Bond Collection for Adults

by Ruskin Bond

  I opened my mouth to make some explanation, but before I could say anything the woman replied: ‘Yes, I am Arun’s mother.’

  I was unable to speak a word. I looked quickly up at the woman, but she did not appear to be at all embarrassed, and was smiling at Satish’s mother.

  Satish’s mother said: ‘It’s such a nuisance having to wait for the train right in the middle of the night. But one can’t let the child wait here alone. Anything can happen to a boy at a big station like this—there are so many suspicious characters hanging about. These days one has to be very careful of strangers.’

  ‘Arun can travel alone though,’ said the woman beside me, and somehow I felt grateful to her for saying that. I had already forgiven her for lying; and besides, I had taken an instinctive dislike to Satish’s mother.

  ‘Well, be very careful, Arun,’ said Satish’s mother looking sternly at me through her spectacles. ‘Be very careful when your mother is not with you. And never talk to strangers!’

  I looked from Satish’s mother to the woman who had given me tea and sweets, and back at Satish’s mother.

  ‘I like strangers,’ I said.

  Satish’s mother definitely staggered a little, as obviously she was not used to being contradicted by small boys. ‘There you are, you see! If you don’t watch over them all the time, they’ll walk straight into trouble. Always listen to what your mother tells you,’ she said, wagging a fat little finger at me. ‘And never, never talk to strangers.’

  I glared resentfully at her, and moved closer to the woman who had befriended me. Satish was standing behind his mother, grinning at me, and delighting in my clash with his mother. Apparently he was on my side.

  The station bell clanged, and the people who had till now been squatting resignedly on the platform began bustling about.

  ‘Here it comes,’ shouted Satish, as the engine whistle shrieked and the front lights played over the rails.

  The train moved slowly into the station, the engine hissing and sending out waves of steam. As it came to a stop, Satish jumped on the footboard of a lighted compartment and shouted, ‘Come on, Arun, this one’s empty!’ and I picked up my suitcase and made a dash for the open door.

  We placed ourselves at the open windows, and the two women stood outside on the platform, talking up to us. Satish’s mother did most of the talking.

  ‘Now don’t jump on and off moving trains, as you did just now,’ she said. ‘And don’t stick your heads out of the windows, and don’t eat any rubbish on the way.’ She allowed me to share the benefit of her advice, as she probably didn’t think my ‘mother’ a very capable person. She handed Satish a bag of fruit, a cricket bat and a big box of chocolates, and told him to share the food with me. Then she stood back from the window to watch how my ‘mother’ behaved.

  I was smarting under the patronizing tone of Satish’s mother, who obviously thought mine a very poor family; and I did not intend giving the other woman away. I let her take my hand in hers, but I could think of nothing to say. I was conscious of Satish’s mother staring at us with hard, beady eyes, and I found myself hating her with a firm, unreasoning hate. The guard walked up the platform, blowing his whistle for the train to leave. I looked straight into the eyes of the woman who held my hand, and she smiled in a gentle, understanding way. I leaned out of the window then, and put my lips to her cheek, and kissed her.

  The carriage jolted forward, and she drew her hand away.

  ‘Goodbye, Mother!’ said Satish, as the train began to move slowly out of the station. Satish and his mother waved to each other.

  ‘Goodbye,’ I said to the other woman, ‘goodbye—Mother…’

  I didn’t wave or shout, but sat still in front of the window, gazing at the woman on the platform. Satish’s mother was talking to her, but she didn’t appear to be listening; she was looking at me, as the train took me away. She stood there on the busy platform, a pale sweet woman in white, and I watched her until she was lost in the milling crowd.

  ‘Let’s Go to the Pictures!’

  y love affair with the cinema began when I was five and ended when I was about fifty. Not because I wanted it to, but because all my favourite cinema halls were closing down—being turned into shopping malls or garages or just disappearing altogether.

  There was something magical about sitting in a darkened cinema hall, the audience silent, completely focused on the drama unfolding on the big screen. You could escape to a different world—run away to Dover with David Copperfield, sail away to a treasure island with Long John Silver, dance the light fantastic with Fred Astaire or Gene Kelly, sing with Saigal or Deanna Durbin or Nelson Eddy, fall in love with Madhubala or Elizabeth Taylor. And until the lights came on at the end of the show you were in their world, far removed from the troubles of one’s own childhood or the struggles of early manhood.

  Watching films on TV cannot be the same. People come and go, the power comes and goes, other viewers keep switching the channels, food is continually being served or consumed, family squabbles are ever present, and there is no escape from those dreaded commercials that are repeated every ten or fifteen minutes or even between overs if you happen to be watching cricket.

  No longer do we hear that evocative suggestion: ‘Let’s go to the pictures!’

  Living in Mussoorie where there are no longer any functioning cinemas, the invitation is heard no more. I’m afraid there isn’t half as much excitement in the words ‘Let’s put on the TV!’

  For one thing, going to the pictures meant going out—on foot, or on a bicycle, or in the family car. When I lived on the outskirts of Mussoorie it took me almost an hour to climb the hill into town to see a film at one of our tiny halls—but walk I did, in hot sun or drenching rain or icy wind, because going to the pictures was an event in itself, a break from more mundane activities, quite often a social occasion. You would meet friends from other parts of the town, and after the show you would join them in a cafe for a cup of tea and the latest gossip. A stroll along the Mall and a visit to the local bookshop would bring the evening to a satisfying end. A long walk home under the stars, a drink before dinner, something to listen to on the radio… ‘And then to bed,’ as Mr Pepys would have said.

  Not that everything went smoothly in our small-town cinemas. In Shimla, Mussoorie and other hill stations, the roofs were of corrugated tin sheets, and when there was heavy rain or a hailstorm it would be impossible to hear the soundtrack. You had then to imagine that you were back in the silent film era.

  Mussoorie’s oldest cinema, the Picture Palace, did in fact open early in the silent era. This was in 1912, the year electricity came to the town. Later, its basement floor was also turned into a cinema, the Jubilee, which probably made it India’s first multiplex hall. Sadly, both closed down about five years ago, along with the Rialto, the Majestic and the Capitol (below Halman’s Hotel).

  In Shimla, we had the Ritz, the Regal and the Rivoli. This was when I was a schoolboy at Bishop Cotton’s. How we used to look forward to our summer and autumn breaks. We would be allowed into town during these holidays, and we lost no time in tramping up to the Ridge to take in the latest films. Sometimes we’d arrive wet or perspiring, but the changeable weather did not prevent us from enjoying the film. One-and-a-half hours escape from the routine and discipline of boarding school life. Fast foods had yet to be invented, but roasted peanuts or bhuttas would keep us going. They were cheap too. The cinema ticket was just over a rupee. If you had five rupees in your pocket you could enjoy a pleasant few hours in the town.

  It was during the winter holidays—three months of time on my hands—that I really caught up with the films of the day.

  New Delhi, the winter of 1943. World War II was still in progress. The halls were flooded with British and American movies. My father would return from Air Headquarters, where he’d been working on cyphers all day. ‘Let’s go to the pictures,’ he’d say, and we’d be off to the Regal or Rivoli or Odeon or Plaza, only a short walk from our
rooms on Atul Grove Road.

  Comedies were my favourites. Laurel and Hardy, Abbot and Costello, George Formby, Harold Lloyd, the Marx Brothers… And sometimes we’d venture further afield, to the old Ritz at Kashmere Gate, to see Sabu in The Thief of Baghdad or Cobra Woman. These Arabian Nights-type entertainments were popular in the old city.

  The Statesman, the premier newspaper of that era, ran ads for all the films in town, and I’d cut them out and stick them in a scrapbook. I could rattle off the cast of all the pictures I’d seen, and today, sixty years later, I can still name all the actors (and sometimes the director) of almost every 1940’s film.

  My father died when I was ten and I went to live with my mother and stepfather in Dehra Dun. Dehra too, was well served with cinemas, but I was a lonely picturegoer. I had no friends or companions in those years, and I would trudge off on my own to the Orient or Odeon or Hollywood, to indulge in a few hours of escapism. Books were there, of course, providing another and better form of escape, but books had to be read in the home, and sometimes I wanted to get away from the house and pursue a solitary other-life in the anonymous privacy of a darkened cinema hall.

  It has gone now, the little Odeon cinema opposite the old Parade Ground in Dehra. Many of my age, and younger, will remember it with affection, for it was probably the most popular meeting place for English cinema buffs in the ’40s and ’50s. You could get a good idea of the popularity of a film by looking at the number of bicycles ranged outside. Dehra was a bicycle town. The scooter hadn’t been invented, and cars were few. I belonged to a minority of walkers. I have walked all over the towns and cities I have lived in— Dehradun, New and Old Delhi, London, St Helier (in Jersey), and our hill stations. Those walks often ended at the cinema!

  The Odeon was a twenty-minute walk from the Old Survey Road, where we lived at the time, and after the evening show I would walk home across the deserted parade ground, the starry night adding to my dreams of a starry world, where tap dancers, singing cowboys, swashbuckling swordsmen, and glamorous women in sarongs reigned supreme in the firmament. I wasn’t just a daydreamer; I was a star-dreamer.

  During the intervals (five-minute breaks between the shorts and the main feature), the projectionist or his assistant would play a couple of gramophone records for the benefit of the audience. Unfortunately the management had only two or three records, and the audience would grow restless listening to the same tunes at every show. I must have been compelled to listen to ‘Don’t Fence Me In’ about a hundred times, and felt thoroughly fenced in.

  At home I had a good collection of gramophone records, passed on to me by relatives and neighbours who were leaving India around the time of Independence. I decided it would be a good idea to give some of them to the cinema’s management so that we could be provided with a little mote variety during the intervals. I made a selection of about twenty records— mostly dance music of the period—and presented them to the manager, Mr Suri.

  Mr Suri was delighted. And to show me his gratitude, he presented me with a Free Pass which permitted me to see all the pictures I liked without having to buy a ticket! Any day, any show, for as long as Mr Suri was the manager! Could any ardent picturegoer have asked for more?

  This unexpected bonanza lasted for almost two years with the result that during my school holidays I saw a film every second day. Two days was the average run for most films. Except Gone With the Wind, which ran for a week, to my great chagrin. I found it so boring that I left in the middle.

  Usually I did enjoy films based on famous or familiar books. Dickens was a natural for the screen. David Copperfield, Oliver Twist, Great Expectations, Nicholas Nickleby, A Tale of Two Cities, Pickwick Papers, A Christmas Carol all made successful films, true to the originals. Daphne du Maurier’s novels also transferred well to the screen. As did Somerset Maugham’s works: Of Human Bondage, The Razor’s Edge, The Letter, Rain and several others.

  Occasionally I brought the management a change of records. Mr Suri was not a very communicative man, but I think he liked me (he knew something about my circumstances) and with a smile and a wave of the hand he would indicate that the freedom of the hall was mine.

  Eventually, school finished, I was packed off to England, where my picture-going days went into a slight decline. No Free Passes any more. But on Jersey island, where I lived and worked for a year, I found an out-of-the-way cinema which specialized in showing old comedies, and here I caught up with many British film comedians such as Tommy Trinder, Sidney Howard, Max Miller, Will Hay, Old Mother Riley (a man in reality) and Gracie Fields. These artistes had been but names to me, as their films had never come to India. I was thrilled to be able to discover and enjoy their considerable talents. You would be hard put to find their films today; they have seldom been revived.

  In London for two years I had an office job and most of my spare time was spent in writing (and rewriting) my first novel. All the same, I took to the streets and discovered the Everyman cinema in Hampstead, which showed old classics, including the films of Jean Renoir and Orson Welles. And the Academy in Leicester Square, which showed the best films from the continent. I also discovered a couple of seedy little cinemas in the East End, which appropriately showed the early gangster films of James Cagney and Humphrey Bogart.

  I also saw the first Indian film to get a regular screening in London. It was called Aan, and was the usual extravagant mix of music and melodrama. But it ran for two or three weeks. Homesick Indians (which included me) flocked to see it. One of its stars was Nadira, who specialized in playing the scheming sultry villainess. A few years ago she came out of retirement to take the part of Miss Mackenzie in a TV serial based on some of my short stories set in Mussoorie. A sympathetic role for a change. And she played it to perfection. It was four years before I saw Dehra again. Mr Suri had gone elsewhere. The little cinema had closed down and was about to be demolished, to make way for a hotel and a block of shops.

  We must move on, of course. There’s no point in hankering after distant pleasures and lost picture palaces. But there’s no harm in indulging in a little nostalgia. What is nostalgia, after all, but an attempt to preserve that which was good in the past?

  And last year I was reminded of that golden era of the silver screen. I was rummaging around in a kabari shop in one of Dehradun’s bazaars where I came across a pile of old 78 rpm records, all looking a little the worse for wear. And on a couple of them I found my name scratched on the labels. ‘Pennies from Heaven’ was the title of one of the songs. It had certainly saved me a few rupees. That and the goodwill of Mr Suri, the Odeon’s manager, all those years ago.

  I bought the records. Can’t play them now. No wind-up gramophone! But I am a sentimental fellow and I keep them among my souvenirs as a reminder of the days when I walked home alone across the silent, moonlit parade ground, after the evening show was over.

  And Now We Are Twelve

  eople often ask me why I’ve chosen to live in Mussoorie for so long—almost forty years without any significant breaks.

  ‘I forgot to go away,’ I tell them, but of course, that isn’t the real reason.

  The people here are friendly, but then people are friendly in a great many other places. The hills, the valleys are beautiful; but they are just as beautiful in Kulu or Kumaon.

  ‘This is where the family has grown up and where we all live,’ I say, and those who don’t know me are puzzled because the general impression of the writer is of a reclusive old bachelor.

  Unmarried I may be, but single I am not. Not since Prem came to live and work with me in 1970. A year later, he was married. Then his children came along and stole my heart; and when they grew up, their children came along and stole my wits. So now I’m an enchanted bachelor, head of a family of twelve. Sometimes I go out to bat, sometimes to bowl, but generally I prefer to be twelfth man, carrying out the drinks!

  In the old days, when I was a solitary writer living on baked beans, the prospect of my suffering from obesity was very r
emote. Now there is a little more of author than there used to be, and the other day five-year old Gautam patted me on my tummy (or balcony, as I prefer to call it) and remarked: ‘Dada, you should join the WWF.’

  ‘I’m already a member,’ I said, ‘I joined the World Wildlife Fund years ago.’

  ‘Not that,’ he said. ‘I mean the World Wrestling Federation.’

  If I have a tummy today, it’s thanks to Gautam’s grandfather and now his mother who, over the years, have made sure that I am well-fed and well-proportioned.

  Forty years ago, when I was a lean young man, people would look at me and say, ‘Poor chap, he’s definitely undernourished. What on earth made him take up writing as a profession?’ Now they look at me and say, ‘You wouldn’t think he was a writer, would you? Too well nourished!’

  It was a cold, wet and windy March evening when Prem came back from the village with his wife and first-born child, then just four months old. In those days, they had to walk to the house from the bus stand; it was a half-hour walk in the cold rain, and the baby was all wrapped up when they entered the front room. Finally, I got a glimpse of him, and he of me, and it was friendship at first sight. Little Rakesh (as he was to be called) grabbed me by the nose and held on. He did not have much of a nose to grab, but he had a dimpled chin and I played with it until he smiled.

  The little chap spent a good deal of his time with me during those first two years of his in Maplewood—learning to crawl, to toddle, and then to walk unsteadily about the little sitting room. I would carry him into the garden, and later, up the steep gravel path to the main road. Rakesh enjoyed these little excursions, and so did I, because in pointing out trees, flowers, birds, butterflies, beetles, grasshoppers, et al., I was giving myself a chance to observe them better instead of just taking them for granted.

  In particular, there was a pair of squirrels that lived in the big oak tree outside the cottage. Squirrels are rare in Mussoorie though common enough down in the valley. This couple must have come up for the summer. They became quite friendly, and although they never got around to taking food from our hands, they were soon entering the house quite freely. The sitting room window opened directly on to the oak tree whose various denizens—ranging from stag beetles to small birds and even an acrobatic bat—took to darting in and out of the cottage at various times of the day or night.