Paper Presentation: Cinematic Adaptation Salman Rushdie’s Midnight’s Children

I have participated in the One Day E-International Conference on Langlit Teaching, Learning, and Innovation: Pedagogic issues and remedies. The conference was organized on 25 February 2023 by the Centre for Language Studies, P P Savani University, Surat. I presented on the topic of "Cinematic Adaptation: Salman Rushdie's Midnight's Children" and had the honor of presenting it in the presence of Chairperson Dr. Archana Rathore and Dr. Subrata Deb. 

 Cinematic Adaptation Salman Rushdie’s Midnight’s Children 

Abstract: 

The film adaptation is the process of creating a new work based on an existing source material, literary work. This process has become increasingly prevalent in the film industry many popular films being adapted from previously published works. The study of film adaptation offers valuable insights into the creative process and the cultural significance of films. This paper will examine the process of adapting Midnight's Children and the challenges that filmmakers faced in translating the complex and multilayered narratives of these novels into film. Salman Rushdie’s Midnight's Children is a magical realism novel that explores the lives of children born at the stroke of midnight on the day of India's independence and a prominent work of Indian literature that has been adapted into a film by Deepa Mehta. Rotten Tomatoes (an American review-aggregation website for film and television)'s critical consensus states that. “...fails to bring the story together cohesively." We will analyze the film adaptation of Midnight's Children and how closely they adhered to or deviated from the spirit of the original novels. This film has been praised for its visually stunning portrayal of India and its ability to capture the magical realism of the source material and has been criticized for its lack of depth and its failure to fully capture the complexity of the novel. Some also felt that the adaptation was too simplistic and didn't do justice to the rich cultural and political themes of the original work. The aim of this paper is to provide an in-depth examination of the process of adapting Midnight's Children for the screen and to analyze the successes and challenges of this adaptation. It will also provide insight into the cultural significance of this work and how it is represented in the film medium.

Keywords: Midnight’s Children, Complex novel,  Film Adaptation

Introduction:

Cinematic adaptation has been a subject of much scholarly and critical attention and continues to evoke strong opinions and passions. “Literary adaptations gave cinema the respectable cachet of entertainment-as-art” (Hayward, 2013, 4). This observation highlights the significance of cinematic adaptations in shaping our understanding of literature and cultural values. The cinematic adaptation of literary texts has been a popular and well-debated topic among scholars, filmmakers, and audiences alike. The translation of written works onto the big screen has sparked discussions about the preservation of the original text and the creative freedom of filmmakers.

The measure of the original literary text is what adaptation is rather than a failure of the imagination. This sentiment highlights the challenges and opportunities that arise when adapting a literary work for the screen. Film adaptations have the potential to bring new interpretations and perspectives to the source material, but they also risk straying from the original intent and meaning of the text.

In the words of film theorist Walter Benjamin, "Every epoch dreams the one to follow" (Benjamin, 1986) This concept applies to the realm of cinematic adaptation as filmmakers bring their own interpretations and ideas to the text, shaping it for their own time and audience.

The debate about the value and success of cinematic adaptations has continued for decades, with opinions ranging from dismissiveness to reverence. 

One of the key debates surrounding cinematic adaptation is the issue of fidelity to the original text. The degree to which an adaptation catches the essence of the original is the surest sign of its success. On the other hand, The goal of adaptation is to appropriate rather than to copy. These opposing perspectives highlight the tension between preserving the essence of the original work and taking creative liberties in order to bring a new vision to the screen.

Additionally, the process of adaptation often reveals deeper cultural and societal values and attitudes. As film scholar Linda Hutcheon argues, "Adaptations are not just retellings of stories, but also retellings of cultural history" (Hutcheon & O'Flynn, 2013). This observation underscores the importance of considering the cultural context and motivation behind each adaptation.

The cinematic adaptation of literary works is a challenging and intricate process that demands a deep understanding of both the source material and the cultural context in which it was produced. The art of adapting a literary work for the screen involves striking a delicate balance between preserving the essence of the original text while also creating a distinct vision for the screen. One of the most highly anticipated adaptations in recent years has been the film version of Salman Rushdie’s Midnight’s Children. This novel is widely regarded as a seminal work of postcolonial literature, with its complex themes and unconventional narrative style presenting a significant challenge for filmmakers. This research paper will undertake a critical examination of the cinematic adaptation of Midnight’s Children, exploring its strengths and weaknesses and evaluating its ability to capture the essence of the original text while presenting a unique vision for the screen. It will delve into the various artistic and technical decisions made by the filmmakers and assess the extent to which they have succeeded in bringing Rushdie’s vision to life. By exploring the challenges of adapting a literary work for the screen and evaluating the success of this particular adaptation, this research paper will contribute to the ongoing discourse on the art and craft of cinematic adaptation.

About Novel:

Midnight’s Children is a rich and complex novel that explores themes of identity, nationalism, and the intersections of history and personal narrative. As Salman Rushdie notes, “I wanted to write a kind of magic realist history of India” (Rushdie, 2021). The protagonist, Saleem Sinai, is born at the exact moment of India’s independence and is gifted with telepathic powers that allow him to communicate with other children born at the same time. Through Saleem’s life story, Rushdie reflects on the legacy of colonialism and the formation of modern India.

The novel has been widely celebrated for its innovative narrative style, blending elements of magic realism, political satire, and historical fiction to create a unique and captivating vision of India’s past and present. Midnight’s Children has been praised for its ability to challenge traditional notions of history and offer a powerful critique of the political and cultural forces that have shaped modern India. 

Additionally, the novel’s themes of identity and the search for self are central to its narrative and are depicted through the character of Saleem Sinai, who must navigate the complexities of growing up in a rapidly changing India. As Rushdie states, “The idea of a child being born at the exact moment of a nation’s birth, and then the child growing up to reflect the nation’s journey, is a powerful one” (Rushdie, 2021). The novel’s exploration of the intersections between personal and national identity has been widely lauded and has solidified Midnight’s Children as a seminal work of postcolonial literature. Midnight's Children is a creative literary success and a potent indictment of the forces that have produced modern India,"

Cinematic Adaptation:

The adaptation of Midnight’s Children for the screen presented a significant challenge for filmmakers, as the novel’s unconventional narrative style and complex themes are difficult to translate to a visual medium. The film adaptation, directed by Deepa Mehta and released in 2012, received mixed reviews from audiences and critics alike.

Critics of the film have noted that while the adaptation successfully captures the political and cultural themes of the novel, it falls short in terms of its narrative structure and character development. The film's storyline doesn't exactly hold together, but there is no denying its depth of imagination and scope of history... Some have argued that the film’s heavy reliance on visual effects and its simplified storyline detract from the richness and complexity of the original text.

On the other hand, supporters of the film have praised its visual spectacle and its ability to effectively convey the essence of Rushdie’s vision. As noted by film critic Peter Bradshaw, “Mehta’s film has real sweep and grandeur, even if it does simplify and reduce the book’s complexities” (Bradshaw, 2012). Many have also noted that the film’s imaginative visual style and its use of magical elements serve to reinforce the themes of the novel and create a unique vision for the screen.

Despite the mixed reviews, the adaptation of Midnight’s Children has been widely recognized for its visual impact and its success in bringing Rushdie’s novel to a wider audience. The film’s imaginative use of special effects, such as the creation of a magical world where the midnight’s children can communicate telepathically, has been praised for its ability to evoke the fantastical elements of the novel. 

Moreover, the film’s exploration of political and cultural themes, such as the legacy of colonialism and the formation of modern India, has been widely recognized for its relevance and its impact. Insightful and provocative, the movie looks at the cultural and political influences that have influenced India's past and present. The film’s ability to bring these important themes to a wider audience has made it a valuable contribution to the larger conversation about postcolonial literature and the impact of cultural and political forces on national identity.

Comparison:
Salman Rushdie's "Midnight's Children" and Deepa Mehta's film adaptation of the same name offer two distinct interpretations of the novel's themes and narrative style. While both works explore the legacy of colonialism and the formation of modern India, they differ significantly in terms of their approach to character development, narrative structure, and visual style.

One major difference between the novel and the film is their treatment of the protagonist, Saleem Sinai. In the novel, Saleem is a complex and multi-faceted character, whose experiences and relationships are central to the exploration of themes such as identity and nationalism. It is a book about the birth of a country as well as the birth of a person. This shift in character development has been criticized by some as detracting from the richness and complexity of the original text.

Another key difference between the novel and the film is their use of visual style and effects. While the novel is characterized by its imaginative and richly detailed prose, the film relies heavily on visual effects to convey its themes and narrative. Critics have noted that while the film's visual spectacle is effective in capturing the essence of Rushdie's vision, it falls short in terms of its narrative structure and coherence. 

Narrative Structure:

The narrative structure of Salman Rushdie's novel "Midnight's Children" and its film adaptation directed by Deepa Mehta differ in several significant ways. The novel is known for its unconventional narrative style, blending elements of magic realism, political satire, and historical fiction to create a unique and captivating vision of India's past and present. The protagonist, Saleem Sinai, narrates the story of his life, interweaving personal experiences with historical events to explore themes of identity, nationalism, and the intersections of history and personal narrative.

In contrast, the film adaptation simplifies the narrative structure, opting for a more straightforward and linear approach. While the film still captures the political and cultural themes of the novel, it often sacrifices the complexity of the original text in favor of a more accessible and visually appealing narrative. The film's storyline doesn't exactly hold together, but there is no denying its depth of imagination and scope of history. One notable difference in the film adaptation the removal of this subplot simplifies the narrative but also reduces the richness and complexity of the original text. The notable change is the absence of various subplots that play important roles in the novel but are left out in the film adaptation. 

Absence of Padma:

One of the significant differences between Salman Rushdie's novel Midnight's Children and Deepa Mehta's film adaptation is the absence of the character Padma. In the novel, Padma is a significant figure in Saleem's life and rushes the story forward, pleading with Saleem to stick to the plot and avoid digressing, and she frequently expresses questions about the truth of Saleem's testimony. She serves as a love interest and a symbol of the political and cultural forces that shape India. However, in the film adaptation, Padma is not present, and her absence has been criticized by some as a significant loss to the narrative and character development.

Saleem's account is diminished by Padma's absence and becomes little more than a dry, if occasionally colorful, history lecture. Padma is Saleem's devoted friend and carer; towards the book's conclusion, they will be engaged. She serves as Saleem's story's target audience. Padma stands in contrast to Saleem's enchanted, enthusiastic, free-wheeling tale with her muscular, hairy forearms, a name connected to excrement, and a jaded and sometimes irritated ear. She rushes the story forward, pleading with Saleem to stick to the plot and avoid digressing, and she frequently expresses questions about the truth of Saleem's testimony. Padma gives Rushdie the ability to directly recognize any misgivings or disappointments the reader may have in reaction to the book as a rhetorical strategy. She is the voice of reasoned critique. She encourages the novel's most purposefully outrageous indulgences since she is there to offset its most extreme impulses. In some ways, Padma's emotions of uncertainty and annoyance make Saleem's repeated interruptions, ramblings, and self-obsession feasible. Together, the two sides contribute to a rich reading experience. Rushdie is able to get over the narrative's problems by acknowledging them directly. Without Padma, the film fails to fully capture the complexities of Saleem's relationships and the impact of his experiences on his personal growth. Critics have argued that the absence of Padma in the film adaptation is a result of the filmmakers' desire to simplify the story and focus on the more visual aspects of the narrative. However, this decision has been criticized as a significant loss to the richness and complexity of the original text and as a missed opportunity to explore the themes of identity, nationalism, and the intersections of history and personal narrative that are at the heart of Rushdie's vision.

Despite these differences, both the novel and the film have been widely celebrated for their ability to challenge traditional notions of history and offer a powerful critique of the political and cultural forces that have shaped modern India. While the film simplifies and reduces the complexities of the original text, it still captures the sweeping grandeur and imaginative vision of Rushdie's novel. As noted by film critic Peter Bradshaw, "Mehta’s film has real sweep and grandeur, even if it does simplify and reduce the book’s complexities" (Bradshaw, 2012).

While both the novel and the film adaptation of ‘Midnight's Children offer compelling interpretations of Salman Rushdie's vision, they differ significantly in their approach to character development, narrative structure, and visual style. However, both works serve as powerful reflections on the legacy of colonialism and the formation of modern India and are widely celebrated for their ability to challenge traditional notions of history and offer a powerful critique of the political and cultural forces that have shaped modern India.

Conclusion:

This research paper delves into the field of cinematic adaptation, seeking to shed light on the complexities of translating literature into film. Through a close examination of selected adaptations and the perspectives of scholars, filmmakers, and critics, this paper strived to offer new insights into this dynamic and ever-evolving field. The adaptation of Salman Rushdie’s Midnight’s Children for the screen presents a complex and challenging task that requires careful consideration of the source material and the cultural context in which it was created. While the film has been met with mixed reviews, it can be argued that the adaptation successfully captures the political and cultural themes of the novel while also presenting a unique vision for the screen. Ultimately, the adaptation of Midnight’s Children serves as a testament to the ongoing significance of Rushdie’s work and to the enduring impact of postcolonial literature. The adaptation of Salman Rushdie’s Midnight’s Children presents a complex challenge for filmmakers, and the 2012 film has received mixed reviews. While the film has been criticized for its simplified storyline and heavy reliance on visual effects, it can be argued that the adaptation successfully captures the political and cultural themes of the novel and presents a unique vision for the screen. The adaptation serves as a testament to the ongoing significance of Rushdie’s work and to the enduring impact of postcolonial literature.

References

(n.d.). Salman Rushdie Official Author Website. Retrieved January 31, 2023, from https://www.salmanrushdie.com/

Benjamin, W. (1986). Illuminations (H. Arendt, Ed.; H. Zohn, Trans.). Schocken Books.

Bradshaw, P. (2012, December 20). Midnight's Children – review | Drama films. The Guardian. Retrieved January 31, 2023, from https://www.theguardian.com/film/2012/dec/20/midnights-children-review

Hayward, S. (2013). Cinema Studies: The Key Concepts. Routledge.

Hutcheon, L., & O'Flynn, S. (2013). A Theory of Adaptation. Routledge.

Malamud, R., Kureishi's, H., Frears, S., Auster's, P., & Wang, W. (2012, October 8). 'Midnight's Children' Flourishes in Screen Adaptation. The Chronicle of Higher Education. Retrieved January 31, 2023, from https://www.chronicle.com/article/midnights-children-flourishes-on-screen/

Mehta, D. (Director). (2012). Midnight's Children [Film].

Mendes, A. C., & Kuortti, J. (2016, December 21). Padma or No Padma: Audience in the Adaptations of Midnight’s Children. Sagepub. Retrieved January 31, 2023, from https://doi.org/10.1177/0021989416671171

Quazi, M. (2017, December 8). Salman Rushdie's Midnight's Children and its Incarnations. Tandfoline. Retrieved January 31, 2023, from https://doi.org/10.1080/02759527.2014.11932960

Rushdie, S. (1981). Midnight's Children. Vintage.

Rushdie, S. (2021, April 3). Salman Rushdie on Midnight's Children at 40: 'India is no longer the country of this novel'. The Guardian. Retrieved January 31, 2023, from https://www.theguardian.com/books/2021/apr/03/salman-rushdie-on-midnights-children-at-40-india-is-no-longer-the-country-of-this-novel

Midnight's Children- Salman Rushdie (Part I)

MIDNIGHT'S CHILDREN (PART-1)

Writer:

Sir Ahmed Salman Rushdie (born 19 June 1947) is an Indian-born British-American novelist. His work often combines magic realism with historical fiction and primarily deals with connections, disruptions, and migrations between Eastern and Western civilizations, typically set on the Indian Subcontinent.

Recently, Salman Rushdie was attacked in New York on 12 August 2022, based on a fatwa issued on Feb. 12, 1989 for his work ‘The Satanic Verses’ (1988). Read the new in detail CLICK HERE

Novel:

Midnight’s Children is a Second novel of Salman Rushdie. Midnight's Children sold over one million copies in the UK alone and won the Booker Prize and James Tait Black Memorial Prize in 1981. It was awarded the "Booker of Bookers" Prize and the best all-time prize winners in 1993 and 2008 to celebrate the Booker Prize 25th and 40th anniversary. In 2003 the novel appeared at number 100 on the BBC's The Big Read poll which determined the UK's "best-loved novels" of all time.

The novel basically is from Kashmir in 1917 to Bombay 1977, it brings us through the ending of British rule, the birth of a nation, the Partition of India and Pakistan, later the war of independence of Bangladesh, and finally, the Emergency under the government of Indira Gandhi.

Amidst the torrents of history emerges the main character Saleem Sinai. The film begins with his grandfather Dr. Aziz (Rajat Kapoor) in Kashmir, examining his patient and future wife Naseem (Shabana Azmi) through a perforated sheet. Then comes the next generation of Saleem’s parents Amina (Shahana Goshwami) and her husband Ahmed Sinai (Ronit Roy), moving to Bombay, giving birth to a baby boy at the stroke of midnight, the dawn of India’s independence on August 14, 1947. But baby Saleem is a changeling with another baby born at the same time, Shiva, by the hands of Mary (Seema Biswas) the nurse.

Narrative technique in Midnight’s Children

S. Rushdie’s Midnight's Children uses a unique and innovative style of narration which is completely different from traditional narrative techniques and makes his work challenging for readers. We find fragmentation and non- linearity in the narration. It uses varied elements like first person narration, oriental and western texts, magic realism.

William Walsh rightly praised Rushdie's technique, 

"combining the elements of magic and Fantasy, the grimmest realism, extravagant force, multi- mirrored analogy, and a potent symbolic structure, Salman Rushdie has captured the astonishing energy of the novel unprecedented in scope, manner and achievement in the hundred and fifty- years old tradition of the India novel in English"

Author Salman Rushdie asserts his authority in condensing 533 pages into 148 minutes of screen time, offering us a concise rendition of an epic story spanning four generations.

“It was an exercise in discovering the essence of the book,” Rushdie said in an interview on CBC radio.

Firstly let us discuss the change in narration in adaptation. In film the narrator is directly speaking to viewers while the Novel has a traditional India (eastern) way of telling story, narrator Saleem tells his story to Padma as the reader eavesdrops, Similar to Nat and Sutra Dhar i.e, India Oral Narratological method.

In classic texts it is not necessary what is told but how it is told is important and Rushdie in his novel has brought a new set of literary terms. He broke grammatical rules and brought a significant relation between prose and cinema. Midnight's Children is rich in allusions to Indian history, literature, and mythology. Casting his unreliable first-person narrator, Saleem Sinai, in the mold of the traditional Indian story-teller.

Midnight’s Children open up as box- in- box stories, story within story the metaphor for this can be used are Russian Dolls and a Chinese box.

Narrative devices used in this novel are similar to the story method in Panchatantra, kathasarit sagar etc warriors stories. There is always a story and within stories are told or narrated to the listener as Saleem is telling stories to Padma and readers are provided with a variety of stories.

As in Panchatantra, there are the stories of animals (Fables) to teach the princes of the King Sudarshan or Amarshakti’s three sons named Bahushakti, Ugrashakti and Shakti.

Vishnu Sharma (Brahmin) knew that these three cannot be taught in conventional means so through stories of animals he gave them morals lessons and we got various stories. This story is frame within the frame.

Singhasen battisi where the 32 dolls on the sinhasan of Vikramaditya tells 32 stories to king Bhoj.In the frame story, the 11th century king Bhoj discovers the throne of the legendary ancient king Vikramaditya (also known as Bikramjit). The throne has 32 statues, who are actually apsaras that had been turned into stone due to a curse. Each of the apsaras tells Bhoja a story about the life and adventures of Vikramaditya, in order to convince him that he is not deserving of Vikramaditya's throne.

Similarly, we find a variety of Indian stories which are frame in frame, a conversation between narrator and listeners and readers get a variety of stories. E.g.- Alif Laila – Arabian Nights, Baital Pachisi, Kathasaritsagara, Shahrazad, and Shahryar. Adding to it also our epics Ramayana and Mahabharata and not forgetting Girish Karnard’s Hayavadana.

Western Postmodernist Devices	Eastern narratological devices
Unreliable narrator	Sutradhar- Nati
Social Realism	Magical realism/ Fantasy
Historical events	Counter Historiography
Framed narration	Framed Story telling
Mythical technique- for the sake of universalization	Parodic treatment

Rushdie adopts the device of Magic realism in Midnight's children. characteristics of this new style were identified as the mingling of the realistic and fantastic, natural and supernatural, skillful time shifts, use of dreams, myths, fantasy and fairy tales. While reading Midnight's Children we find that the whole novel is a perfect combination of reality and imagination between the real and the unreal. There are many places in Midnight's Children where Rushdie used the device of magic realism for the framework of the novel. When we go through the novel, we find that Saleem Sinai, the protagonist, has the gift of having an incredible sense of smell which allows him to determine other's thoughts and emotions. With a sneeze, he could call a conference of all the midnight’s children and call off the conference also. Rushdie's use of magic realism and his exuberant prose, which features extensive use of symbolism and hyperbole, led many critics to compare his style with that of Gabriel Garcia Marquez.

Rushdie also added a pinch of Bollywood, Bombay cinema. Melodramatic elements like changing of children in the hospital, real- parents, and step-parents' behavior over truth. Also, the alter- egos of Saleem and Shiva come up as Heroes and villains in the story.

We find the use of Hindi and Urdu in the English novel which can be considered as a chutnification of language. The words like 'ekdum', 'angrez', 'nasbandi', 'dhoban', 'firangee', 'rakshasas', 'garam masala', 'baba', 'badmash', 'goondas', 'sarpanch', 'paan', 'khichari', 'gur' etc. are used in flawless English. Also expressions and phrases such as 'baap-re-baap', 'hai-hai', 'sab kuch', 'chi-chi', pyar kiyadarna kya', 'ooper-niche', 'bhai-bhai', 'nimbu-pani' etc.

The narrative style used by Rushdie makes it a unique, wonderful, and mind-blowing novel.

Characters in the novel and in the movie.

Midnight’s children is a heavy book of more than 600 pages and it is difficult to bring such a magnificent book into the film of two and a half hours. As we discussed in the style of narration has a variety of stories in it, like a Russian doll it opens into a new story. So to bring such a large and fragmented tale into a movie is a difficult task. It is possible if a web series is prepared on it the OTT platform according to today’s trend then perhaps the director can conclude and have the essence of the whole novel Midnight’s Children.

We find a whole Wikipedia page on the list of characters in Midnight’s children. CLICK HERE to visit it.

The film adaptation has taken very few important main characters from the novel which has completely changed its narrative. The important character in the Novel Padma who is the listener of narrator Saleem is not adapted or excluded in the film.

Character in the movie are:

Saleem Sinai

Parvati

Shiva

Ghani

Naseem

Young Naseem

Mary

William Methwold

Wee Willie Winkie

Aadam Aziz

Jamila

Zulfikar

Emerald

Amina

Joseph D'Costa

Ahmed Sinai

Picture Singh

Alia

Nadir Khan

Indira Gandhi

Hardy

Governor

Laurel

Field Marshal

Astrologer

Rajesh Khera

Salman Rushdie, the narrator

The original book consists of more than 89 characters and in the film, only 26 characters are included. If we watch a movie without any previous reading about the text and historical background it becomes difficult for us to understand the movie or storyline. As a Novel, film adaptation also seems to be fragmented. We realize that the novel has told a variety of stories that can not be bound in a limited time.

In the movie, some small parts are symbolically talked about. The novel has a glimpse of Kawas Manekshaw Nanavati (Rustom Pavri)’s case, Commander Sabarmati, and Laila Sabarmati’s case, which brings out the idea of a mother’s extramarital effect. And to bring this idea to the novel Rushdie used the poster of Mother India movie.

There are many such things or events from the novel told symbolically or excluded. We can understand the difficulty to bring so many stories into one movie but still somehow Rushdie's Film adaptation has tried to bring the essence of the novel. But definitely, we don't get the whole idea of a novel through movies. While watching Pride and Prejudice film adaptation 98% of the novel’s storyline and plot idea can be known but it's not the case with this Novel and Movie, so if one is interested in it he/ she must read the novel.

Here is my learning outcome of S. Rushdie's novel Midnight's Children.

CLICK HERE to read further.