Showing posts with label cinema. Show all posts
Showing posts with label cinema. 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


Wednesday, 28 June 2023

Afwaah: Rumours in New India


After getting eclipsed by the propaganda movie Kerala Story in theatres, Sudhir Mishra’s Afwaah is now making its OTT debut and will be screened on Netflix from June 30. Interestingly, despite being a top draw and hogging most shows at multiplexes, Kerala Story is now struggling to find an OTT release.

Set in a town in Rajasthan, Afwaah captures the burning issues of ‘new India’ such as communalism, misuse of social media to circulate and amplify fake news, beef politics, and the toll it takes on different strata of society. All of this is narrated by Mishra in his trademark riveting fashion, reminiscent of his suspense thriller Is Raat Ki Subah Nahin

The opening scene sets the tone. A political rally passes through a communally sensitive area and a local politician (Sumeet Vyas) makes inflammatory speeches. This leads to communal violence, resulting in the killing of a meat seller by the politician’s henchman (Sharib Hashmi). 

Mishra then weaves in many strands – the politician’s fiancĂ© (Bhumi Pednekar), who is also the daughter of a veteran politician, is upset with the goings on and decides to cut asunder ties with family. 

Her path crosses with a US-returned Indian Muslim advertising professional and TedX speaker (Nawazuddin Siddiqui). She tags on to him to escape from her family members and professed well-wishers. Meanwhile, after the riots, Hashmi is told by his boss to lie low. But he soon discovers that there is a danger to his life and decides to flee.

Both Siddiqui and Pednekar keep the high-voltage drama going and they are joined by Hashmi who too is on the run. Amid all this Mishra brings in love jihad, beef politics, and the rise in communal temperature. It climaxes with the dance drama of a high-brow literature festival coming face-to-face with the anarchy outside the fortified venue. 

The movie’s theatre release coincided with that of Kerala Story, a film about some girls from Kerala joining ISIS. The film was economical on facts and high on propaganda. 

But it had the blessing of the ruling establishment at the Centre. In fact, during his whistle-stop election tour in Karnataka, the prime minister had praised the film and taking cue many BJP-ruled states made Kerala Story tax-free. Many ministers made a beeline to theatres, with cameras in tow, to watch the film.

All this hype paid rich dividends for the movie’s producers at the box office. On the other hand, Afwaah had a modest opening in most cities. It opened to just single shows in some theatres (with many having screenings after 9 pm). Such a limited opening was a disaster foretold, as people were reluctant to go to theatres located far away and at odd times.

Hope the OTT release will provide the movie a new lease of life. 

Also Read: Bangalore Short Takes



Monday, 29 July 2019

Article 15: Holding a Mirror

Anubhav Sinha's Article 15 lives up to Cesar A. Cruz dictum “Art should comfort the disturbed and disturb the comfortable.” For those who believe that caste is history this movie will be a rude awakening, and those who have to deal with casteist slurs, innuendos or even violence this will provide a small token of comfort that caste has finally reached the mainstream cinema.

The movie is an English August on steroids. While in Upmanyu Chatterjee's novel an urbanized, freshly minted IAS officer Agastya Sen, who probably would have been more comfortable working in an advertising agency or a foreign bank, comes face to face with the idiosyncrasies of rural and subaltern India in a town named Madna, in Article 15 it is a foreign-educated IPS officer Ayan Ranjan's (played by Ayushmann Khurrana) brush with Laalgaon, his first posting.

However, the similarities end there, while Agastya Sen gets 'hazaar baar fucked' by ungovernable Madna and retreats to soft drugs, Ayan decides to take on Laalgaon's storied caste system and its 'santulan' (balance), though the movie's ending seemed too good to be true, considering the way the wheels of justice in our country roll in such cases.

The movie begins with a starry-eyed Ayan who has a romantic notion about the beauty of rural India. He had lived most of his life abroad, as his father was in foreign service, and later studied in Delhi's St Stephen's College.

His drive in a jeep on a road bordering verdant fields with Bob Dylan 'Blowing in the wind' in the background is the brief interlude of innocence and sangfroid, before he comes face to face with rural and semi-urban India's heart of darkness.

A lot has been written about the movie and I don't want to get into the review mode. But there are some poignant scenes that got etched in my mind, thanks to some haunting dialogues written by scriptwriter Gaurav Solanki. 

The most prominent was Dalit activist Nishad's (a loosely based amalgam of Dalit activists Rohit Vemula and Chandrashekar Azad Ravan) remark, "Hum kabhi Harijan ho jate hain, kabhi Bahujan ho jate hain. Bas jan nahi ban paate hain taaki jan gan man me hamari bhi ginti ho” (There are times when they treat us as ‘Harijans’ and at times just as a part of the crowd, only never as individuals with rights).

It is a marginalised person's cri de coeur to be heard and recognised. It is the grim reality of a person whose social status is in the bottom of caste hierarchy and faces abuse from the rest of the society all through his life.

Ayan's WhatsApp exchanges with his girlfriend, a social activist, were quite witty and keeps the idealist Ayan grounded. Her remark, Hero nahi chahiye Ayan.. bas aise log chahiye jo hero ka wait na kare (We need people who don't wait for a hero) was a very telling statement. It has been a malaise afflicting our country for too long.

When he feels alarmed by casteism in rural hinterlands, she provides him a gentle reminder of similar discrimination in urban areas, though in a more subtle manner - of separate plates and utensils for servants.

When Ayan enquires with the scheduled caste Jatav policemen whether he and the victim belong to the same community, his response is classic. The policeman explains his community repairs shoes, while the victims' community rears pigs, hence below them in the caste hierarchy. The people of his community do not even drink water provided by them, he claims. 

This particular conversation brings out what B.R. Ambedkar had succinctly described as 'graded inequality' - the watertight hierarchies of casteism that has survived for centuries.

Ayan's conversation with the contractor who had raped the minors reveals the chilling manner in which rape and murder are used as a weapon to keep the poor in a leash. 

Contractor: Aukaat mein nahi rakhe hain sir.....Kam nahi kar sakte. Ayan: Aur aukaat kya hai? Contractor: Jo hum dete hain vahi aukaat hai sir. (Contractor says unless they are shown their place, they will not work. When Ayan asks what is their 'place' contractor replies it is what we give). It gives away the entitlement culture of the privileged in the society and how they lord over the downtrodden.

Despite many shortcomings and criticism of projecting a Brahmin messiah in Ayushmann Khurrana, Article 15 director wades into the malaise of the caste system, where many of his peers fear to tread.

Also Read: Bangalore Short Takes

Monday, 17 October 2016

Phata Poster Nikhla Deshbhakt

It used to be said that reel life imitates real, then they became our role models and real started aspiring for reel, and now in this era of narcissistic selfie society the reel life stars have become spokespersons on almost anything under the sun.

With the country sabre rattling with Pakistan over terror attacks and aggressive nationalism being the new credo of political correctness, wearing patriotism on one's sleeve is the new normal. The whole country seems to have become a garrison with every citizen being a combatant. And those in the film industry are no way immune to it.

The other day I came across a 'viral' video widely shared and 'liked' on Facebook, whose title if loosely translated from Hindi to English would mean 'Nana Patekar shows Salman Khan his place'.

The video is a rant by the Tiranga star, who initially buttresses his military credentials by claiming that he had served the army for a couple of years and then goes on to say that the soldier was the most important person in the country. The rest of our countrymen are insignificant and he equates his current profession of being a film star as something as inconsequential as bed bugs.

He then goes on to declare that a ‘jung’ was on with the neighbouring country and hence it can't be business as usual. So Pakistani stars acting in Bollywood was not on. 

To be fair he was prodded repeatedly  by the videographer to decry Salman Khan and the interviewer finally got more than enough sound bites to cobble up a surefire viral video.

Salman Khan has been a trollers’ delight for his usual foot in mouth remarks. However his recent statement on Pakistani actors was actually a huge deviation from status quo. For a change he really sounded sensible when he said Pakistani actors come with valid visas and they cannot be equated with terrorists. 

It would have been a perfectly humane remark at normal times, but it touched a raw nerve post-Uri attacks. While TV studios are vying with each other to play high decibel war drums, it was suicidal to say something on those lines. Salman was declared enemy of the state and many of his industry peers too joined the chorus.

The last I heard on Pakistani actors was that Cinema Owners Exhibitors Association of India (COEAI) has decided not to release movies starring them, in Maharashtra, Gujarat, Karnataka and Goa. Thus Karan Johar's Ai Dil He Mushkil (which has Fawad Khan) and Shah Rukh Khan's Raees (Mahira Khan) run the risk of not hitting the cinema theatres of many states. 

Cinema, music concerts, cricket matches are very visible symbols and targeting them often satiates the revenge lust of the chest thumping jingoists like the political senas of Mumbai. For them it provides good return on investment in terms of publicity if they storm studios and multiplexes.

Whereas amid all this turmoil the corporate-bania class happily carries out trade with Pakistan. Hence cheap cement from Pakistan continues to land at our ports and various border trading points and exports from India are shipped to Pakistan without any ado.

Same is the case with China. Now Diwali is round the corner and we are being bombarded with messages to boycott Chinese crackers as it always sides with Pakistan. Irony dies thousand  deaths because they are tweeted using phones and laptops laden with components made in Chinese manufacturing hubs like Shenzhen.

While we are fed with swadeshi homilies, our captains of industries make fortunes doing business with the very countries we are being told to hate.

Also Read: Bangalore Beat

Wednesday, 27 May 2015

Naseeruddin Shah Unplugged



Finished reading And Then One Day A Memoir, by Naseeruddin Shah. Like his incisive performances on screen and stage the book too has been written with uncanny frankness. It is a no holds barred take on his life and also on the film industry. He takes nothing seriously, including himself.

Probably the first film of Naseeruddin Shah I saw was Manthan and I was in high school. While watching the movie I totally missed Naseer and didn’t realise he was in it. The movie was one of those early offering from what came to be later known as ‘arthouse’ cinema.

I could make out Girish Karnad (having seen him Swami earlier and he was one of those few men wearing shirt and trousers in the film) and Smita Patil, as I had seen her photo in some film magazine, the rest of the cast I totally missed out. I thought they were real cowherds from Rajasthan or Gujarat and realized many days later through some film magazine that Naseer was one among them!

In his memoirs he mentions that during the shooting of Manthan he used to stay in cowherd’s costume for the whole day, sleep on the floor and learned to bathe and milk a buffalo!

As I was brought up on a regular diet of formulaic Hindi ‘masala’ films with larger than life heroes with drop dead looks and heroines with distinct hour glass figure and aadarsh Bharatiya naari character, to me Manthan looked staid, weirdly disturbing, incomprehensible and somewhat amusing. How could someone make a film on lowly cowherds? Their pronunciation of ‘society’ as sissotti evoked lots of classroom banter, especially during Civics classes, when this particular word used to frequently crop up.
 

It is not that mainstream cinema did not have working class heroes. In fact Bollywood has always celebrated the triumph of the underdog, but in case of actors assaying those roles their starry mannerisms often came in the way. An Amitabh Bachchan may be a dock worker in Deewar or coal miner in Kaala Patthar, but the swagger and halo of superstar remained. On the other hand guys like Naseer or Om Puri quite literally got into the skins of characters such as cowherds and rickshaw pullers, as if they have been living it all their lives.

……

Although Shah’s father was not prosperous, he was a dyed in wool brown sahib who never left home without his hat “even in a one-tractor town like Sardhana”. In order to ensure that his three sons got the best public school education, he sent all of them to St Joseph’s School in Nainital. Naseer later went there to shoot for the movie Masoom.

Though he was not a good student and hated school, he was lucky enough to get early exposure to best of Hollywood movies. He got to see the likes of Orson Welles and Spencer Tracy, at a time when his contemporaries elsewhere in India were getting hooked to the brain dead ‘two hanky family and social drama’ of Hindi films.


……
 
Naseer's own life reads like a script of Anurag Kashyap or Sudhir Mishra movie. He lost virginity at 15, got married at 19 to Purveen Morad, a Pakistanin woman nearly 15 years his senior. He met her while doing his graduation at Aligarh Muslim University. He smoked grass and was quite hooked on to it, wonder when he came out of it. He even survived a knife attack from his friend turned foe Jaspal. Shyam Benegal and his wife took care of him while he was in hospital.


His first marriage has some parallels to his role in Zindagi Na Milegi Dobara. He was busy building up his acting career and family life took a hit. Anyway at nineteen he was no way ready to start a family. The couple drifted apart and they had a daughter from that marriage.

More than a decade later in 1982 he got married to Ratna Pathak Shah. Before getting married the couple had to surmount lots of family obstacles as they happened to be from different faiths. Moreover Ratna's family was strict vegetarian. Thankfully terms like love jihad had not come into existence back then.

Ratna was a steadying influence in his life and after marriage managed his house and finances very well. Probably in the book she is the only person whom he treats with some reverence!


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

Friday, 25 October 2013

Unsung Genius


He was in the last leg of his journey and had been in and out of hospitals; some even announced his 'demise' last month on Twitter. Though the end seemed inevitable, but when it happened it still brought a lump in the throat.

Quite typical of Manna Dey it happened without much ado. He died in the wee hours and funeral got over by noon - no Bollywood bigwigs, no politicians attended it.

My knowledge of Manna Dey was rather sketchy as it got overshadowed by the compelling influence of the other big two - Kishore Kumar and Mohammed Rafi. Hence when the news of his death and his memorable songs started coming on TV, it was for me an embarrassing course correction regarding my knowledge (or lack of it) of Manna Dey's songs - as some of his lilting numbers I had mistakenly thought were sung by others. His extremely hummable Zindagi kaisi hai paheli I thought was sung by Kishore Kumar and his Pyar Hua Ikraar Hua by Mukesh!! Felt like kicking myself.

But then we always associated Mukesh with Raj Kapoor and Kishore Kumar with Rajesh Khanna. In an era when singers used to position themselves as the 'voice' of just one star, Manna Dey was an exception and probably this cost him dear. The actors he sang for span different eras and stature - from Raj Kapoor, Dev Anand to Rajesh Khanna and Mehmood. His works range from classical numbers such as Laga chunari mein daag to racy Aao twist karein. His range was enormous but somehow the music directors of that era failed to tap it to its full potential.

Also Read: Bangalore Beat

Monday, 30 September 2013

Tech-tonic Shifts on Silver Screen



The other day some TV channel was airing 2006 James Bond flick Casino Royale. Back then it was a valiant attempt by the James Bond franchise to make 007 relevant to post-9/11 reality. I remember Daniel Craig through his robust screen presence had resoundingly silenced many who had doubted his panache to play 007.

But what struck me was that throughout the movie he was using Sony Vaio laptop and a Sony Ericsson phone to get along with his business of licence to kill and make the world a safer place. It was a clever attempt by the Japanese electronics major to co-brand its products with the Bond flick.

If the producers were to make the same movie now (inclusive of pact with Sony) then Craig's baggage probably would be much lighter. He would be just carrying a Smartphone - probably the latest from Sony Xperia stable, tucked in the breast pocket of his suit and use 4-G technology to keep in touch with his boss M.

In the field of mobile phone technology six years has brought about a generational change. Those days the only Smartphone we heard of was BlackBerry and to possess that one probably had to be a higher up in the corporate ladder (a director I guess) of some MNC. Apple back then had only reached the iPod stage. The coolest thing then was to have a camera phone with an FM radio - MotoRazr, Nokia 6630 and Sony Ericsson Walkman were the top draws and the Gen-X was barely getting used to ear bud speakers and 2-megapixel cameras on their phones. Now PCs and laptops are facing the same fate as typewriters, when boxy desktops made their entry.

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Quite often the movie scriptwriters spin out stories in which the contemporary technology often proves to be a game changer of the plot. In mid-1990s I happened to see a movie Hear No Evil, starring Marlee Matlin, who had earlier won an Oscar for the movie Children of Lesser God. The movie is about a deaf woman who falls foul of a corrupt police officer looking for a stolen coin, hidden in the woman's pager. That was the first time I happened to see the 'beepy' matchbox like device and wondered what that hi-tech gadget was. It would often beep the wrong time, putting the woman’s life in danger. It was in fact pager - a precursor to the cell phone revolution.

If anybody from the current Smartphone generation happened to watch the movie he/she too would be astonished, but for a different reason. The device got reduced to a museum piece long back and they may wonder what that crude instrument was!

Also Read: Bangalore Beat