Adaptation and Implications The novel Five Point Someone describes the . In the novel 3 Idiots, Neha was much more independent whereas in the film she. 3 Idiots The Original Screenplay book. Read 20 reviews from the world's largest community for readers. [PDF] 3 Idiots The Original Screenplay () Book Review 3 Idiots: The Original Screenplay. 3 Idiots: The Original Screenplay presents the screenplay written.
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The Complete Idiots Guide to Learning caite.info IN, USA: Alpha Books, . Page i. Page 3. C o mplete Idiot's Guide to MBA Basics by Gorman, T o. 3 ldiots has been a very popular film from the famous Indian film industry, Bollywood. The film was adapted from a popular novel 'Five Point Someone' written by Chetan Bhagat. Though the film was adapted from an already 'popular' novel, still significant changes were brought in the. The Hindi film '3 Idiots' which released in has achieved that dubious distinction Chetan Bhagat (the author) from whose novel 'Five Point Someone' at http://www. caite.info (Last visited on February 12, ).
But a good number of scholars and theorists of adaptation studies have broken themselves free from such prejudiced bias for literature and considered adaptation as a separate creative field. In conclusion, Three Idiots is a novel that everyone should read and learn from. Friend Reviews. Politics behind Adaptation Md. Starred by famous actor Aamir Khan, Rancho becomes all important and extremely powerful character in the film. To be successful a film must not get involved in any severe clash with the existing traditional values, and still it must talk about something new, and let people dream about a new age. Even some of the serious scenes were so well crafted and written that the author definitely knew how to balance emotions and humor.
In 3 ldiots, Piya's not having a mother and her relationship with the father ensures the film's compliance with collective fantasy of the society. The narrative structure of the film is different from that of the novel. The novel represents a linear storytelling pattert, and with necessary information about characters' past, Five Point Someone is mainly a story of three friends' college days at IIT Delhi.
But the film 3 ldiots represents a complex plotting. The film moves between past and present; that is, through regular long flashbacks the story is moved forward. We find two stories going simultaneously: The inclusion of new stories regarding Rancho's past and present, and to do that, inclusion of many more characters and incidents digressions in the main plot need to be marked here.
New stories regarding Rancho's chiidhood and present have been added. In the novel, he is just a son ofan affluent business couple, and being brought up in the boarding schools, he does not have much affinity to his parents.
But we never enter into the family story of Ryan. In the filnr, Rancho is shown as a talented boy from a very poor family, and he is hired to study on behalf of a dull boy who belongs to a very rich family. Rancho promises to study with the name of the rich family boy, and to hand over the certificates upon completion of his graduation.
He also must keep it as a secret and must not contact any of his college friends after graduation. Whereas the novel ends with the graduation of three friends, the story of the film continues up to some more years. Rancho keeps his promise and does not contact his friends on his own, but his friends get an accidental photo of him in Shimla and starts searching for him.
Phungsuk Wangdu. Rosie Thomas in her seminal essay on Hindi cinema talked about the 'essence of Indianisation' p. According to some Bornbay film-makers she interviewed, 'there is a definite skill to making films for the Indian audience, that this audience has specific needs and expectations, and that to compare Hindi films to those of the West, or of the Indian 'art' cinema, is irrelevant' as cited in Thomas, ,p.
The film-makers summarize three main areas where this 'Indianisation' takes place. They are: She identifies that not only 'a film is expected to be two-and-a-half to three hours long, but it is usual for the plot to span at least two generations, beginning u'ith the main protagonists' births or childhoods and jumping tw,enty or so years often in a single shot to the action of the present.
Sabrina Ciolfi in her essay discusses this in more details. She brings reference from Sheila Nayar and says: Sheila Nayar brings out the basic affinity between the structure typical of oral narration and that of popular Hindi cinema, thus accounting for the relative lack of organic form. As in the prolix oral narration, she adds, Bollyr,vood films, too, are characterized by continual introduction into the main storyline of short digression, with brief scenes involving minor characters which may prove comic, sweetly sentimental or sad, but in any case not usually serving to take the plot forward.
Ciolfi, , p. Idiots tot only make it a two generation plot, but also we flnd many other characters like Suhas, Chatur and Millimeter becoming vital here. Politics behind Adaptation also go through many other incidents, 'short digressions', like facing the original shamaldas chanchad and compelling him to tell the kuth about their friend Rancho.
They also convince Piya to run away right from her wedding stage. Farhan fakes a heart attaclg and ensures an emergency landing of his plane. Raju in his utter excitement to meet Rancho goes out without wearing pants in a comic scene. All these stories create the necessary 'short digressions' as expected in Indian epic and oral kaditions, and these work together to bring out different emotions or rasas of sadness, comedy and others.
Nayar concludes, 'owhat counts for the audience is the emotions, and so not so much owhat' ohow' happens as it happens, with evident reference to the aesthetic theory of rasa flavor upon which classical Indian theatre is based. Famous Bollywood screenplay writer Javed Aldrter thus aptly remarks, "The difference between Hind and Western films is like that between an epic and a short story. Ways of oBollywoodization': Gopal and B. Sen trace back its origin as 'most likely inherited from classical theatre' where music, singing and dance were important parts as cited in Ciolfi, ,p.
But this songs and dance seque,nces also play an important role in the story development of any Hindi films as 'every stage of development is marked by a musical sequence' as cited tn Ciolfr,, p. We find the song 'all is welf in the beginning part of the film where Rancho clarifies his philosophy and influences his friends to follow it. Again, Raju's suicide attempt and his recovery period in the hospital arc organized around another song which boldly states a not giving up attitude.
Not only these song sequences move the story forward, but they do it in a much better way than dialogues. Gopalan an B.
Sen say, "The space they open up within the film makes room for the innermost, subjective aspects; it is a space apart, in which the characters can express their deepest feelings, precisely by dint of singing and dancing rather than doing so explicitly with dialogue.
As part of the 'Bolly. The characters are made stereotyped and fixed, and 'exaggerations' are done for heightened emotions. In the adaptation process some significant changes were brought in the depiction of the character Ryan.
In the novel, Ryan, the leader of the trio, is more ol a talented and free spirited guy than a good student. Out of the three tiiend:. Ryan was adapted as 'Rancho', and his talent and creativity was highly exaggerated to give this character a larger than'life aura w'hich suited the typical characteristics of a Bollywood hero.
In the filrn, he holds the same revolutionary spirit of studying for the sake of excellence, not for success; but here he is able to come out as the always top scorer student of his batch. Outside class works, he is able to finish unresolved thesis project of a senior student, and in a climactic sequence super genius Rancho not only ensures electricity from car battery using his 'Virus Inverter'.
Such exaggeration is detinitell' absent in the novel. Along with exaggeration in characterization, we find exaggeration in visuals too.
For example, hearing that there is a chance of meeting Rancho once again, Raju forgets to wear his trousers in his rush to reach the IIT rooftop in time. Again, to prove that Rancho is different from others, it is shown that instead of waiting in queue for the bathroonl Rancho completes his bath in the campus garden, half naked in front of his college teachers and other classmates.
Another example of exaggeration becomes visible when Rancho takes Raju's father to a hospital on an emergency need. Politics behind Adaptation scooter inside the hospital building, way past the reception desk and stops only inside a general ward in front of a duty doctor.
In the Hindi films' context, 'exaggeration' is not only accepted but also appreciated. A 'hero' teaching lesson to a number of mighty, well-armed ruffians single handedly is a very common phenomenon. By critics, it is often said that the definition of realism varies from the norm of Western films in the context of Bollywood films. Kakar identifies the difference between two concepts of reality: He compares Hindi films with fairy tales and sees similarity between them as both 'emphasize the central features of fantasy: Kakar finally concludes: Hindi films may be unreal in a rational sense, but they are certainlr, not untrue.
Their depiction of the external rvorld may be flas'ed. He remains w'hat he u'as from the very beginning. He does many charismatic deeds, but he himself remains unchanged. He is never confused, always cool headed, and nevet does anything self-contradictory. He just keeps doing his own works. From his first appearance in the screen, he is smart, genius and rebellious.
He matches exactly with Kakar's description of 'characters of popular films' who are 'always typical, never unique, and without the unnerving complexity of real people. But Rancho's all good characteristics and the 'exaggeration' regarding him can also be questioned.
He is modern enough to raise question about the purpose of education.
But he also adheres to what is apparently 'essential' to maintain an 'Indian' identitv. He maintains physical distance with Piya from a puritarucal taith about chastiry. After all, a good human bein,e must keep his promises. He does not leave India like his other classmates but does not hesitate to sell his patents to American companies. In the end of the fi1m, we find him among the rich though apparently he leads a vW simple life.
In short, Rancho's revolutionary spirit is confined in his thinking regarding the education systern About other socio-economic issues of the society, and in his personal world, he very much follows what is generally prescribed by the traditional mindsets- Ashis Nandy describes this phenomenon of over-simplified and typed characters from a different perspective.
Viewing Hindi fikns as the representative of urban lower middle class people or slum dwellers, Ashis Nandy finds Hindi frlms obliged to serve 'everything for everyone' Nandy, ,p. Hence they must consciously avoid any kind of identification with any particular historical character or time. Hindi films must maintain a 'culflne-free appeal of the heroes and heroines' to maintain its worldwide acceptance and popularity.
Nandy, , p. Nandy while describing the Bollywood films as 'a spectacle, not an artistic endeavor' also says, "In a spectacle, black is black and white is white- emotionally, motivationally and morally; all shades of grey must be scrupulously avoided.
Not because greys do not exist in the worldbut because they detract from the logic and charm of a spectacle. Nandy also explains 'exaggeration' by sayrng, "A spectacle has to be an overstatement". Tracing its history as product of traditional dramatic form like 'Jatra', Nandy finds 'overstatement - and melodrama He says: The popular film tries to be conwincing as a spectacle by exaggeration.
It does not even try to be a direct reflection of everyday reality. Politics behind Adaptation in socio-economic realm. Thus the films seek synthesis between tradition and modernity. In i ldiots too, we find Piya as both traditional and moderq just in the same way Rancho as rebellious yet conservative. Whereas the representations of the female gender, sexuality, Muslim issues are mainly traditional, they do possess some rendition in the light of modern times.
They are not directly rebellious against tradition but they are thought provoking and sweetly influential. In narrative structures too, underneath the apparent modern surface, we find the same traditional structures working full-fledged. The changes made during the adaptation process and the consequent srrccess of the film 3 ldiots may help us to understand the workings of Bollywood - one of the leading culture industries of contemporary world.
It helps us to see the overt and covert battles of ideologies at the levels of both content and form. To be successful a film must not get involved in any severe clash with the existing traditional values, and still it must talk about something new, and let people dream about a new age. It must represent a 'synthesis' between tradition and modernity. This search of a synthesis or a balance is no doubt a very interesting site to explore. The successfully synthesized films may enjoy a box office hit, and the audience may receive their due share of entertainment, but whether any significant change in the social strucrures is brought by such endeavors or whether the speed of that change if any is satisfactory remains as issues of much, and to a great extent subjective" debate.
References Andrew, D. Oxford University Press. Banaji, s. Hindi films: Palgrave Macmillan. Bann, A. Adaptation, or the cinema as digest. Naremore 8d,. Film adaptation pp. Rutgers University Press. Bhagat, C. Five point someone. New Delhi: Chopra, V. Vinod Chopra Productions. Ciolfi, S. Popular Hindi cinema: Narrative structures and points of continuity with the tradition. Ledonline, Retrieved from: Imagining Indian Muslims: Looking through the lens of Bollywood cinema.
Indian Journal of Human Development,l 2 , Retrieved from https: The ties that bind: Family relationships in the mlhology of Hindi cinema. India Internatianal Centre Quarterly, 8 l , UTV Motion Pictures.
Mujtab4 S. A study of nto modes of representation - the verbal and the visual. Unpublished doctoral thesis. Nandy, A. The popular Hindi film: Ideology and first principles.
India International Centre Quarterly,S 1 , Retrieved from http: Indian popular cinema as a slum's eye view of politics. Nandy Ed. Zed Books. Ideology of the Hindi Filry.
Oxford University Press" Thomas. Pleasures and popularity. Screen, 26 Download pdf. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? To see what your friends thought of this book, please sign up. To ask other readers questions about 3 Idiots The Original Screenplay , please sign up. Neeraj Pandey To read, buy it. See 2 questions about 3 Idiots The Original Screenplay…. Lists with This Book. This book is not yet featured on Listopia.
Community Reviews. Showing Rating details. Sort order. View 2 comments. Dec 10, Sheryl rated it it was amazing. Loved the movie so so so much. My school had done a little screening of it on the last day of my exams thank god and it left me laughing so hard and crying so hard in equal measures throughout the entire movie.
Extremely meaningful, moving and thought-provoking. Have been recommending it to everyone I know: Sep 25, Rohit Tiwari rated it really liked it. After reading this book I came to know that filmaking is not an easy job "ki camera lia and Jai Bhole Naath and chaal diye". It requires huge amount of hardwork,dedication and most important it takes TIME. Inshort its a must book for movie lovers. View 1 comment. May 21, Prashansa rated it really liked it.
Oct 06, AnGeL rated it it was amazing. Nov 08, Kashyap Kashyap rated it it was amazing. Apr 13, Neeti Gupte added it. The story begins with Raju and Farhan searching for their long lost college companion- Rancho; while on their quest to find him, they remember their old college days and the way Rancho shaped them to be the people they are today.
In flashback, the authors show Rancho, Farhan, and Raju all dorming together as they begin th 3 idiots by Rajkumar Hirani and Chetan Bhagat is comical story revolving around three college students who have different approaches for dealing with the stress of the future. In flashback, the authors show Rancho, Farhan, and Raju all dorming together as they begin their journey at the Indian College of Engineering. The three spend all of college together trying to figure out themselves. Through the journey, Raju attempts to commit suicide, fails, and leans that he should stop chasing success because if he does what he is supposed to success will chase him.
Farhan confronts his parents about his dream as a photographer and finally succeeds and is excellent in his job. Rancho helps everyone understand what they truly want and need to be successful! The story never has a dull moment! Hirani and Bhagat wrote it very simply and comically in order for it to be relatable to the audience that they are panning the novel towards. I enjoyed the comical approach because it something different which not a lot of authors choose to do.
It is filled with jokes and perspectives that only young people would mainly relate to and older people would remember! Even some of the serious scenes were so well crafted and written that the author definitely knew how to balance emotions and humor.
I, personally, believe that this novel is by far the best I have read. Everyone should be able to live life to their own expectations. Stress, anxiety, and depression can be caused by a wrong education system.
Learning should be fun and exciting, however, modern schools make education more stressful than needed. I was able to relate to this book and it made it even more enjoyable. In conclusion, Three Idiots is a novel that everyone should read and learn from.
Dec 09, Shubham Kshirsagar rated it it was amazing.