Showing posts with label Hollywood. Show all posts
Showing posts with label Hollywood. Show all posts

Saturday, 29 July 2023

Oppenheimer Omnibus


There is now a ‘mushroom cloud’ of opinions about Christopher Nolan’s latest movie Oppenheimer. While the overall opinions are positive, some do pick Nolan for certain historical omissions. The most glaring miss was his soft pedalling of the devastation Japan faced after the dropping of nuclear bombs, and the US administration’s heavy-handedness in evicting the Hispanic residents at the nuclear bomb test site at Los Alamos.

Before the promos were out, I had vaguely heard of Robert J Oppenheimer as the nuclear scientist who led Project Manhattan – the United States' plan to build a nuclear bomb during the Second World War. In India, he was also remembered for quoting a line from Bhagavad Gita, “Now I become death, the destroyer of worlds,” after the bomb was successfully tested.

Thanks to a friend’s prodding, I landed at a city multiplex on the first day of the movie’s screening. The hall was packed and we managed to get tickets only in one of the front rows - third from the screen. The hall was milling with young college-going and 20-something crowd, probably Nolan fans mesmerized by his Dark Knight and Inception

It made me wonder how they are going to take their favourite director’s attempt at a three-hour-long biopic about a scientist - which totally eliminates any scope for high-voltage action or special effects. Moreover, I wondered how many of these students and young professionals, with their brains hardwired to STEM (science, technology, engineering, and mathematics), will feel excited about a period drama steeped in politics and history. 

I had come for the movie with a near-clean slate. I didn’t closely read any newspaper reviews. The news item of lead actor Cillian Murphy’s interest in Bhagavad Gita had evoked some social media buzz, especially among the bhakt crowd. 

But their euphoria of an Indian scripture being validated by a Hollywood star soon turned into anger after the movie was released. To their chagrin, the famous scientist is shown reading the holy book during a sex scene. This is now snowballing into a major controversy with the latest reports of Information and Broadcasting Minister Anurag Thakur wading into it. He has censured the censor board for letting this objectionable scene past their scissors. 

There are even calls that Nolan should drop this scene worldwide. This controversy is likely to linger on for some time as the hyper-nationalist Indian diaspora is expected to keep it on the boil. I recall how Time magazine columnist Joel Stein was forced to apologise in 2010 after he wrote a humour piece on how the town of Edison in New Jersey state changed after being swamped by Indian immigrants. 

As I said earlier, my knowledge of Oppenheimer was sketchy. So I had no idea that this ‘father of the nuclear bomb’ too was caught up in the maelstrom of McCarthy's witch hunt for communists and socialists in the 1950s. So far, I had thought that only politicians, film artistes and writers were hauled up. One of the most notable ones was Charlie Chaplin.

During the early days of the cold war, the US policymakers thought that socialism was more dangerous than fascism. They made all-out efforts to weed out or blacklist people they thought were sympathetic to these causes from the federal administration, universities, and the film industry.

Unlike the stereotype of ‘apolitical’ scientists steeped in lab research, Oppenheimer was active politically, though in a prudent manner - he baulked from becoming a card-carrying Communist. But he made contributions to socialists and Communists fighting General Franco during the Spanish civil war, wanted scientists and academics to form unions, and was in love with a card-carrying Communist woman academic. 

All this did not affect him when he got down to setting up a nuclear testing facility in a remote desert land in Los Alamos and wooing top scientists in the country to work on the project. Once the weapon got successfully tested he became a national hero. 

But his ties with the Communists came back to bite after the world came to be divided into two camps – the US-led Western bloc (comprising capitalist countries) and the then USSR-led Eastern bloc (communist countries) after World War II. His opposition to the hydrogen bomb and fear of an arms race also landed him in the bad books of the US administration. 

As for characterization, Murphy with his probing eyes gets into the skin of Oppenheimer, who graduates from being a precocious science student fiddling at a lab in Cambridge, to a more confident theoretical physicist. During Project Manhattan, he acquires the swagger of a confident entrepreneur trying to sell the idea of the atomic bomb to fellow scientists. After the devastation caused by Hiroshima and Nagasaki, the unravelling begins. He is shattered and vulnerable for the rest of his life.

I just could not make out Matt Damon and Robert Downey Jr. Nolan showed them in an entirely different light. Damon has traded his boyish looks to be a Lieutenant General who was the military face of Project Manhattan. Downey Jr, famous for his Iron Man roles, plays a more complex role as a government official who tries to pin down Oppenheimer with his previous links with socialism and communism after World War II when McCarthyism took over.

It is to the credit of Nolan that he keeps viewers engaged for three long hours. It is no mean feat to keep the Instagram Reels generation, with low attention spans, engaged for such a long time. 

Tailpiece: Almost throughout the movie Oppenheimer has a cigarette dangling on his lips, or someone else is smoking. Hence we had the ‘smoking kills’ sign as a permanent fixture on the right corner of the screen. Sounded a bit rich as the movie itself is about the atomic bomb and killing people in thousands!

Also Read: Bangalore Short Takes


Friday, 20 November 2015

James Bond In His Sanskari Avatar

The spectacular success of Spectre in the country has whetted the appetite of James Bond franchise and they want to go beyond the multiplex crowds of the Indian metros to tap the huge market that is Bharat - the country's small towns and hinterlands.

If it were only for the language barrier they would have overcome it by dubbing it in Hindi or any other Indian language, but their extensive research revealed that these audiences somehow cannot relate to the blond Daniel Craig's exploits and craved for shuddh desi characters and plot.

Hence it was decided that to get access to this untapped market they will have to align with local players, mainly the Bollywood filmmakers. The research also revealed that these filmmakers were also very eager to remake Bond flicks with Indian sanskari characteristics. They held an IPL type auction and some of the top Bond hits of yesteryears were lapped up by top Bollywood filmmakers for astronomical sums.

Leading the pack was Sooraj Barjatiya, who managed to snap up two films. The first one was The World is Not Enough, which would be renamed as The World is not Sanskari Enough.

Though the plot of the film is still at conception stage, discreet enquiries with chai walas and spot boys of Rajshri studios revealed the broad storyline is somewhat like this. The desi Bond is on a mission to prevent the sanskar deficit the world currently faces and some are even trying to annihilate it. In this mission he is ably assisted by another agent Sheikh bin Sultan al Zayed, who hails from another sanskar rich country - Saudi Arabia. Together they try to provide vital nourishment and other forms of sustenance to the sanskar starved West.

The other one from Rajshri stable would be For Your Eyes Only, which would be known as For Your Saatvic Eyes Only. The movie will be set in the pilgrim centres located to the north of Rishikesh and my sources were unable to get any more details.

Another yesteryear Bond flick Moonraker was notched up by Karan Johar after a protracted negotiations regarding the improvisation of the title. As it is well known Karan Johar always makes a film whose title begins with the letter ‘k’, hence it was decided that Moonraker in its desi avatar will be known as Karva Chauth Moon Dekhkar.

The movie will be set in Manhattan and revolves around a saatvik love story. Desi Bond falls in love with a girl after ensuring that she belongs to the same caste, but different gotra and is not a manglik. It is also about the valiant efforts of our NRIs in upholding our culture, despite living saat samundar paar.

News regarding the cast is totally under wraps but as in other Karan Johar movies this one will also have many making cameo appearances, which would include Baba Ramdev and Radhe Maa.

Ashutosh Gowarikar was able to snap up the remake of cold war flick Live and Let Die. It would be known as Live and Let Dal Fry. Set in Indian hinterland this movie the desi Bond tries to unravel the recent mystery behind the disappearance of this vital and saatvic source of protein from Indian plates.

It is also rumoured the Ram Gopal Varma is angling for the Timothy Dalton starrer Licence to Kill, but Bond franchise people are wary considering his recent box office track record. It has been more than a decade since he had delivered a hit. Sources close to Ram Gopal varma say if he clinches the deal the movie will be named Licence to kill: Ab Tak Chhappan.


(A work of fully faltoo imagination)

Also Read: Bangalore Beat

Monday, 24 November 2014

The Timeless Appeal of Shawshank Redemption

This Facebook image of full-salt-no-pepper Tim Robbins and Morgan Freeman together and the realisation that the cult movie they starred - Shawshank Redemption - was going to celebrate 20th anniversary left me astonished. Let me admit I was one of those who watched the movie only a couple of years ago using a USB, though the movie was released in an era when terms like internet were known only to the geeky class.
 

The film had a low profile release, at least in India, as it got overshadowed by the fading hype of Jurassic Park and at the Oscars Shawshank Redemption got eclipsed by the likes of Pulp Fiction and Forrest Gump, which ensured that this movie drew a blank, despite seven nominations. I vaguely remember it being screened in some theatres and it soon faded away without much ado. The title itself sounded very intriguing and with words like 'redemption' thrown in it sounded more like a morality play.
 

Moreover the main actor Tim Robbins was quite an unknown commodity and so was Frank Darabont, who was making his debut as director. Though Morgan Freeman did ring a bell, having acted in successful movies such as Robinhood The Prince of Thieves and Unforgiven, he was not a household name like say Eddie Murphy.
 

So for me the movie got lost somewhere in the back of my mind until a couple of years ago when I came across a friend who had downloaded the movie in his computer. Using a USB I copied it to my system and began watching it. Within 15-20 minutes I realised that I was not watching some run of the mill stuff but a classic.

Tim Robbins plays a high street banker who lands in prison due to quirk of fate and learns to cope with life behind bars. While Freeman plays the long time jailbird, who keeps getting denied parole. The two develop a rare bond of friendship and later Robbins carries out a riveting escape from the prison. After a slow start the movie grows upon you. It does not have any science fiction special effects or slickly edited fight sequences or any gizmos - just plain straight forward story telling, often with voice over by Freeman in his  deep baritone, with a good eye for detail.  
 

By the time I had finished watching the riveting 142-minute long movie I realised it was one of the best films I had seen in my life and rued why I didn't see it on a 70 mm screen earlier. 

Also Read: Bangalore Beat

Monday, 1 October 2012

Sweet Tooth For Barfi



Barfi is the new flavour of this festival season with film critics and YouTube enthusiasts having developed a sweet tooth for the movie by same name. They seem to be chomping on it with the same gusto as anchors of foodie shows on TV.

The movie whetted their appetites after it got selected to represent the country at Oscars. The movie makers in their pursuit for 'inspiration' have not even spared Korean and Japanese movies and quite unknowingly ended up providing a 'globalised' spot-the-original-scene contest for critics.

Plagiarism in Hindi and for those matter movies of any Indian language is as old as hills. Movie makers had no qualms in lifting themes, songs and their chances of getting caught was always as remote as noose around Ajmal Kasab.

Within India also this link is incestuous. A Tamil filmmaker may lift a story from Hindi movie, or a Malayalam film maker may lift it from Tamil.

However film makers over the years have become craftier about plagiarism. Gone are the days of lifting themes from just one film. Thus we had a movie like 1970s hit Love Story, based on Eric Segal's novel having 'inspired' many in India. The result was Ankhiyon ke jarokhon se in Hindi and Madanolsavam in Malayalam, which was also dubbed in Tamil as Paruva Mazhai. Now thanks to internet and satellite television, they copy scenes from dozens of films and that too not just from Hollywood.

But little do these filmmakers know that internet can be a double edged sword, as it has also made the viewers more savvy and hence their chances of not getting caught has come down drastically. During licence-permit raj days, very few could manage to travel abroad and even Hollywood films were hardly screened beyond metro cities. Hence they could get away with this daylight robbery on gullible film goers and those foreign filmmakers, whose themes were lifted, somehow were either unaware or thought it was not worth the trouble fighting legal battles amid India's heat and dust.

Lastly, the country's choice for Oscar entry for the Best Foreign Language category always ranged from intriguing to downright silly. So far, barring Tamil movie Jeans, only Hindi films have been chosen for that honour. Most often the chosen films have more to do with star appeal and marketing potential than quality of acting or theme.