Vichaarkhaana

March 11, 2013

Saheb Biwi Aur Gangster Returns

Presenting a sequel inevitably lends itself to comparisons with the previous product, especially when you know that the ‘sequel’ was created only after the first instalment garnered massive accolades all over. It’s not as if the creator (director Tigmanshu Dhulia) had an idea he would like to pan out over multiple outings (ala Nolan and the Batman movies). Yes, one must always view an entity independently…blah blah… and it would be quite unfair to compare Saheb Biwi Aur Gangster Returns (SBAGR) with the preceding Saheb Biwi Aur Gangster (SBAG). Watching SBAGR made me realise how much I loved SBAG! Forgive me for hopping back and forth between these films in this post, as I never really got down to writing one exclusively on SBAG and will use this opportunity to do that.

I have only vaguely read about but not yet seen Guru Dutt’s classic Sahib Biwi Aur Ghulam, the original which Dhulia adapted for Sahib Biwi Aur Gangster. Hence SBAG for me was a fresh film not carrying any baggage from its inspiration. It was deliciously wicked, kept the audience engaged and on the edge of their seats! SBAGR, sadly, is too long, un-saucy and does not pack enough punch. The decay of the erstwhile rulers is portrayed quite well but it is stretched only to indulge the director’s sensibilities.

The writers of SBAGR must be commended for some crackling dialogues and for seamlessly weaving in references to real-life incidences (*spoiler alert!* porn-watching neta, MLAs being whisked to seclusion just like how it is done after elections to prevent horsetrading, lifestyle magazines featuring spreads on crumbling palaces and interviews that evoke the erstwhile glamour and nostalgia of the ‘royal’ way of life).

The songs of SBAGR are insipid and barely do anything to forward the narrative OR entertain the viewers. An attempt to spice up the proceedings via the customary ‘item song’ fails miserably as Mugdha Godse is a totally wrong choice for it! Not only is she a hopeless dancer but also, obviously, her cleavage does not make up for lack of expressions! What could have been a fabulous satirical number given the settings (think ‘Ranaji’ from Gulaal) ends up being a forgettable comment on our media-crazy times. On the aside, apparently the music of Dhulia’s films never really leave an imprint on us, unlike Anurag Kashyap’s! Anyone remembers any songs from Haasil? Charas? SBAG and SBAGR join the same league. That’s one thing consistent in Dhulia’s works!

SBAGR wraps up with a scope/ hint for the third installation to be attempted in future. Best wishes to Dhulia and team for hopefully making a film that will redeem this second movie. SBAG had everyone involved bringing something interesting to the board which is kind of missing from SBAGR. The former had menace that truly entertained but the latter fails to make an impact of any kind. I’m craving to watch SBAG now!

SBAGR is not a bad film, it’s just not good enough!

Images courtesy: http://avsongs.com/component/content/frontpage.html and http://en.wikipedia.org/wiki/Saheb,_Biwi_Aur_Gangster

January 22, 2013

Mandola Revisited

Weapons of the Weak

The blogger went for a second viewing of Vishal Bharadwaj’s Matru Ki Bijlee Ka Mandola, two weeks after the first viewing. While previous opinions still stand true ( http://vichaarkhaana.blogspot.in/2013/01/mandola.html ) here are some additions to it.

Mandola (yes, I absolutely refuse to call it MKBKM!) provides a crisp opportunity to observe emotionally-wrenching depth conveyed with subtlety. When Bijlee goes looking for Matru in the rain-washed, deserted village, she only shows him, from a distance, her freshly hennaed palms . Not a single word is uttered. The sad-but-blank face of Anushka doesn’t even flinch. All the pathos of an unhappy present and doomed future are spared their conversion to words and we are left with just that one sight. That’s all.

Later on, when Matru is packing his stuff to leave, Bijlee simply says, “I have started brushing in the night”. No sentimental, mushy “I love you”-types expressing of love there. Just a simple dialogue, hinting at the depth of attachment, belief and hope, binding these characters in an unconventional yet romantic way. Economy of words has always been the forte of the brains behind this film!

Finally, the thought that did not leave my side since the very first viewing! Dialogues and actions of the movie constantly reminded me of J C Scott’s “Weapons of The Weak”! This movie is an exercise in the display of not just the arm-twisting tactics of the strong but also of the small stings that are weapons of the weak. Here the haves do not have it all. The have nots do not believe that what they have is insignificant in denting the haves, even if minimally so.

An obvious example of this was the usage of dung as cannonballs to disrupt ‘Operation Mao Mao/ Mow’. The villagers may not be laced with technologically advanced options to counter the chemically-armed, menacing son of the manipulating politician, but that did not prevent them from devising a smart (even if stinky) plan to protect their lush crops from being destroyed in the wake of midnight’s darkness. This was maximisng the usage of resources at their disposal, no matter how crude!

In their discussion with the politician (representing the state that wants the land), Mandola (who owns this land) and other officials (of the bureaucracy that will process this deal), tillers indulge in ‘coercive bargaining’ (Guha 1987:2001) to get a better price for their sacrifice (of land). Scott’s book demonstrates how…

In Malaysia the state has become the main provider of valuable public goods but has not succeeded in replacing the rural elites as patron at the village level. Many of the material benefits distributed by the state are mediated by the official party machine, which is controlled locally by landowning families (Esmon 1987:311).

Similarly in Mandola, when Matru circumvents the village patronage and attempts get a fair selling price for their wheat at the mandi (wholesale market), Mandola’s henchmen actively intrude to prevent the sale from taking place. Strains of ‘coercive bargaining’ can also be identified in other (crisp) exchanges between Jalebi Devi and Mandola, Mandola and Bijlee, Mandola and Matru, among others! In each of these scenarios the ‘weak’ character plays his/her asset to their advantage while bargaining for their personal benefits. The outcome of it may not always be entirely in their favour, but that small foot in the door is not an insignificant gain either!

This has been a stellar comeback for VB who was showered with widespread criticism for his previous directorial venture, a movie both the Lady (http://dolcenamak.blogspot.in/2011/02/7-khoon-maaf-and-me.html) and me immensely enjoyed. In Mandola there shines the characteristic wicked wit and sarcasm that comes from an evolved understanding of our evils. The ability to communicate it with simplicity and deadpan humour is the forte of VB and Gulzaar Sa’ab! Blessed are we to be living in the times that they are too!

References:

Scott, J.C. 1986. Weapons of the Weak: Everyday Forms of Peasant Resistance. Connecticut:Yale University Press.

Guha, R. 1987. Presentation of Class in Everyday Life Weapons of the Weak: Everyday Forms of Peasant Resistance by James C. Scott. Economic and Political Weekly. 22:47. pp. 2000-2002.

Esman, M.J. 1987. Weapons of the Weak: Everyday Forms of Peasant Resistance by James C. Scott. The American Political Science Review. 81:1. pp. 310-313.

January 11, 2013

Mandola

l The Lines Are Drawn…l

(*SPOILER Alert* this is not a review. Some implied puns of the film are ‘explained’ here.)

I could launch into a monologue of how much I love VB and the ability to look past the obvious and appreciate the inappropriately-titled Matru Ki Bijli Ka Mandola (MBKBM). Instead, i suggest you read Raja Sen's on it.

What I will rather do is to claim that I could have walked into this movie during the interval and watched the proceedings without itching to get any info on the first half. Seriously! Come on, VB...आपका क्या जाता अगर आप हमारे time को थोड़ा और value देते और इस picture को ठीक length की बनाते ?! (exasperated translation – ‘what would you have lost had you appreciated the value of the viewer’s time and made this picture of the ‘proper’ length?!). Why indulge yourself SO much, man?! Just because I have instituted a whole school in the name of your style (and camp) of filmmaking, does not mean you’ll try my patience like this, no?

Once I have drawn the lines between the significance of first and second halves of the film, it is easier to enjoy what VB has served us.

This is not escapist cinema. It is a wisely-written topical satire with multiple references to the times of our lives lurking from every frame and most dialogues. Two best examples of such dialogues are one each delivered by Shabana Azmi (personal development = country’s development) and Pankaj Kapur (I dream of development…).

There are JNU jokes ;-)!

VB even gives us acceptable labels, replete with foul adjectives. “Commie B*****d” and “Bourgeoisie B***h”. The world consists of only two kinds of people. Just remove the gender-specific expletives at the end, and there we are! Those who claim to be walking the grey middle path are only hiding their true colors. I certainly know the side I am on!

I absolutely LOVED the humour. They jokes are small, not in-your-face and don’t make you laugh-out-loud. Mostly, they sting…but there are enough of them to keep the grin coming back. I got them all… ALL! Thank You, VB, for doing a film that appreciates our understanding of subtlety and does not insult the intelligence by making stuff so annoyingly in-your-face. This is exactly like what we say in Hindi - "रेशम से लपेट कर मारना"! (to wrap in silk and whip!). any intention of political correctness is thrown to the winds, as the dialogues do NOT refrain from names-dropping for conveying the messages loud and clear. everyone from the Ambanis to Sheila Dikshit to the 'babalog' of Indian politics make an appearance in the lines!

Apart from the obvious ‘Mao-Lenin’ references that EVERYONE got, there were some others like: kursiyaan: chairs (political power): cheers!, the “tubelight” lighting up when Badal FINALLY gets his Mum’s hints at ‘Bijli’, and many more that I’ll continue to relish in my future viewings of this film.

The title of the film is unnecessarily long. While Jitesh Pillai may have found it interesting (aeons ago on Twitter, and he speculated it to be Gulzaar Sa’ab’s influence on VB), it didn’t really serve ANY purpose. This film is all about Mandola. The man and the village. Matru and Bijli are supporting characters. They didn't need an endorsement in the title of the film! Nobody would have accused VB of being partial if he had gone ahead with only “Mandola”, after all, that is the only word that has an actual pun element to it!

Arya Babbar does a good job of the moron he is supposed to play. The director gives us just enough seconds to exclaim “gadha” (ass/donkey) when Badal asks Mandola for how will he look in either choice of sherwani for the wedding and Mandola says “you’ll look the same”!

Imran Khan tries hard to justify VB’s choice of casting him and succeeds only till the extent where he can’t convey the ruggedness of a Haryanvi to us. First we are told he studied law. Then JNU is thrust into our face, which will make most people to conclude, incorrectly, that he studied law at JNU. Since that is technically not possible, VB, why the mashup? would it take too much footage to give a clear idea of where he studied law?!

Anushka, my love, does not get much meat to sink her teeth in, :-'(, but shines in a pre-climatic scene meant to portray her helplessness as a pawn in the game of greed and gain.

Shabana Azmi is ‘delicious’ ;-)! Her last outing in a VB film was the creepily wicked witch-act in Makdee, a decade ago. To see traces of that wickedness in some of the scenes here is delightfully satiating!

Pankaj Kapur takes the cake…A-L-L of it! He is the heart, soul and spine of this film. I’m so smitten by his character and acting that I’m not even qualified to sing his paeans here!

So unqualified I feel that I’ll not try to compose original lines for conclusion. I’d much rather cite Mayank Shekhar for that…

In portions, the film becomes then a somewhat literal, Leftist pamphlet, starring one of the leading men of romantic movies (Imran Khan), coming out of the most Right Wing of all cinema industries (Bollywood), funded by an American Fox Studio, owned by the Australian magnate Rupert Murdoch. This is fine subversion on the part of the filmmakers still…But then that’s also the beauty of capitalism, which this fairly intelligent, amusing take acknowledges by its very own existence.

Read this entire piece here: http://thew14.com/2013/01/11/mayank-shekhars-review-matru-ki-bijlee-ka-mandola/

Image courtesy: http://www.travelindia-guide.com/bollywood-movies/wallpaper-photos/movie/matru-ki-bijlee-ka-mandola/matru-ki-bijlee-ka-mandola-movie-wallpapers-2.aspx

PS: I chose this image ONLY because Anushka looks smoking in it! Yes, I love her THAT much!

December 30, 2012

2012: At The Movies

Part I : Observations

In 2012, Bollywood stories did a wonderful job of bringing the backyards to the fore! It is a common complaint that movies here tend to be based in an urban setup. These do often strike a chord with the audience in the hinterland, as they have an escapist and aspirational elements to them. Simultaneously, movies with story-lines based in the mofussil do not usually appeal to the urban audiences. This seems to be changing in the past decade and 2012 is an excellent example of strong stories based in a not-so-urban/ rural setup and being appreciated all the same for their content.

The chief example of this was Gangs of Wasseypur which rode into the hearts of viewers from Cannes to Chennai!

The year really belonged to the Anurag Kashyap school of cinema. Movies from this camp are known for the realism in their stories, taut scripts, lack of routine drama, among other nuances. What mainly separates films from this school as that of the Vishal Bharadwaj school of cinema is: their treatment. Here’s a quick run through of the former’s outputs of this year which also perfectly fell into the category of strong story-lines based in non-urban setup with rustic and sharp dialogues to the boot

Paan Singh Tomar (MP)

Irrfan! (exhale!) Kudos to Tigmanshu Dhulia for sticking his neck out and making such films that give us an unadulterated feel of reality, free from the crutches of unnecessary dramatic inputs.

Shanghai (Bharat Nagar - somewhere in India!)

Underwhelming. That’s the only word I’ll use to describe this film. For a critique please check out http://filmanalytique.blogspot.in/2012/06/shanghai.html

And for layers you didn’t realize, hop over to our Lady at http://dolcenamak.blogspot.in/2012/06/shanghai-highriser-but-not-quite.html

GOW 1-2

The lesser said, the better!

I saw the first film THRICE in a cinema hall! And each time I went back with newer nuances which I hadn’t noticed before. GOW-I is my favourite half from this nearly 5-hours long work of cinematic breadth and depth! For me, GOW-2 was quite linear and not very engaging, psychologically. The dialogues in GOW-I are to-die-for! Despite being sexist at many points, they neatly represent the under-currents of a man-woman equation in different relationships!

Women of Wasseypur had made me want to write an exclusive piece on them …a venture I never got down to actually typing, sadly!

Aiyya (Pune)

While I do get that the director was attempting an absurd comedy, this one ventured into inane territory at many points in its running time!!! The only salvaging factors were the songs, Rani’s on-screen histrionics and Prithviraj’s brooding face and torso!

Love Shuv Tey Chicken Khurana (Lalton, Punjab)

SHORTEN THE FILM’S NAME, to begin with!!!!!!! A sweet film filled with moments of light-hearted humour without any innuendo. And while we are at shortening the title, the makers could also reduce the running time by 20 minutes!

It’s a film about love and relationships with food being the connecting link. The film also beautifully portrayed life in Punjab, including migration and separation while thankfully skipping the boisterous Punjab portrayed in the Chopra-Johar films!

The three films from AKFPL struck me being in dire need of being cut little short to maintain the pace and interest. Hence, I wish Mr. Kashyap would invest in better editors for the future films coming out of his stable!

Ishaqzaade also falls into this niche of bringing back-to-the-fore group. Comments on this film are made in the section after the next.

Regional flavours were also beautifully used in Barfi (Darjeeling/Calcutta) and Kahaani (Kolkata)

Part II: Brief Comments

This section contains brief comments on some of the movies released in 2012 and viewed by the blogger! (in no particular order.)

Ishaqzaade

The first film I saw in the new year. Disturbingly sexist it definitely was, but was spot-on in its representations of political equations and rivalry across India. This was a microscopic representation of the political battles our ‘representatives’ wage in the industry of ‘democracy’.

I went to watch this movie for Habib Faisal and found his traces in many elements of the film, primarily in its dialogues! Can’t wait for his next film!!!

PS: Arjun Kapoor can surely do rugged/uncouth, but can he do suave? Aurangzeb will show us what else can he do, apart from showing off his stretch marks on the big screen!

more on it by me: http://vichaarkhaana.blogspot.in/2012/05/ishaqzaade.html

Kahaani

A well-written story where people and cities merged as conspiratory characters to give us a taut thriller. By now reams have been written about how Vidya Balan is changing the force of the ideal-typical Hindi film heroine. I’ll refrain from treading that thought and put out a word for Sujoy Ghosh- in between the much appreciated Jhankaar Beats (2003) and Kahaani, HOW could you even conceive of peddling unbearable works like Home Delivery and Alladin?! wish the creativity would be more consistent!!!

Brownie points for making his love for Calcutta so palpable through this work!

Ek Main Aur Ek Tu (EMAET)

First ‘froth’ of the year. And that is increasingly becoming Dharma Productions’ trademark, barring the occasional Agneepath!

London Paris New York

A much better rom-com to accompany the frothy EMAET. Just that this one gave the characters more agency and let them go through phases to eventually reach where they do.

Our Lady of Dolce and Namak has a classic retort for this one! Read it here - http://dolcenamak.blogspot.in/2012/03/lets-face-it-theres-no-such-thing-as.html

Cocktail

Again, will stay away from the morality-based debates that this film fuelled for long! SO much so, that the stunning DP went on to say that we just showed what is and "not the way perhaps should be"! (http://www.openthemagazine.com/article/art-culture/the-vibes-of-deepika)

In defense of this film, please read http://dolcenamak.blogspot.in/2012/07/in-defense-of-veronica-and-imtiaz.html

For a fun sketch - http://mumbaiboss.com/2012/07/16/the-vigil-idiot-cocktail/

Vicky Donor

My main aim of going for this film was to see if John Abraham’s actual intelligence shines through in his choice of script when turning a producer? Shine it certainly does!

Shoojit Sircar has excellently used his skills as an adman to create product that is a crisp comment on our life and times without being preachy or repetitive, ever! This was the only film that didn’t make me feel like it required better editing.

Ferrari ki Sawari

Films produced by Vidhu Vinod Chopra usually tend to strike the right balance between good content and emotional appeal. This venture lost out some steam by not striking that balance enough and tilting to the wrong side.

Shirin Farhad Ki Toh Nikal Padi

I was very excited to see Bela Segal’s first film as a director. While the story had a lot of scope to pack enough punch, Bela’s treatment made it a near dud! Even Farah Khan’s spirited debut could not salvage this ship of aged romance!

OMG!

All the balances for a “good” film were struck just right! Now, if only Akshay Kumar wouldn’t indulge himself to THAT much screen-space, just because he’s the producer! (an issue that pricked me even while watching Cocktail (Saif, in this case)!)

English Vinglish

The SWEETEST film of this year!!!!!!!!!!!!!!!!!!!!!!! Gauri, when’s your next film coming out?!

Read subtle-style’s appreciation here: http://www.thehindu.com/arts/cinema/when-silence-speaks-volumes/article3991163.ece

Heroine

A badly made film with no script or story for a backbone. It was a copy of scenes from Bhandarkar’s previous films and some (rumoured) real-life incidences…all adapted to the ‘filmy’ setup. Read Raja Sen’s review for the accurate picture - HTTP://WWW.REDIFF.COM/MOVIES/REPORT/REVIEW-HEROINE-IS-UNBELIEVABLY-TRASHY/20120921.HTM

For a quicker idea of how bad the film is, check out http://mumbaiboss.com/2012/09/24/the-vigil-idiot-heroine/

Barfi

Saccharine OD. I won’t venture into a discussion on the inspired/ copied allegations leveled against this film. It could certainly have done with sharper editing and little less self-indulgence which lead to repetitiveness in narrative.

http://dolcenamak.blogspot.in/2012/09/barfi-is-delicious-fairytale.html

JTHJ

Saw it only because Yash Chopra passed away and I had never seen ANY of his films on the big screen!!! This film bears his trademark ALL through. The lyrics don’t sound like having spouted from Gulzar saa’b’s pen, the songs don’t sound like ARR was given a free hand or that he was being sincere. Won’t criticize this one, as YC’s soul may writhe in grave!

Hence, for a crisp take on this swan song, please have a quick look at http://mumbaiboss.com/2012/11/15/the-vigil-idiot-jab-tak-hai-jaan/

Talaash

Aamir Khan kept us waiting for so long just to turn every character in this film into a spirit! Rumour has it that this film was drastically altered from its original track after Kahaani came out. Tch!

Kareena looks ethereal!

SOTY

“Stylish Froth”. I live-tweeted while watching this film and one of the tweets during the middle of the film read- “SOTY: Rodent of the Year?!”

See The Vigil Idiot’s brilliant portrayal here -http://mumbaiboss.com/2012/10/22/the-vigil-idiot-student-of-the-year/

And you simply CANNOT miss this :

PS: Alia needs to lose a lot of her baby fat!

Special Mention: Amit Trivedi

The year also had some absolutely beautiful music courtesy Mr. Trivedi. He has truly arrived in Bollywood! His works of the year include Ishaqzaade, EMAET, English Vinglish, Aiyyaa A-N-D LSTCK! From foot-tapping (Auntyji), to folk (Sava Dollar), to catchy (English Vinglish), to sweet (Main Pareshaan, Farrukabaadi) ... he's given it ALL! need we say anymore??!!!

Best Intro Song

Female - Deepika Padukone (Cocktail)

Angreji Beat