Write a summary on “The Blue Umbrella” by Ruskin Bond
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Young Biniya lives a poor lifestyle in a small village in the mountainous and snowy region of Himachal Pradesh in India along with her widowed mom and wrestler brother. She entertains various tourists, and while doing so with some tourists from Japan, trades in her bear-tooth amulet with a blue umbrella. She and her umbrella become very popular with both tourists and the local villagers. A restaurant-owner, Nandkishore Khatri, takes a fancy to this umbrella and attempts several times to buy if off of her - in vain. Then one day while tending to her two cows, the umbrella goes missing. The entire village sympathizes with her. She suspects Nandkishore, and the police turn his house upside down but are unable to locate the missing umbrella. An embittered and upset Nandkishore orders a red-and-white Japanese umbrella and, in turn, becomes immensely popular with the local villagers as well as with tourists. The question remains: where did Biniya's umbrella disappear to, and will she ever recover it.
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The Blue Umbrella tells the story of Binya, a ten year old girl and her umbrella. The
novel depicts all the shades of emotions that children are familiar with. These emotions range from innocence to greed, from
simplicity to jealousy, and from obsession to forgiveness. In 2005, the novel The Blue Umbrella was adapted by Vishal
Bharadwaj into a film of the same name which won the National Film Award for Best Children's Film. With its breathtaking
visuals and acting, it became a critical success and gained accolades. As a novel, the story was popular among children for years,
and as a film also it gained attention of audience and critics. In spite of all the success, the question arises- is the film a faithful
adaptation? Have all the characters been given equal space and dimension, as in the novel? Are all the actors true to their
characters? Have the sequence of events been represented in all their appropriateness? Has the film been successful in creating the
similar wavelength of aesthetic distance as in the novel? And most importantly, does the film retain the tone of the message that
Ruskin Bond wanted to convey through his story?
This gives us an opportunity to make a comparative study between the novel and the film, and find out how successful or
unsuccessful the adaptation is from critical and creative points of view. Thus, with a comparative analysis of the text and the film,
this paper aims to analyze the aforementioned issues through the application of narrative techniques under the genre of Adaptation
Studies. Have all the characters been given equal space and dimension, as in the novel? When we compare the characterisation
part of the novel with the film, we find a contrastive change in the way characters have been presented in the film.
In the novel, Bijju was two years older to Binya, [“Binya was two years younger than her brother” (Bond 1992)] where as in the
film; Bijju is around twenty years older than Binya. In the novel the visitors were from the Indian planes who were speaking the
same language as that of Binya. [“They were holiday-makers from the plains. The women were dressed in bright saris, the men
wore light summer shirts, and the children had pretty new clothes” (Bond 1992)]. However, in the film the visitors were from
Japan, which bears a postcolonial undertone. In the novel Binya was wearing a leopard’s claw [“it’s a tiger’s claw, said the man
beside her” (Bond 1992)] but in the film it has been presented as a bear’s claw. In the novel, Rajaram, the attendant of Nandu,
appears in the middle of the story, whereas he is present from the beginning in the film. The character of the ‘fortune teller’ has
been added to the film to give the plot a more convincing touch- the way he says, “Angrezi mein bhi jhooth bolta hai koi!”
(Bharadwaj 2005) (Does anyone tell lie in English!), makes us aware of the innocence of the rural people. The village characters
like Mukhia, and his son are some additions to the plot.
In the novel, Binya is the protagonist of the story whereas the protagonist has been changed in case of the film. Ram Bharosa, who
has been renamed as Nandakishore Khatri (Nandu) is the protagonist of the film around whom the story revolves. The change of
the protagonist gives us the scope of comparison between Ruskin Bond and Vishal Bharadwaj’s perception towards literature.
Bibhudatta Dash
Research Scholar in English Literature, Department of Humanities,
Social Sciences & Management National Institute of Technology Karnataka (NITK), Mangalore, India
Abstract:
The Blue Umbrella tells the story of Binya, a ten year old girl and her umbrella. Through the story, Ruskin Bond revisits the
essence of the Bhagvad Gita and the Holy Bible. Greed, jealousy, hatred, and kindness play equal roles in the story to bring
the point across to children. In 2005, The Blue Umbrella was adapted by Vishal Bharadwaj into a film of the same name
which won the National Film Award for Best Children’s Film. With its breathtaking visuals and acting, it was a critical
success and gained accolades.
In spite of all the success, the question arises- is the film a faithful adaptation? Are all the actors true to their characters?
Has not the plot been tampered in trying to make the film a critical success? Have the sequence of events been represented
in all their appropriateness? Have all the characters been given equal space and dimension, as in the novel? Has the film
been successful in creating the similar wavelength of aesthetic distance as in the novel? Most importantly, does the film
retain the tone of the message that Ruskin Bond wanted to convey through his story?
With a comparative analysis of the text and the film, this paper aims to answer these questions through the application of
Narrative Techniques under the genre of Adaptation Studies.
novel depicts all the shades of emotions that children are familiar with. These emotions range from innocence to greed, from
simplicity to jealousy, and from obsession to forgiveness. In 2005, the novel The Blue Umbrella was adapted by Vishal
Bharadwaj into a film of the same name which won the National Film Award for Best Children's Film. With its breathtaking
visuals and acting, it became a critical success and gained accolades. As a novel, the story was popular among children for years,
and as a film also it gained attention of audience and critics. In spite of all the success, the question arises- is the film a faithful
adaptation? Have all the characters been given equal space and dimension, as in the novel? Are all the actors true to their
characters? Have the sequence of events been represented in all their appropriateness? Has the film been successful in creating the
similar wavelength of aesthetic distance as in the novel? And most importantly, does the film retain the tone of the message that
Ruskin Bond wanted to convey through his story?
This gives us an opportunity to make a comparative study between the novel and the film, and find out how successful or
unsuccessful the adaptation is from critical and creative points of view. Thus, with a comparative analysis of the text and the film,
this paper aims to analyze the aforementioned issues through the application of narrative techniques under the genre of Adaptation
Studies. Have all the characters been given equal space and dimension, as in the novel? When we compare the characterisation
part of the novel with the film, we find a contrastive change in the way characters have been presented in the film.
In the novel, Bijju was two years older to Binya, [“Binya was two years younger than her brother” (Bond 1992)] where as in the
film; Bijju is around twenty years older than Binya. In the novel the visitors were from the Indian planes who were speaking the
same language as that of Binya. [“They were holiday-makers from the plains. The women were dressed in bright saris, the men
wore light summer shirts, and the children had pretty new clothes” (Bond 1992)]. However, in the film the visitors were from
Japan, which bears a postcolonial undertone. In the novel Binya was wearing a leopard’s claw [“it’s a tiger’s claw, said the man
beside her” (Bond 1992)] but in the film it has been presented as a bear’s claw. In the novel, Rajaram, the attendant of Nandu,
appears in the middle of the story, whereas he is present from the beginning in the film. The character of the ‘fortune teller’ has
been added to the film to give the plot a more convincing touch- the way he says, “Angrezi mein bhi jhooth bolta hai koi!”
(Bharadwaj 2005) (Does anyone tell lie in English!), makes us aware of the innocence of the rural people. The village characters
like Mukhia, and his son are some additions to the plot.
In the novel, Binya is the protagonist of the story whereas the protagonist has been changed in case of the film. Ram Bharosa, who
has been renamed as Nandakishore Khatri (Nandu) is the protagonist of the film around whom the story revolves. The change of
the protagonist gives us the scope of comparison between Ruskin Bond and Vishal Bharadwaj’s perception towards literature.
Bibhudatta Dash
Research Scholar in English Literature, Department of Humanities,
Social Sciences & Management National Institute of Technology Karnataka (NITK), Mangalore, India
Abstract:
The Blue Umbrella tells the story of Binya, a ten year old girl and her umbrella. Through the story, Ruskin Bond revisits the
essence of the Bhagvad Gita and the Holy Bible. Greed, jealousy, hatred, and kindness play equal roles in the story to bring
the point across to children. In 2005, The Blue Umbrella was adapted by Vishal Bharadwaj into a film of the same name
which won the National Film Award for Best Children’s Film. With its breathtaking visuals and acting, it was a critical
success and gained accolades.
In spite of all the success, the question arises- is the film a faithful adaptation? Are all the actors true to their characters?
Has not the plot been tampered in trying to make the film a critical success? Have the sequence of events been represented
in all their appropriateness? Have all the characters been given equal space and dimension, as in the novel? Has the film
been successful in creating the similar wavelength of aesthetic distance as in the novel? Most importantly, does the film
retain the tone of the message that Ruskin Bond wanted to convey through his story?
With a comparative analysis of the text and the film, this paper aims to answer these questions through the application of
Narrative Techniques under the genre of Adaptation Studies.
So long
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