@DeepInThought4U

ॐ तत् सत् || Truth. Dharma. Equality. Free speech. I endeavour to uphold these virtues. I lean neither to the Left nor the Right. Instead I aim to align myself with the Truth. Views expressed in this eclectic blog may be strong, amusing and/or based on personal opinions - all in keeping with the virtues listed above. All open-minded enthusiasts are welcome to peruse, share, learn and teach. Kindly remember to respect copyright and acknowledge this as the source.

Showing posts with label Bollywood. Show all posts

Monday, January 29, 2024

Film conversations: Fighter

As I have iterated multiple times before, I rarely venture into a multiplex to see a move due to previous harrowing experiences. Especially so because the price of cola-popcorn sold there rivals that of real-estate in Bangalore. That, and multiplexes allowing children into the theatre even though the CBFC rating of a film disallows them from doing so. I have raised these issues with relevant authorities and have been met with as much response from them as from a stone wall.

Regardless, I made an exception because it was a film starring our National Treasure, Hrithik Roshan. Add his proven combo with Director, Siddharth Anand and music by Vishal-Shekhar - the same one that gave us the peerless title track of Bang Bang, and you will appreciate my reckless foray into a multiplex again. As if these were not enough, Hrithik is being paired with Deepika Padukone for the first time, and the format is IMAX 3D - a first for me.

Without giving away any spoilers, I will just say that Fighter is a thrill ride throughout. It packs in a lot: aerial action, hand-to-hand combat, camaraderie, romance, feminism, patriotism, terrorism, and of course, songs and dances. But in the words of Shershaah, Yeh dil maange more! There should have been another dance number with Hrithik - the Ishq jaisa kuch number only appears with the end credits even as people are walking away. And, despite its beautiful locale and choreography and Hrithik-Deepika's dancing, it does not quite measure up to the Bang Bang title track, which continues to remain the gold standard for YouTube reactionaries to score views and likes with.

Some of the same reactionaries and reviewers have said that Fighter is jingoistic and patriotic. That it harks back to the old formula of black-white depiction of bad neighbours resorting to terrorism. And that the aerial actions scenes are CGI, etc.

I say, so what? All films across the world are simulations: they are fake and made up, requiring varying degrees of suspension of disbelief from the audiences for them to work. Fighter is no exception.

It is no more unbelievable than the over-the-top action shown in that drivel that I had the misfortune of seeing: Jawan; or, speaking of over-the-top, RRR or KGF - take your pick. And let's not even mention the high-on-shock-value-and-ultra-violent-but-lacking-a-decent-story Animal. Or for that matter, take any Marvel movie character and add them in any other of the franchise and it will be a good fit, because they are all the same; only the CGI varies.

And all of the above are allegedly mega-hits, watched and adored by the very same reactionaries. So why not Fighter? If Fighter is being targeted by some for not earning as much as these mega-hits, know it to be a negative campaign by those who are rankled by the pro-India, anti-terror theme of the film. As it is, it has been banned in the Middle Eastern countries, and - to call a spade a spade - viewers from these and our neighbouring country would much prefer watching a far less substantive SRK film only because he happens to be of the right religion - for them.

As far as the depiction of neighbourhood terrorism is concerned, is there anybody who can argue that it isn't well deserved? And patriotism is something that is a special feeling to us Indians, given our history that is replete with cultural and religious assault by foreign adversaries and our present situation of having to thwart constant threats from hostile neighbours and breaking-India forces. This is something that non-Indian viewers, foreign reactionaries and pseudoseculars will never understand.

I enjoyed Fighter. My enjoyment was only rivalled by a fellow Hrithik fan's who was sitting next to me and whooping and whistling and openly man-loving Hrithik whenever he appeared looking dashing in the various military uniforms and topless in the Ishq song. And yes, I bet he was watching only Hrithik in the dance sequences, ignoring all the other dancers - a mesmerizing effect Hrithik has on his fans. The guy next to me also knew when to fish out his mobile to take pics/videos - Hrithik's entry scene and the tricolour scene in the helicopter. I figured he was the prototype of Hrithik fans who will be pouring into the theatres again and again, given the film's repeat value.

I rated this 10/10 on IMDb because of the whole experience: the story and the emotions worked for me, the actions scenes were amazing, and just the fact that this is one of the better outings for Siddharth Anand.

IMAX 3D, though dearer, involves a larger screen with more resolution and enhances the experience by giving an immersive feel to action sequences.

And Fighter is a perfect film to watch in the IMAX 3D format - go for it!

Image source: https://www.timesnownews.com/entertainment-news/reviews/bollywood/fighter-movie-review-hrithik-roshan-deepika-padukone-film-is-a-gripping-aerial-action-drama-with-stellar-performances-review-107127719

Thursday, August 24, 2023

A mainstream threesome

Recently, I have come across at least three mainstream programs wherein the protagonists are gay.

There are, no doubt, more such programs out there (I am told that there is a host of 'Thai BL' drama out there that I am yet to discover).

But these three are the ones I have seen and liked.

Here's a list of them, with my take on what they mean for LGBT-inclusivity.

Gameboys: This is a 2020 Filipino web-series wherein the two main characters are male teenagers who discover their own sexual orientation over the course of online games and chats, in the background of the pandemic induced lockdown. [PS: I could only find Season 1 on Netflix India]

The diffidence in accepting one's sexuality, and the frequently changing interactions in young relations are well depicted in this series. There is hardly any interference from the adults in the lives of these young people; in fact, the mother of one of the leads is so understanding and supportive that she should be enshrined as the prototype of an ideal, broadminded parent that every gay adolescent afraid of coming out should be blessed with.

Good writing, with terrific use of the lockdown restrictions to depict the pining for union between the leads, and the leads themselves who are as charming as they are adept in emoting and expressing these interactions, makes this is an engaging series with a feelgood factor working in its favour.

With so much going for it, Gameboys makes it easier to accept the boys' relations from the point of view of a viewer who has no idea about gay relations.

Hi baby! - sorry, couldn't resist that one.

Heartstopper: Again, male teenagers go through the pangs of discovering their sexuality; only, this 2022 web-series is set in England. The relationship tangles, interpersonal strife, and parental acceptance/non-acceptance are depicted here in a no-holds-barred manner, which makes this a lot more intense and emotional affair. Credit, once again, should go to the writing, direction and acting by the entire cast - can't go wrong with Olivia Colman in the scheme of things, can we?

During the course of the two seasons, this series manages to cover issues pertaining to all the letters of LGBT acronym, besides touching upon eating disorders, self-harm, and that other letter in the extended acronym: A - asexuality.

Red, White & Royal Blue: A trans-Atlantic love affair between two grown men is made all the more sensational by the fact that the leads happen to be a prince and a president's son. Based on a novel of the same name, this 2023 American film struck an immediate chord with the viewers and generated a huge positive buzz on social media. What works here is the chemistry between the leads; it helps that they are both incredibly good-looking and act wonderfully well.

What's also good is that this mainstream film does not shy away from showing the intimate moments between the gay leads. The romance is so engrossing that one forgets that this is not a star-crossed straight love story, such as Romeo & Juliet or Heer-Ranjha; a staple diet we have feasted on in our heteronormative mainstream film-viewing experience thus far.

This just goes to show that the heartstrings can be tugged at just as well by well-depicted gay love stories as straight ones.

***

The larger point that emerges from all these watershed creations is this: LGBT relationships are normal. They are variants of romantic/sexual relations, and are not in any way inferior to straight relations. The same process of falling in love, relationship issues, breakups, and reunions that are part of straight relations are also common to LGBT relations.

After all, one falls in love with an individual, whose personality, worldview, and affability is congruous with oneself. So, how does it matter if that individual happens to be a man, woman or transsexual?

I have written in detail about these issues, calling for acceptance of alternative sexuality in an earlier article.

Now, while I appreciate these three programs for bringing gay relations into the mainstream across the world, I can't help wondering when we, here in India, would be doing our gay community a huge favour by creating similar content.

If you leave out a few series in the OTT space [as in Made In Heaven 1 & 2 (about the travails of a gay protagonist, with an impressive Arjun Mathur playing the gay man), The Married Woman (lesbian affair of a married woman), and His Story (gay affair of a married man)], all of which, I must add, are excellent creations, there is a woeful lack of meaningful depictions of gayness across all film industries of India.

On the other hand, gay characters over the years have been shown as mere caricatures, to be made fun of, or to be considered abnormal, or to be discriminated against.

The nuances explored in the above three landmark productions are patently absent in the Indian context, and one has to wonder why this should be so, when we all know that the Hindi Film Industry has more than its share of gay filmmakers and actors. It is disappointing that none these filmmakers have thus far taken the lead to address this situation. Perhaps commercial considerations may be hindrances to producing an out and out gay film?

This only leads me to appreciate what the makers of some small but effective Bollywood films have achieved in terms of bringing fringe sexual issues to the open. At least here, the list is impressive: Vicky Donor (about sperm donation), Dum Laga Ke Haisha (obesity in sexual partner), Shubh Mangal Savdhan (erectile dysfunction), Badhaai Ho (late-life pregnancy), Janhit Mein Jaari (woman advocating condom use), Dream Girl (phone erotica), and Pad Man (menstrual hygiene).

To me, these are much more meaningful than any of those big budget, over-the-top, opium-to-the-masses type of hypermasculine drivel that film industries across the country dole out to pander to the whims of hero-worshipping, sycophantic fans of aged superstars.

Huge shout out also to the makers and actors of a few small LGBT-themed Hindi films: Shubh Mangal Zyada Saavdhan (male gay relations with mainstream actors: Ayushmann Khurrana and Jitendra Kumar - well done you guys), Chandigarh Kare Aashiqui (transsexual relationship with Ayushmann Khurrana and Vaani Kapoor - kudos to Vaani for doing this role), and Badhaai Do (lavender marriage between a male and female gay person with Rajkummar Rao and Bhumi Pednekar - again, well done on breaking stereotypes).

Now, if only the mainstream Bollywood guys could take a cue and put together a big budget musical extravaganza in which the leads are gay or lesbian or trans.

Imagine gay versions of QSQT, MPK and HAHK with same-sex lovers mouthing lyrics such as So what if we are alone, with you along we can achieve anything - I am yours, since ages; Go go go pigeon, convey my first love letter to my lover; and Mother O Mother, listen to the crow on the roof; your darling has fallen for the love hermit (see what I did there?).

If and when that happens, and if we can, as an audience, watch them without cringing just like the fans of the above three films across the world have done, we would have taken a huge step forward in terms of gender inclusivity and equal opportunities for all representatives of the LGBT community.

So, would it be too much to ask for a Rocky Aur Raju Ki Prem Kahani?

Dharma Productions, over to you.

Pictures sources:

https://www.imdb.com/title/tt12508898/
https://www.imdb.com/title/tt10638036/
https://www.imdb.com/title/tt10172266/

Thursday, July 18, 2019

Film ratings & reviews on IMDb

As I have said, the internet and TV have entered into holy matrimony.

Their union will be a sealed deal as soon as we are able to get rid of money-guzzling satellite dish services.

Already, this (h)App-y marriage has produced many bonny bundles of joy: Netflix India, Amazon Prime, Zee5 and Hotstar, with many more siblings to follow.

Through these apps I have gone about catching up with some of the finer films that we only get to hear about during award ceremonies, but never actually get to watch. This is apart from the usual commercial films that we have access to.

Old or new, documentaries or films, genre-based or not, Hindi, English, regional or international languages, they're all included in the watch-list under my profile, gruvy-muvy on IMDb.

Also find my reviews of select films under the same profile.

A rough guide to my ratings on the database goes like this:

Stars (out of 10)	My reaction
5 or below	What’s all the hype about this one?
6-9	This is worth seeing
Perfect 10	You’re nuts for missing this!

A list of films/documentaries/shorts that are relevant to understanding the following topics can be found here:

Psychiatric/mental health issues

Medical education/career

Hinduism (Sanatana Dharma)

India (Bharata)

Tuesday, October 9, 2018

India's got #MeToo

We know that India's got talent... oodles of it, both within Bollywood and outside.

Now India's got #MeToo...

They say everything happens at the right time. Ten years ago, when the said actress was sexually harassed, had she made her revelations, they may not have had such an impact as they have done now.

(I am, of course, assuming that the allegations are true; but that's something the courts would have to decide. But the very fact that the issue has been brought out by one individual is to be welcomed.)

Now that cat's out of the bag, we need to make the most of it. Thank goodness that #MeToo happened in Hollywood - indeed, for a change, that's one good thing that needs to be welcomed to our shores.

Let's hope the movement gathers steam here too and more sacrosanct skeletons tumble out of the hitherto locked up Bollywood cupboard.

Indeed that cupboard was so tightly shut and its inhabitants so much in denial about the transgressions of the high and mighty that it was all bordering on a collective psychotic state.

Even now that the issue is finally out in the open, the reactions have been reflective of this psychotic state.

The glorious superstars of Bollywood have completely denied to comment on it, or to even acknowledge that such incidences could occur in their hallowed citadel. These are hypocritical, self-serving, fake superstars who are only thriving in the industry due to the blind adulation of their equally psychotic fans.

One hopes that at the very least, the other women of the film industry finally find their long-suppressed voice and come out in support of the movement. And not only women, men who have been abused should come out too.

There was a recent post on social media that showed a battered face of a goddess with the tagline that went something like this: 'For the next 10 days the country that abuses its women will celebrate female power' (with reference to Dussehra). Sad, but true!

One may be super talented and highly regarded, yet guilty of sexual harassment at work place. Like many of the other legal directives, the Vishaka Guidelines exist mainly on paper, with companies loath to fully implement them, and employees blissfully unaware of their existence.

Now that the #MeToo Ravana has been dragged out kicking and screaming into the spotlight, here's hoping that the #MeToo movement drags out more such Ravanas from other citadels too: sports, politics, corporate and yes, even medical field.

Then there can be the collective burning of the #MeToo Ravana effigies, which would light up this year's Dussehra like no other.

Primary image source:
https://commons.wikimedia.org/wiki/File:Ravana_fizzles.jpg
Pete Birkinshaw, Ravana fizzles, #MeTooIndia text added by by blogger, CC BY 2.0

Saturday, August 19, 2017

Article on nepotism in Bollywood

Following the untimely death of Sushant Singh Rajput, the focus is once again on nepotism in Bollywood (2020).

I have raised this issue many a time, with the following being an early example, published in the then IndiaFM.com (2006):

https://www.filmibeat.com/bollywood/features/2006/dynasty-menace-star-040906.html

Nepolitics and nepollywood

Nepotism: The practice among those with power or influence of favouring relatives or friends, especially by giving them jobs.

This is how the Oxford Dictionary defines the term that has been in the news lately. I have already raised this prickly issue in Angst.

In Hindi we have a more colourful description of the term: Allah meherban to gadha pehelwan!

Politics and Bollywood (I prefer Hindi Film Industry, but this term fits in here) abound in instances of shameless use of power and influence in getting one's own kith and kin plum posts/roles.

There are countless examples.

Very recently, before they were ousted, two sons of a 'foddersome' politician had occupied prominent posts in a northeastern state. One of them, if news reports are to be believed, was the health minister even though he had flunked his school exams. His elder brother had tried his hand at cricket, found it too much hard work, and went... 'hey, never mind! there is always politics..!'

The grand-old-but-irrelevant-in-the-present-context party continues to hold on to the family that has usurped the Mahatma's surname. That the 'young scion' is not only young anymore, but is also completely unfit to remain in public life, leave alone lead a party, doesn't seem to matter.

No prizes for guessing who I am referring to.

Cut to the land of dreams and glamour: Bollywood, or any of the umpteen 'woods' that have sprung up across the country. The story is the same in each of these regional editions.

I need not go into the details since I have already written about this long ago.

Recently, a star-kid - a failed actor - had written that she barely survived Bollywood and the bad things it did to her. Sorry, what? Who asked her to be a part of it? Is Bollywood some kind of family jagir that needs to be thrust upon the heirs against their will?

These gadhas have a simple choice of saying 'no'. Instead what most of them seem to do is to take the plunge - after all, when the apple is dangled in front of you, why not savour it? If it works out, fine; if not - 'hey, it is such a bad field..! I barely survived it!'

Another star-kid - a successful one - was reported to have said, 'it's a free world, there's opportunity for anybody to make it big.' Sorry, lady; beg to differ! A rank outsider who has no prior connections with Industry insiders, who has no godfather/mother to guide him/her, who has no chance of getting a well coordinated grand launchpad, has NO opportunity to make it big - not as much as a star-kid who is blessed with all these criteria (minus looks and talent), anyway.

What does this tell us about ourselves? Nepotism that is so rife in our public life implies that when it comes to handing over the 'family heirloom', we would like to keep it in the family. We like to pass on the baton to our own ilk as we feel insecure about somebody else gaining an upper hand in our chosen professions. When there is an easy route available to instant fame, recognition, loads of moolah and power, how can one say no?

So, it's my family, my son, my daughter, my nephew, my niece, my jagir, my fiefdom, my constituency, my money, my fame, my big fat EGO... that's all that matters in the end. Fairness be damned. Merit be damned. 'Strugglers' - that hapless breed of wannabe actors who have to jump through hoops to land a bit-role - can take a walk!

Reservations, newer castes and religions, demands for new states and secession from the mainland... as if these were not enough, you can add a couple of other exclusivist, divisionist, selfish phenomena to this list: nepolitics and nepollywood.

'Nepotism rocks!' did someone say?

No sir, nepotism sucks!!

Image source: https://previews.123rf.com/images/radiantskies/radiantskies1212/radiantskies121202672/16773539-Abstract-word-cloud-for-Nepotism-with-related-tags-and-terms-Stock-Photo.jpg

Wednesday, December 14, 2016

Film conversations: Kahaani 2

While the first Kahaani was advertised as 'a mother of a story' (and it was; kahaani = story), the second one alludes to a different kind of motherhood.

The grittiness, realism, Kolkata, Bengali culture and accent, the lead actress, the director and the mystery element, all return in Kahaani 2, minus the other support cast from the first installment.

Nevertheless, some parallels are worth noting between 1 and 2: the ironic killer LIC agent from 1 is replaced by a killer female police officer; the abetting Bengali police officer is replaced by another non-Bengali police officer who also happens to be the main protagonist's ex-husband; and the doubting senior non-Bengali detective is replaced by another doubting Bengali police officer. Also present is the nondescript love interest of the main protagonist who has nothing much to do; and of course the mystery element from 1 that keeps you guessing throughout.

In all this, the film manages to make a serious point on child sexual abuse. The dubious culprit who is also the uncle of the child, the denying grandmother who invariably takes her son's side and blames the child for all things wrong, the attempts to cover-up - they are all there; and for most parts the makers manage to get the issues right.

But the issue is used only to add to the thriller aspect of the narrative, rather than to make a social point, as in Monsoon Wedding. Nevertheless, the grimness of this subject is matched amply by the bleakness of the backdrop and the deglamourised look sported by the lead protagonist.

Comparisons are no doubt, odious; but since this has been presented as Kahaani 2, one cannot help pit it against the first Kahaani. It is also true that sequels rarely ever steal a march over the first one, and this is no different.

Even though the tautness is there, it is no way as riveting or unpredictable as the first one. The sting in the tail certainly is not as surprising as the previous one. If anything, the fast pace and editing, which are probably meant to keep the story taut and interesting, take away the real feel of the lead character's personality, along with the reason behind why she is initially a recluse, and how she transforms herself into a protective mother, later.

A few loose threads hang about; for instance, why did the policeman - far too handsome to belong in a dilapidated small town police station - who was hand-in-glove with the mother all along, allow her to face the deadly duo all on her own towards the end? The mother, after having been declared 'officially dead', manages to emigrate to the US for the child's treatment, with only a changed name on her passport.

In spite of all this, I would go miles to see a quality film, as opposed to ego-inflated-superstar-oriented, ostentatious, self-glorifying, kahaani-less films.

Therefore, I highly recommend Kahaani 2, which is well worth your time and money, and will not disappoint you, on the whole.

Image source: http://media3.bollywoodhungama.in/wp-content/uploads/2016/10/Kahaani-2-3-306x393.jpg

Thursday, November 12, 2015

Film conversations: Prem Ratan Dhan Payo

There are a couple of things to bear in mind when you go to watch a Sooraj Barjatya film.

(A) Suspend disbelief, and (B) Never go by critics' reviews.

'A' because a few liberties are always taken in his films, especially when it comes to the medical field. You just have to accept what's being presented, let go, and enjoy! That's the best way to watch his films.

'B' because the last time the critics panned his film, it went on to become Indian cinema's biggest ever hit: Hum Aapke Hain Kaun..!

So what's Prem Ratan Dhan Payo all about?

I won't give away the story, but you may get a general idea about what it might be about.

So here goes.

Remember Chitchor? That simple yet touching film made by the same Rajshri Productions, with unforgettable songs by Ravindra Jain and Yesudas? Stellar performances by Amol Palekar, Zareena Wahab, A K Hangal, Dina Pathak, Vijayendra Ghatge and that cute child actor Raju Shreshtha? Yes, that one.

Take that.

Also, while you are at it, grab Paheli (incidentally Amol Palekar who acted in Chitchor, directed Paheli).

Also add a dash of Mark Twain's Prince and the Pauper.

And don't forget to sprinkle a bit of Ram aur Shyam, Seeta aur Geeta, Chaalbaaz and Kishen Kanhaiya.

Oh, and for the title, replace Ram with Prem in Meera Bai's bhajan, Ram Ratan Dhan Payo.

And there you have it. Prem Ratan Dhan Payo.

Okay, I am being a tad unfair. Yes, PRDP reminds one of all the films mentioned above, yet it is different.

For starters, is made on a much larger, grandiose scale. There are subplots woven into the story. Barjatya has made all efforts to present the story in a novel, light hearted manner. And it works.

So what's the same?

As with any Barjatya film, PRDP, at its core, is about love. It displays Indian tradition and draws its emotional appeal heavily from family values and relationships within the family. It is opulent. The sets are lavishly mounted, and it is a visual treat.

And what's different?

First of all, PRDP does not have a massive starcast, as in HAHK. There's only Anupam Kher. Reema Lagoo and Alok Nath are conspicuously absent!

There are less songs than a typical Barjatya film.

And - get this - there is action! There is a stunningly crafted horse-coach scene in the beginning, sword fight in the middle, and dishum-dishum at the end. Far too much action for a Barjatya film!

A few grouses

The background music was a bit too loud, making it difficult to follow the dialogues. Some songs have been cut to trim down the overall length of the film (it is now 174 minutes long).

Does it recreate the magic of HAHK? No. But then, I don't think any film can.

What works?

Barjatya has got starpower with him, as usual. That alone will ensure the opening. Prem has become a saleable commodity, which is sure to draw in his fans by the lakhs.

The music, songs and choreography are first rate, and it seems that Himesh Reshammiya has a hit on his hands, especially with the title song.

Overall, terrific Diwali entertainment. Enjoy it!

Image source: http://s2.dmcdn.net/Ogfwe/1280x720-vd5.jpg

Sunday, September 13, 2015

Film conversations: Phantom

His previous film made millions, but this one will clearly not. Director Kabir Khan's film on 26/11 will get nowhere near the collections of his previous 'feelgood' film. Because they don't like it you see. By they I mean not just our 'friendly' neighbours, but also their expatriates who live in other countries, and their co-brothers. These days you need to entice them with friendly themes to ensure that you have a hit on your hands; as most Hindi film makers seem to be doing recently.

It would be tough to entice them into watching this one. Because you see, it tells the truth. And truth, has always been a bitter pill to swallow for our neighbours. Their basic policy with regards to 26/11, and all the hundreds of other attacks launched against our land from their soil can be summarized in just two words: deny and defend.

Deny they had any hand in whatever happened, and deny that the terrorists were their own kith and kin. If confronted with the truth, defend yourself to the core; never give an inch; because attack is the best form of defence.

And this does not just pertain to the government officials or spy agencies; it applies to almost all citizens of that country. Which is why a ban on the film was readily accepted by all concerned.

Some Indian, who dares to enter their soil to kill their own men! How can this be allowed? Only America is allowed to do that.

Now about the film. It is well made throughout. Even though there is a disclaimer at the beginning of the film to state that the story is not based on any actual character, it is obvious from the amazing likeness of the actors to the real life culprits, as to who this is based on. Especially the actor playing David Headley; the resemblance is uncanny. Besides, what are we scared of? It is based on 26/11, and the terrorists who plotted the attack, period.

Acting by all is good, but Mohammed Zeeshan Ayyub steals the show from right under the noses of Saif Ali Khan and Katrina Kaif. He is just sensational in a small but significant role. One can see his stock rising in the days to come, and he richly deserves it.

If anything, the film is probably a bit too slick, and I wonder if a more measured approach would have worked better. Especially the manner in which Daniyal (Khan's character) is cajoled into taking up the assignment is a bit too abrupt. Also - I know others might disagree - but nobody on our side should have died in the end. It should have been a clean, clinical mission that achieves its goal of eliminating the terrorists behind 26/11, without any loss on our side. Haven't we lost enough already?

I am not going to give away anymore of the plot-line. Like Baby, we want people to watch this film and find out for themselves what could be achieved with a little bit of derring-do.

Yes, it is a story we wish were true. And director Kabir Khan and the others behind the film deserve rich accolades for telling it.

It is still possible to put this idea into action. We do have the personnel who are capable of undertaking such a mission. But, is the government listening?

Image source: https://upload.wikimedia.org/wikipedia/en/7/71/Phantom_Hindi_Poster.jpg

Tuesday, December 30, 2014

Film conversations: PK

Please note that there would be spoilers ahead. If you are one of those who hasn't seen the film yet, desist from reading this article now.

First of all, PK is no 3 Idiots. In fact, it comes across as a tad contrived, as it struggles to combine 'alienhood' with religion rather unconvincingly. The Hirani trademarks are all there: a serious issue tackled in a lighthearted vein, a particular kind of music (love is a waste of time reminds one of zoobi doobi), and the final hyper-emotional resolution; apart from the regulars such as Boman Irani and Parikshith Sahni. Yet, PK fails to match up to the novelty and charm that 3 Idiots brought to screens. If anything, it appears to be formulaic in its attempt to recreate the same magic.

As far as the story goes, Anushka Sharma's character is happily bicycling around the deserted streets of Belgium, when she bumps into Sushant Singh Rajput's character. Promptly, within a few minutes of meeting him, she is singing paeans of undying love with him. The fact that he is Pakistani has got nothing to do with the story of the film; Muslim - yes, Pakistani - no. This just comes across as another instance of our filmwalas giving needless importance to Pakistan - maybe it sells well.

To come back to the story, PK, the alien has already landed and is finding life tough in India as he grapples with the languages, people's attitudes, money, and yes, clothes, which he borrows from amorous couples who are doing their in thing in 'magic cars'.

A misunderstanding separates the Belgian lovers, and the girl ends up befriending the alien in Delhi. It so happens that the alien has already lost his remote-control necklace, which he is desperate to find so he can return home to his own planet whose people are exactly the same as us, except that they have pointy ears and roam around in the buff.

The alien also realises during his sojourn on planet earth, that God is omnipotent and can help him find his pendant. He ends up propitiating every god in the area, cutting across religious lines, in his own bungling ways. He discovers, during this process, that there are different kinds of gods, belonging to different sets of people, managed by different sets of 'managers'.

His critique of the futility of religious exigencies sets him off on a collision course with a Hindu Baba, who has a 'direct line' with God, which helps him offer solutions to his bhaktas' problems. Of course, he is just a fraud out to make a killing with the generous donations made by his multitudes of bhaktas, which he collects in a huge box, ostensibly to build a temple. Needless to say, his scheming ways are exposed in a live television debate in the end, the Belgian lovers are reunited, and the alien returns home with a heart heavy with unrequited love. He, however, brings his friends back as the film ends, for another tour of planet earth. PK 2 perhaps?

Now for the theme of the film. If 3 Idiots was about the education system, PK is about religion. It pokes fun at the - mostly Hindu - traditions and rituals, godmen, and the people who fall for these rituals and godmen, blindly. It has become fashionable to pan Hindu Babas these days in the media and films, as they are easy targets, owing to the antics of a few colourful real life Babas who have been in the limelight due to their less than divine activities.

Oh my God did it in the recent past. Hollywood has also pitched in with Jimi Mistry's The Guru, and Mike Myers' The Love Guru. Perhaps the realisation that the freedom of expression and magnanimous outlook inherent in Hinduism - barring a few effigy-burning activities - allows these filmmakers to take these liberties.

At the same time, one can see why the Hindu organisations are upset about the content of the film, as it largely targets the gods and practices of Hindu religion. If the target were to be gods, messengers and practices of certain other religions, the outcome for the film and its makers may well have been 'all is not well'. Ask Salman Rushdie. Or Taslima Nasrin, for that matter.

The film only makes a fleeting attempt to mitigate the anti-Hindu-ritual-godmen theme by showing a few villagers being converted by a pastor in the background, and a woman denouncing the targeting of school girls by Islamist terrorists. Sorry, makers of PK, we can see through your wishy-washy attempts to cover up your anti-Hindu bias.

The thing is, as Hindu Bollywood watchers, we have witnessed this sort of denigration of majority religion over the years and have largely taken things in our stride. But now this preferential bashing is rankling us, as we realise that Sanatana Dharma is under attack from all quarters today: pseudoseculars, leftists, rationalists, evangelists, abrahamists, proselytisers, urban naxals, wokeists, and colonial supremacists are all out to ridicule it to suit their own agenda. That there are very few countries in the world where Hindus are in the majority, and even those populations are being targeted for conversions to other faiths, which will result in the total annihilation of Sanatanic religions, matters little to pseudoseculars who make this sort of content and play in to the hands of anti-Hindu forces.

One is tempted to ask, why not make a film about an Imam who indoctrinates young men into radicalism in a madrasa? Why not expose the hollow claims made by evangelists as they go about converting swathes of tribals and dalits? Why not express horror at the practice of self-flagellation undertaken during certain festivals, or, on the other hand, compulsory fasting for a month? Why not poke fun at the attires of those men whose religion compels them to wear turbans and carry knives in their pockets, or for that matter, those women who have to cover themselves from head to foot like a bank vault? Why not poke fun at someone who believes that a big old man in a funny red costume slides down a narrow chimney to leave them gifts under a tree? Why not cry in disbelief as the nuns of a certain faith starve themselves with the intention of willfully casting away the body? Why not stand up for the millions of innocent birds and animals that are slaughtered by followers of certain religions so that they could have a grand feast on their 'holy' days?

The list could go on and on.

Nevertheless, having said all that, looking only at the Hindu faith, there are a number of deadwood practices that need to be consigned to the dustbin. Sati, dowry, child marriage, untouchability, madey snana, and the Gadhimai festival are but a few examples that have been around for a long time, and should be eliminated immediately. And this film attempts to expose a few of these and similar practices, while it leaves the implication of this exposure unsaid: that the soul, the atma, the Kingdom of God, the rooh, the source of nirvana or mukti, is actually within us. That, instead of the showy, superstitious practices of religion, we need to be living a life of love, truth and spirituality, which would eventually bring us lasting peace.

Banning the film, taking protests to the streets, or vandalising theatres will get us nowhere. Also, I do believe in free speech and free artistic expression of our existence, but I only expect it to be fair and impartial. The thing about rationalists and pseudoseculars is that they confine themselves to debunking myths and rituals of one religion: Hinduism. They never elaborate upon similar practices from other faiths listed above. Why not?

As far as the film is concerned, I am afraid, 'ye wrong number hai' does not quite measure up to 'all izz well'.

Image source: http://im.rediff.com/movies/2014/oct/17tweet-pk.jpg

Sunday, December 7, 2014

Satire: Real Action for the Price of Reel Action

Satirical take on the perils of movie gazing in a brat-infested movie hall (published on boloji.com)...

Real Action for the Price of Reel Action

Thursday, October 16, 2014

Film conversations: Bang Bang!

Expectations! They seem to be directly proportional to the eventual disappointment.

So it is with Bang Bang!

There was so much going for this! And so little have they achieved with it!

The hype was unbelievable. When the promos and songs first arrived on YouTube, record numbers watched them in no time. Hrithik Roshan and Katrina Kaif! What chemistry, they said! Full of action, they said! Remake, but better than Knight and Day, they said! If only! If only they had remained faithful to the original story, script and screenplay, without indulging themselves too much. In doing so, the story keeps going somewhat off-track; it makes sense only in parts – or because you have already seen Knight and Day.

The action scenes - surprisingly and disappointingly - are not slick. They are not even convincing. They are not a patch on the action scenes seen in Krrish 3 or Dhoom 3. And that is a shame, because they had the towering presence of Hrithik Roshan going for them, and yet managed to rake up dud sequences.

Predictably Katrina Kaif plays a Canadian settled in India – how many times will they justify her accent by making her an NRI? She lives with her Dadi in an unrealistic setting in the north. So do Hrithik’s parents – in a large country house, all by themselves, with no domestic help – in a place that is helpfully named Ghar. Danny plays the predictable villain, and Javed Jaffrey, rather unpredictably, plays his side-kick who promptly gets bumped off in the middle. However it was good to see Deepti Naval on screen again after a long gap, even though in a small role.

It was the songs that got us going. And they are the saving grace of the film. Them and Hrithik Roshan. The songs are tailor-made for him, as he mesmerises you with effortless moves with his superbly toned body. He has the reverse-Madhuri Dixit effect on the audiences. When she used to dance, she easily overshadowed the leading man; now Hrithik is doing the same to his leading ladies. You simply cannot take your eyes off him when he is…well, on a song! He is simply the most well-rounded actor we have right now.

The producer and director are lucky to have had a hit with this one. And it is barely a hit, considering that at one stage, it was expected to cross 50 crores in the first week itself and over-all 300 crores. It managed only 27.54 crores in the first week and is struggling to reach 180 crores in India as of now (source: bollywoodhungama.com).

Watch it only for Hrithik!

Update (July 2020): Since this film, I have lost count of the number of foreign reaction-makers on YouTube that have gushed over Hrithik in the title track, Bang Bang. Arguably, Hrithik has single-handedly steered a largely indifferent western/foreign audience towards paying attention to what Bollywood/Indian cinema has to offer.

As far as I am concerned, he is the only star-kid that deserves his place in the limelight; the rest can take a walk!

Image sources:
http://upload.wikimedia.org/wikipedia/en/9/90/Bang_Bang_(2014_Film).jpg

https://nishitak.files.wordpress.com/2010/07/hrithikroshan-3b.jpg

Saturday, October 4, 2014

Film conversations: Mary Kom

First things first, I dislike boxing. Like golf, I do not consider it to be a sport; it is too violent, it involves hurting a fellow player, and its practitioners have ended up with neurological complications later in life (for e.g. Muhammad Ali developed Parkinson's disease).

Yes, as a self-defence technique it may be acceptable, but I would not consider it a sport or a game that one could pursue as a career.

Having said that, there is always something to be learnt from the struggles of a high-achiever, who in this case happens to be a boxer, and that would be the reason why one would want to watch Mary Kom.

We all now know about Mangte Chungneijang Mary Kom, or in other words, MC Mary Kom. But to see her achievements on celluloid is a different experience in itself.

After Milkha Singh, it was only to be expected that Mary becomes the subject of another biopic - she had everything going for her to make this possible: a rousing career, five times world champion, a mother who fought against odds, a person from the north-east region which is often neglected in the Indian scheme of things, a sport which is seen as a male preserve, initial lack of amenities or finances, etc. No wonder the makers saw enough potential in the story to make it into a commercial film.

One problem that I have with biopics is that one is uncertain if what is being shown is authentic or not. Consider Bhaag Milkha Bhaag: wasn't it Naseeruddin Shah who called it a 'fake film'? I did some background check on Mary's career and found that a few changes have been made to the story. Cinematic liberty - whatever that is - is a filmmaker’s prerogative, we are told, which they can take recourse to each time they need to enhance the commercial viability of the film. Perhaps, so it is with Mary's film.

Did Mary's father oppose her taking to boxing so vehemently that he burnt her gloves?
Did Mary have to fight a giant of a street fighter to make some money in her early days?
Was she as feisty and short-tempered in real life as she is portrayed in the film?
Did her coach make her sit on the bench everyday to find out if she is 'ziddi' or not?
Did she have to fight a corrupt system and bear insults at the hands of the federation's chairman?
Was she told by her chief nemesis; the German boxer, to 'go home Momma' when she was knocked down?
Was she fighting a climactic battle in the square even as her child was battling for life in the hospital?

These are the questions that arise in your mind as you watch the film. I haven't found any convincing answers to any of these.

The content of the film, as one would expect, is good; performances are first rate. Many are already touting Priyanka Chopra as the likely winner in the myriad award ceremonies to be held early next year.

After all, biopics usually bring accolades to the lead actor; as in Ben Kingsley for Gandhi, Russell Crowe for Beautiful Mind, Philip Seymour Hoffman for Capote, and more recently Farhan Akhtar for Bhaag Milkha Bhaag. Get the picture?

All in all, just like Nadia, based on Nadia Comaneci's 'perfect 10' in the Montreal Olympics inspired many a young girl who wanted to make it big in sports, so does Mary Kom.

Make sure your child, if he/she is interested in sports, watches it; but also make sure the child understands the perils involved in boxing.

Image source: https://s01.sgp1.digitaloceanspaces.com/large/674782-9314d779-6cd4-4822-8773-e24b6d292407.jpg

Saturday, August 2, 2014

Film conversations: Queen

Okay, I know this is few months too late, but better late than never. Queen is one of those new age mainstream films about assertion of women power. An about-to-be-married girl finds that her fiancé wants to dump her. She is dejected, but decides that she would go on her pre-booked honeymoon on her own!

It is a clever way to depict women's lib: what can be more liberating than a woman going on an adventurous honeymoon on her own?

The story then shifts to Europe, notably Paris and Amsterdam. She meets several colourful characters along the way; a hotel worker who is raising a child as a single parent - a result of one of her many one-night stands, three hostelites with whom she shares an initially cold, but a later warm relationship, a cantankerous Italian restaurant owner who challenges her for a kiss, indifferent relatives, and an Indian Muslim woman working as a prostitute in Amsterdam's red light area (a bit far fetched that one). She even wins a cooking contest when she regales Europeans with delicate taste buds with gol goppas!

By the end, when she does come back to India, she is confident enough to reject her fiancé's fresh advances and go it alone - a new age woman, who fights rejection, goes on a personal adventure, and emerges stronger in character and more independent minded.

What was interesting to watch was the audiences' involvement in the proceedings. I watched this in a multiplex, and the many women in the audience were completely taken by Kangana's character Rani; egging her on, laughing with her, crying with her - and when the fiancé reappears towards the end, one of them even cried out loud: aa gaya loser! (here comes the loser). It seems that women's lib is manifesting itself in the catcalls and shouting department as well - a male preserve until now, and why not?

Having said that, it is only natural that the women in the audience, having identified with the main protagonist's plight, should react like that. By the end, they would want the wronged woman to emerge triumphant, to treat the fiancé as he deserves to be, for him to be thrashed by her three friends when he comes looking for her, and to finally throw the engagement ring in his face rather than hand it over to him. We all want the underdog to win, don't we? Rani does, in the end, walk away from him, liberated, independent, joyous.

The songs are mostly confined to the background, and the film's strong points are its narrative by Vikas Bahl, and Kangana Ranaut. It's an out and out Kangana film - one in which she grows on you through her naïve and innocent yet bold act.

There are several comic moments; Rani's father looking for the hotel worker during Rani's video chat, the dance scene in the club, Rani's sloshed dance near a cabbie, the lizard incident in the hostel, among others.

The kiss with the Italian, I thought, was unnecessary; it was one moment when Rani appeared weak - as if giving into the Italian's demands for a kiss, even though it was disguised as a challenge. The three hostelites are absolutely wonderful; especially the little Japanese guy - played by Jeffrey Chee Eng Ho.

Rani's moments with the Russian guy - a delightful Mish Boyko - had potential to be developed as a romantic affair - if she can go on her own honeymoon, then why not find an inter-racial relationship for herself as well? But this does not happen in the film, and Rani remains happily single in the end.

Recommended viewing!

Image source:
http://st1.bollywoodlife.com/wp-content/uploads/2014/03/motion-poster1.jpg

Sunday, July 27, 2014

Book conversations: Bollywood A History

This book by Bose is to Hindi cinema what Corner of a Foreign Field by Ramachandra Guha is to Indian cricket. Truly educational. If you are a Hindi film buff, then this would be an indispensable guide to the film industry, its history, and its key players over the years.

Notice how I am using the phrase, 'Hindi films' and not 'Bollywood' as used by the author, because I dislike that term. It makes our films sound like a poor country cousin of Hollywood films. Apparently, it was coined by a person who had nothing better to do, taking a cue from 'Tollywood', the Bengali film industry based in Tollygunge. Since the term is so widely used, it is difficult now to change it to anything else. Still, since Bombay is now Mumbai, shouldn't it really be Mollywood?

Coming back to the book, Bose takes a measured approach to what is essentially a mammoth task of deciphering the history of the film industry, given the difficulty in getting accurate information about the films and their makers. He starts off with the earliest part; the time when there was neither colour nor sound in our films, having been brought into the country by the pioneering European inventors.

Despite challenges; such as lack of infrastructure or technology, lack of support from government or society, the travails of those who took the pains to improve the medium is well enumerated.

We learn about the making of, and inside stories of some of the iconic films at each stage of film development; Alam Ara, Awara, Mother India, Mughal-e-Azam, Sholay and Lagaan. We get to know about the men behind these efforts; the early Parsi contingent, Dadasaheb Phalke, V Shantaram, K Asif, Mehboob Khan, the Chopras, Prakash Mehra, Manmohan Desai, Ashutosh Gowarikar, Rakesh Roshan and Karan Johar.

At the same time, we also learn about the major stars, starting from the very first superstar; K L Saigal, to the next one, Ashok Kumar, on to Dilip Kumar, Raj Kapoor, Dev Anand, Rajesh Khanna, Dharmendra, Amitabh Bachchan, and the three Khans.

Bose then introduces us to the other characters of film world, the musicians, comedians and singers. As expected Lata Mangeshkar's story is given prominence. The part about Kishore Kumar's eccentricity evokes mirth.

In keeping with the male dominated status of the film industry, which is acknowledged even by Kareena Kapoor when Bose goes to interview her in her 'vanity van', the heroines hardly get a mention. They only figure in the affairs that the men indulge in, as in, Dilip Kumar-Madhubala, Raj Kapoor-Nargis, Dev Anand-Suraiya, Guru Dutt-Waheeda Rehman, Dharmendra-Jeetendra-Sanjeev Kumar-Hema Malini, and Amitabh Bachchan-Jaya Bhaduri-Parveen Babi-Rekha. There is hardly any information about Sridevi or Madhuri Dixit - a sacrifice that was probably essential due to Bose's task of doing justice to such a gargantuan topic.

There are some hilarious moments from the above stories, but Bose also combines them with the social and political events of the time; particularly the Emergency and its effect on cinema, as well as the views of prominent film makers such as Shyam Benegal. But if you are perceptive, you can glean a streak of mental illness in some of the stories; Guru Dutt: depression and/or suicide, Parveen Babi: schizophrenia, and Kishore Kumar: mania/bipolar disorder.

There are also a number of flaws; spelling errors - especially of the film names, a few grammatical errors (probably an oversight), and one factual error: Kunal Kapoor who has acted in Rang De Basanti is said to be Shashi Kapoor's son (Shashi Kapoor does have a son of that name, but the one in this film is his namesake from a modelling background).

On the whole this is a light, racy read; very interesting if you are a film fan.

If you have time, you can even read it without an interval!

Image source: https://www.mihirbose.com/index.php/books/history-and-biography/bollywood-a-history/