid canvas.
The 1970s marked a turning point in Hindi cinema, where the influence of literary giants like Kamleshwar began to resonate deeply. Despite the prior efforts of figures like Upendranath Ashk and Amritlal Nagar, Kamleshwar emerged as a pivotal force, adept at bridging the language of literature with the cinematic realm. Transitioning from television to the silver screen, his novels 'Ek Sadak Sattawan Galiyan' and 'Dak Bangla' were adapted into films, albeit with limited success. However, it was Gulzar's masterful interpretation of Kamleshwar's works in 'Aandhi' and 'Mousam' that truly set milestones in Hindi cinema, captivating both audiences and critics alike.
While the 1970s witnessed a surge in Hindi-speaking filmmakers, the era was not without its challenges. Despite notable adaptations like Basu Chatterjee's 'Rajnigandha,' the emergence of the Angry Young Man persona epitomised by Amitabh Bachchan led to a proliferation of violent and humour-laden narratives, overshadowing the nuanced storytelling of directors like Chatterjee, Hrishikesh Mukherjee, and Gulzar.
Amidst this cinematic landscape, the allure of copying foreign entertainers loomed large, relegating literary adaptations to niche art films that struggled to resonate with wider audiences. However, the dawn of experimentation towards the decade's end heralded a new era in Hindi cinema, albeit one where literary works were sidelined.
Fast forward to the present, and Indian cinema has undergone a profound transformation, with a myriad of themes and genres finding expression on screen. While a new generation of Hindi-speaking filmmakers is beginning to explore the nuances of literary adaptations, the current zeitgeist favours journalistic narratives and biographical tales. However, the winds of change may soon usher in a resurgence of literary adaptations, albeit not necessarily limited to Hindi literature.
Nevertheless, from mythological narratives in the silent era to the golden age of literary adaptations, Hindi cinema has evolved through myriad phases, weaving tales from diverse languages and cultures into its rich tapestry.
Indeed, the contributions of literary luminaries like Gulshan Nanda and Sharatchandra Chattopadhyay have left an indelible mark on Hindi cinema, with timeless classics like 'Kati Patang' and 'Parineeta' enduring through generations. Similarly, the wealth of Bengali literature, epitomised by Tagore's 'Devdas' and 'Kabuliwala,' has found resonance on the silver screen, transcending linguistic boundaries.
Across Marathi, Gujarati, Tamil and Punjabi literature too, cinematic adaptations have brought tales of love, history, and societal upheaval to life, enriching the cinematic landscape with their cultural depth and resonance. Tamil classic epic Ponniyin Selvan was adapted by Mani Ratnam into a spectacular film in two parts, and simultaneously released in 5 languages including Hindi. Ponniyin Selvan is written by famous writer Kalki Krishnamurthy. Ponniyin Selvan novel is a historical fiction written as a series in a magazine from 1950 to 1954 and later integrated into five volumes. The film has transcended language barriers and established itself as one of the most meticulously crafted cinematic adaptation of literature.
Yet, as the industry grapples with commercial imperatives, the balance between literary heritage and market demands remains precarious, with only a handful of filmmakers daring to champion the cause of literary adaptations in a landscape dominated by star power and spectacle.
The author is an Associate Professor, Ramanujan College, Delhi University and film critic. Feedback on this article can be sent to feedback.employmentnews@gmail.com)
Views expressed are personal.