Peepli Live: Nero’s Feast

Yesterday, I watched the latest hindi flick, Peepli Live. The basic premise of the movie is on the ‘oh-so-serious issue,’ Farmers’ suicide! The story is set in a small village called Peepli, where a farmer on the brink of losing his small piece land thinks of taking away his life. How his family, the government, and the media react to this forms the rest of this story. Most of the reaction is comical, plain stupid, and irresponsible. The government officials fight over the ‘right’ scheme to fit this case under, the politicians look for political mileage, the family grieves and even throws its hands in despair, and the media just wring the issue completely to up their TRP ratings. And, all of this is captured in various ways; for example, the politicians make it out into a caste-based, election issue, the local government official spurs into action and brings a hand pump, the media frenzy outside the poor farmer’s house creates a carnival-like situation, etc. And, finally, the inevitable happens, and everything simply quietens down. It’s basically back to business, with no money or livelihood in sight for the farmer's family, except that the area now is filled with trash, thanks to media-generated carnival.

As I walked out of the movie hall, several questions kept whizzing past. Now, why is a movie made? Or, why do people go to movies? And, what is actually funny? Apparently, the movie is written and directed by some Anusha Rizvi, who’s a debuntante director. I wonder if the director even for a moment paid any attention to what this farmer’s suicides are all about! Clearly, in some ways, the director did know what she was talking about. The first few shots dealt rather well about the grim reality of farmers in this country. But, one was just not prepared to see the goriness of the director’s imagination/gall to poke fun at this! It’s a different thing when you capture the ethos of the village life and see an occasional laughter even amidst grinding poverty, but what Peepli Live did to the village/the issue was much beyond any limits of human insensitivity!

For example, would you laugh at someone’s death? Would you laugh at someone who runs to defecate, because you have taken over his land and even his subsistence? Isn’t it bad enough that such luxuries of multiplex viewing, 100% foreign direct investment of MNCs, branded jeans, footwear, and jewellery, etc are possible because the villages in India have been rid of their wealth and the villagers have been kicked out of their homes and livelihood to come and serve the city-dwellers as construction workers and house servants? Should even their sorrow and distress be made into things that can be laughed at? Can’t we leave alone at least their sorrow to themselves? In the name of bringing the issue into the imagination of this great Indian middle class, should you (Aamir Khan) dilute and distort the issue to some sort of a comical performance? Only this came to mind as I heard all these people sitting in a multiplex in Chennai and laughing their hearts out as the poor farmer and his family tried to negotiate the loss of their sole piece of land and actually discuss a suicide:

Nero, the ‘great’ king once decided to treat his guests in his garden in the evening. But, there was a problem with the lighting. After some thought, the issue was settled. And the party happened with much fun fare and laughter and much light from the burning slaves, who were burned so that the laughter and party could continue. (Source: Globalizing Inequality by P. Sainath)

In this lecture, P. Sainath wonders, “What sort of sensibility did it require to pop another fig into your mouth as one more human being went up in flames nearby to serve as 'a nightly illumination?” I have just this one thing to tell him, the sensibility that had all the women, men, and children (yesterday at the movie theater in Chennai) cracking up as a human being and his family was completely stripped of their agency/dignity to decide, think, or even to live. 

Yesterday, as I walked out of the movie hall, it was with Nero’s guests I walked out. It was quite a weird and a holocausty feeling to be amidst them and to have seen a film made by one of them; the Nero’s guests!

My Fixation with Old Tamil Songs – 2

A few days ago, I received a small note on this old Tamil movie called aval appadithan (That's How She Is). It’s the story of a single woman, who, thanks to her life situations, chooses a different path. Well, by today’s standards, it’s not a very different one, but in the 1980s it must have hit a nerve and caused something of a storm!

I am yet to see the movie though, but from what I read about it in the wikipedia, I am totally impressed, and, well, floored too. The woman goes from one botched up relationship to another, becomes a man-hater, talks of women’s liberation, falls in love, loses the lover, baits a woman hater, teaches him a lesson, and looks at life in the face all over again. I plan to watch this movie very soon and perhaps write about it.

But today’s post is about a song in this movie, which talks of relationships, feelings, life, happiness and its pursuit, and a hope for better tomorrow. The song talks of how life is just a beautiful tapestry of relationships and how relationships are stories that never end. And, how feelings are short stories. How in the end of one story there might be the beginning of another one. Such hope…:)

Here are the lyrics (rather my poor translation of the original); if I am right, the song is sung by the guy in their good times together. It sure brought tears to my eyes…hope you guys also enjoy this lovely piece of hope served to us by great lyricists and composers (who are not made anymore!) of yesteryears.

Relationships are eternal stories; feelings are short stories
One story might end anytime;
A new one might start in the end
It’s just happiness from then on

The burden in your heart
Am here to take it away and bear your burden
The tears in the corners of your eyes
I know not why
Am here to change them
The misery may be gone
The mist may lift
I may join the white clouds in the new beauty

Relationships are eternal stories; feelings are short stories
One story might end anytime;
A new one might start in the end
It’s just joy from then on

Life is a song, the pitch grows higher
Each day in joy
All that you saw was misery
Now, it’s only happiness in the future
The comforting tune is just beginning
A new gush in the river
Empties itself into the ocean
Our relationship was just enjoined today
With the birth of happiness

Relationships are eternal stories; feelings are short stories
One story might end anytime;
A new one might start in the end
It’s just joy from then on

Here's the song, set to tune by the inmitable, musical genius, Illayaraja.

Saroja—A Treat Through and Through!

Starring: Shiva, Vaibhav Reddy, Premji Amaren, S. P. B. Charan, Vega Tamotia, Prakash Raj, Jayaram, Kajal Aggarwal, Sampath Raj, Nikita Thukral and Nagendra

Story: Venkat Prabhu
Directed: Venkat Prabhu

I am writing this immediately after watching the Tamil movie Saroja, which was playing on Kalaignar TV as part of their New Year special programs. To say I thoroughly enjoyed the movie would be an understatement! Though I don’t know exactly what they got it right in the movie, it was a wholesome treat!

The movie is about four friends, Ajay, Ganesh, Jagapathi babu, and Rambabu. The two babus are telugu-speaking and are brothers too. What started as just another interesting comedy turned out to be actually a thriller! So, a bit on the plot: these four guys decide to drive to Hyderabad to watch a cricket match, but lose their way and find themselves in extremely weird and life-threatening circumstances. How all of four them make their way out in one piece and also become heroes in their own ways make the rest of the movie.

None of the guys in the movie is ‘hero’ material. They all look and behave like next-door guys! It was easy to believe the movie, and no wonder the viewer is pulled into the magic of cinema in no time. They were no unnecessary fights, pointless dialogues, unnecessary shots that state the obvious, and many such nuances that made this movie truly excellent.

What personally appealed to me was the simplicity of it all, yet the complexity involved in making the whole thing seem so simple! It showed talent, and also how enjoyable the entire exercise (of making the movie) had been to the entire crew! And, building in of the comedy element! Amazing man! Truly, out of this world. I really didn’t know such talent existed here; in fact, in one of the shots, I was referring to how it almost feels like watching some really good foreign cinema; only that the actors spoke Tamil!

Next, the most riveting part of the movie was its pace. Not even for a moment did I lose interest. Every shot was so neatly knit with the next one and the dialogues were so succinct and perfectly delivered.

Now, to the most favorite part: characterization. Let’s take for example the character of the main villain, Sampath. He looks all jazzed up with a big moustache and also carries a gun as he ‘prowls’ around. But, at the same time, there’s a side of him that’s vulnerable and human. It definitely takes a director par excellence (at least in my myopic view!) to bring out such contradictions in a very real manner. After all, in reality, each of one us is a bunch of contradictions! And, I think that’s what made the movie so real life. Another thing about the movie being close to real life was the realization that there are no heroes in real life! It’s basically life and its circumstances, one’s convictions and one’s instinct to not give up without a fight (when pushed to a corner) make heroes out of ordinary people. Yes, ordinary people like Ajay, Ganesh, Rambabu, Jagapathi babu, and, most importantly, Saroja.

Watch Saroja if you want a gripping thriller in which you will roll with laughter through and through, yet remain at the edge of your seat!

Wake Up Sid put Me to Sleep!

After some deliberation, I decided to watch Wake up Sid the past weekend. What follows is basically my reasons to why I fell asleep watching the movie and considered my Saturday afternoon a criminal waste!

Firstly, the plot, or well…what to say, the incident/the happening…coz, I couldn’t see any plot, whatsoever it may be!

Ok, it’s the story of this stinkingly rich and spoilt brat, Sid, who flunks his graduation, but still manages to continue his exceptionally rich lifestyle, and in the end even manages to ‘win’ an independent, self-made woman’s heart! That’s all it is to the movie! He having his heart broken because of flunking his exams, walking out of his home and straight into another, and then finding a job are all merely fillers!

This movie is solely for those people who go/went to college driving their own cars, start/ed boozing in swanky pubs even before the legally permissible age, wear/wore branded clothes, and shop/shopped by using credit cards that don’t have any spending limit! Even today, I am unable to afford this lifestyle despite being a corporate employee, and it’s several years since I passed out of college! I am now genuinely interested to know how many young people in India go to the college like this! Just a word for Karan Johar: the majority of college going students use government concessions and take the public transport, wear ordinary clothes (and they don’t own anything more that 5 to 10 pairs of clothes, and mind you they are hardly branded!), and don’t simply walk out of their homes!

Then, the woman, who travels all the way from Calcutta to make her own destiny, who does nothing big than find a flat, get a job, and fall in love with a rich guy! And that’s her definition of liberation/independence and perhaps Karan Johar’s ode to feminism (sic!)

What is it in this movie that makes the young people of this country go gaga over it? There are orkut scraps that say this movie is best, best and bestest! sigh, sigh, sigh! Does everyone want to ape the lifestyle of the protogonist of this movie? How vacuous and silly is this generation then? What can one expect from this crowd then? It's a quite a sinister trend for the young people to like movies as this and even A Wednesday!

I dunno from which angle I should trash this movie…the flat plot, lack of characterization, silly pace, or the utter ignorance of the reality of this country? The movie failed, failed, and failed to entertain, make one think, or even live up to the money we paid for the tickets!

Ps: Sorry folks, it’s not a review review, just an outpouring of my messed mind, thanks to the 2.5 hours spent inside a movie hall watching (actually sleeping) Wake up Sid!

A movie that I wish was never made...

Thevar Magan (1992)
Starring: Sivagi Ganesan, Kamal Hassan, Nassar, Gauthami, Revathi
Story: Kamal Hassan
Direction: Bharatan

I had the misfortune of watching this rather ‘old’ movie, which couldn’t have come from a more ‘original’ pen like Kamal Hassan’s!

For those of you who have forgotten this movie, here’s a short refresher. The story is set in a pristine village in the interiors of Tamil Nadu, where the local, ‘kind-hearted’ landlord lords over the lesser mortals, the dalits and landless laborers. The landlord is from a community called the thevars, (Today, these people top the list of castes that thrive on committing atrocities against the dalit people in Tamil Nadu). The movies centers around the rivalry between this kind-hearted thevar and a nasty thevar, who’s actually his cousin! The seething rivalry’s fuse is blown with a younger thevar breaking the lock of a temple to enjoy some private time with his scantily clothed muse. Then, several things happen, and finally peace is restored by this younger thevar chopping the head of the nasty thevar and going off to prison! Now, I don’t know what kind of great minds would have selected this movie to represent the country at the academy awards! In any case, my faith in the academy awards remains intact, thanks to the way they sent this movie packing.

What is problematic about this movie?

Firstly, the movie is casteistic, eulogizing caste-based, ad hoc monarchies that run in the villages, which are nothing but cauldrons of dalit atrocities. This only shows the crying need for land reforms! How the hell can one family (damn it!) own an entire village? No wonder, the differences are stark; Kamal (the son of the kind-hearted thevar) and Gauthami (his muse) all the time speak in flawless, accented English and smooch around when the sons of the dalits become nothing but landless laborers and foot soldiers who get their hands cut off, defending the thevar honor! The movie was outrageously anti-dalit; Vadivelu (the side kick and also the humble, devoted slave with zero esteem) is named after a dalit god!

Secondly, the movie is sexist, showing women as either clingy, cry babies (Gauthami) or silly yappers (Revathi), singing to their husbands! Which Indian woman (even the ones educated abroad) would strut around half naked in the presence country brutes who ogle at any inch of visible skin? Does the average Indian woman lack even that basic sense? And, the same old story; two women quibbling over one silly man, who couldn’t even stand up to his own father!

Finally, the entire movie lacked any fine imagination and acting! Yes! Acting! Kamal Hassan and Shivagi, both were terrible. Yet another patriarchal bullshit, served to us by a bunch of upper caste, patriarchal men!

Am sure in the West, this movie would have invited at least 10 law suits from several groups! But, no, not here. Yes, it’s with dejection that I sign off this post, but with hope that someday we will have sensitive mainstream movies that portray reality, question discrimination, and reinstate hope for a better tomorrow.

Why I don’t like the movie Sethu, anymore?

The Tamil movie Sethu was released sometime in the year 1999 or 2000. With this movie, Vikram (the protagonist) shot to instant fame. The movie was appreciated for various reasons: brilliant direction, great acting, a script that was closer to real life, and sensitive portrayal of life. At that time, I couldn’t exactly point to why the movie left me numb with pain. Perhaps, I decided that reaction could be only for a good movie. And, I had joined the bandwagon of Vikram and Bala fans and maybe even contributed in some way to the astounding success of the movie.
Now, after several years, after even having gone on record to say that it’s a ‘socially conscious’ movie because of the several anti-brahmin jokes, I wonder what has made me think differently today. But, I am assured of one thing today: my reasons for disliking the movie are crystal clear. Of course, I record here my reasons wistfully; wonder how my life would have been had I had this clarity then.
Firstly, the movie had a male protagonist, though his ‘relationship’ with a woman forms the focal point of the movie. However, the screen space the female lead had must have been just a fraction of what the protagonist had. Is this the actual reality in the southern districts of Tamil Nadu? Not that I expect a female protagonist in a mainstream Tamil movie, but I do expect equal screen space for the female lead, especially when the script requires it.
Secondly, the characterization of Sethu, the lead guy. He is a local thug, who goes around roughing up people. He clearly is from a dominant caste group, which easily gives the right to ‘ridicule’ the eating habits of the docile Brahmin girl. What is particularly arresting is the girl’s demeanor. She wears a half saree that is pinned properly and has long hair that is well-oiled and plaited. She carries herself with such grace and poise that she’s quite aware of herself every second, even in the chemistry lab. This construct of a 21st century college-going girl is very dangerous. This grace-personified dame falls head over heels in love with this street-side thug, Romeo, and casteistic guy, which is another blow to the sensibilities of any college-going girl.
Thirdly, the way caste was dealt with was problematic; it’s either outright ridicule or immense respect for the Brahmin community. It would have been better if they hadn’t brought in the caste factor at all. There was no context to place it, actually. I believe this aspect was dealt with in the most flippant manner.
Finally, Sethu kidnapping the love of his life. This simple act showed how skewed the filmmaker’s understanding had been about intimate relationships between a man and a woman. The woman was shown to be nothing more than just a thing to possessed; a thing to be brought to its senses (which is understanding his love/lust for her, which comes as an irresistible deal along a good home and a chance to bear his babies); a thing to be showcased in one’s house. Besides the problematic sociological questions, I am tempted to doubt its relevance in real life. For example, will I fall in love with a roadside thug, who’s been stalking me, when he manages to kidnap me and presents this ‘irresistible’ offer at gun point? Wouldn’t I first go to the police station and file an FIR? At least, wouldn’t I find ways to completely erase my existence for the guy? Wouldn’t I run away from the locality? Then, the guy gets beaten up and he turns mad. In such a situation, in real life, the girl will be thanking her stars that the gods finally did some justice to the women! And, not commit suicide because she couldn’t bear the thought of marrying anyone other than the thug.

Taking Dilli for a 6!

Just watched the movie that is the namesake of the city I dwell in! Okay, am no patriot of Delhi nor do I believe in patriotism as being a virtue. However, after watching this movie, to say am outraged at the portrayal of Delhi is an understatement. Before going into the gory details and the justification for my outrage, let’s simply talk about the movie.

Firstly, there’s no story, period. Of course, who said a story is essential to make a good movie; I have seen several riveting and mind-boggling movies that don’t necessarily have a consistent storyline. But, this one flouted all the basic rules, if there are any, rules of film making. Was it a documentary on the so-called ridiculous behavior of people in the walled city? Or, was it a tourist flyer promoting tourism, what with the recession and stuff, are we gonna fall back on tourism?

Secondly, the characterization! Who, for example, is Roshan? Just an NRI? That’s it? Does it kind of capture the essence of the person? What type of NRI is he? Has he studied anything? Why is everything so damn new to him, especially after being brought by a very religious dadi! Not even one character seems sorted out.

Thirdly, the movie failed utterly in terms keeping the audience engaged! Of course, every second had suspense woven in, because we didn’t know when the movie would end; it seemed like it could have ended in at least 10 points; and when it finally ended, the audience were like, “wow, it’s over man!” You know, I do enjoy movies that are no-brainers, as long as they are fun to watch. But, movies as these are violating; I was not only bored, but also angry!

Now to the anger part: anyone who has lived in Delhi for at least a year will know about Dilli 6: the walled city. For those of you who don’t know about the walled city, here is a small note on the area. It is one of the oldest residential areas of Delhi. It is predominantly a Muslim area, with the Jama Masid at one corner.

It is a heritage site; several years of history is buried in the roads of this unique place. Interestingly, the people and houses there and the way of life (not that it is very different from any other of the middle class areas in the country) is actually history. You must be there to witness or feel what it is to be in the midst of a historic place that is still very much alive. The mode of transport within the city is only by cycle rickshaws because the houses are so closely built that there’s hardly any space for any other type of vehicles. And, here, we have our hero sneering at the time it takes to reach his sick grandmom to the hospital on a rickshaw. What is worse is they aren’t delayed only by the rickshaw, but by a cow in labor! What a ridiculous idea! And, what’s even horrible is that the grandmom gets better when she hears of the cow in labor and goes and touches the cow with so much devotion.

The movie screams of the exotic orient in every damn shot! Guys, didn’t things like this get dealt with several years ago with Edward Said and our own Romila Thapar shattering such myths?

Next, this movie hardly explores the real culture of dilli 6. There’s this elaborate Ram Lila happening throughout the movie, but nothing on the lovely sweet meats sold around Jama Masid or the famous breaking of the Mohram fast or the famous buff kebabs of dilli 6! Everybody has been ridiculed! The dalit woman is as usual the beedi-smoking, foul-mouthed whore, who dutifully sits outside the temple and worships God! I felt violated as I walked out of the movie hall; my time, my money, and my intellect were insulted!

Just a word for Abhishek Bachan! Do yourself a favor; take a holiday for a year and go faraway; I suggest the Himalayas. And, do some soul-searching. Acting is not for you man; however, you could learn it, and I assure you one thing, your dad can’t be your teacher. Buddy, you can do better than this. If only you could find something real and true for yourself. I could see how bored you were; more than anger, I felt sorry for you!