Digging for Meaning

Learning from bad writing: Meri Pyaru bindu These days I am writing my first story that I intend to complete and publish. So as you can imagine, I am in the writer mode most of the time - anxiously looking for writer's intent, choices, character arcs, alternate story lines etc, while watching any movie or reading any novel. With a well written story, these choices are not that apparent. You have to look hard and yet you might miss out on essential choices that the writer made, to make the film/ novel a great piece of art. It feels as if the story flowed out from the author's mind onto paper with zero loss in translation. For that reason, it is difficult to learn much from good writing. It inspires, yes of course. It helps you get in the mood or get into the right frame of mind. But it can't teach as well as a badly written movie/ novel can. A badly written story makes you aware of your own fallibility. It grounds you. Most importantly, it helps you see the many ways in ...

ABCD 2 is dance movie with mediocre dance. And that tells you a lot about the film makers and what they think of their audience. Made by celebrated choreographers with cult following, it is really disheartening to see them do a half-ass job at what they preach.The dances are not path-breaking or  original or even evocative. Most of the dancers do not give their 100% to the performance. You can see the lack of practice and energy in dances. The editor and cameraman do as much, if not more, movements as the dancers. Many Indian dance shows have better choreographed dances than this movie has. This is interesting because, the makers of this film are judges in at-least a few of those shows. Why suck? "Because everybody deserves a second chance." ad infinitum..  But this is the second movie in the franchisee. One expects that they would learn story telling by now at least? or does 100cr business is a reason enough for bad film making and lazy dance choreography? (for a movie ...

Salman Khan is not merely a criminal , a terrible actor or one of the most influential and loved people in India. He is a new archetype for the 21st century India. He is an archetype that answers a quintessential Indian yearning. Unfortunately the yearning reflects how pathetic and infantile humanity can be. When infants, we believe that we are at the absolute center of the universe, where all our acts deserve recognition and appreciation. To grow up is to grow out of this belief. The 'Salman Khan as an archetype' answers the yearning to be forever an infant. To forever enjoy consequence-less freedom. People refuse to see the bad in him. The 'true fans' of this horrible person get readily offended and aggressive when someone speaks ill of their 'bhai'. When someone points out facts of his monstrosity - killing homeless people , making his driver a scapegoat (what a ' hero '!), killing a harmless animal , domestic abuse , intimidation .... - the fa...

Saw 'Tanu weds Manu returns' yesterday. Excellent movie after a long time. :) (apart from one dimensional Manu and the Haryanvi family as prop.) I - Restless = humans It made me think about the trend of lead characters in bollywood movies - men/ women. (Raj in countless SRK films or Kangana in most of her films). They are all spontaneous, restless, rebels (often without a cause). They are also someone who people graciously put up with for the sake of movie's plot. This is in contrast to lead characters from earlier days. (80s - macho, 70s - angry against system, 60s - stoic silent, graceful). The grace is gone from modern world and modern cinema. With rise of corporate careers and desk-bound audiences, the lead characters are increasingly 'bubbly' (females leads), 'spunky' (male lead) and are infantile and narcissistic. The more inconsequential and replaceable lives become (of white collar audience), the more spunky and bubbly the characters become...

1. Anger is Comedy Bill Hicks, George Carlin.. most comedy is  disguised tension. Raju Hirani's brilliance is in channelling that anger seamlessly into a narrative that flows from seemingly light-hearted comedy (even when it is subversive) to empathetic realisation. In act-one of his films, you laugh. In act-two you can't help but cry with mirth/ empathy. This is why his Munnabhai films are classics. Your reactions are not voluntary. the jokes do make you laugh, and the denouement does make you cry. With PK, Hirani got the first part very well - subversive comedy that gets laughs and nods. The second part however, seemed to lack in empathy. Anger as comedy worked, anger realised was 'lull'. 2. To think or to feel?  Maybe it was the wooden performance by Aamir Khan who is supposed to be an alien. Maybe, it was the paternalistic tone of the film that tries to teach people a little too hard. But mostly, it was the lack of clarity in script. Who were we supp...

The trailer doesn't do justice to the film. The film is much more entertaining... until the climax. Well paced, right insights, right punches... and then the movie ends much before it should have. The movie has an 'adarsh baccha' climax. ( I can visualise 'the system' petting the film makers for towing the line.) The movie makers took the insight and then stripped it off its ambition, its angst.At the end all that remains is a sense of disappointment. The movie is about a few youngsters who show the middle finger to the system to protest against their powerlessness. Now,  I love stories of subversion -  V for Vendetta,  Fight Club or even the Dead Poets Society.  There is a certain ambition in subversion. Fight club destroys credit card companies. V blows up the symbols of power centres. Even the students in the dead poets society stand on the desk in defiance to the head master. These movies identify the power centre and subvert it.  Ungli makers didn...

Watched 'Happy New Year' and 'Bang Bang' recently. Why do I do this to myself.. 1. The inevitability You begin watching such movies with a sense of inevitability. That you are bound to be disappointed and yet one must soldier on and watch these monstrosities. The inevitability is due part us and part the makers. us - because we are addicted to junk. Its the cola and chips we can't live without. Makers - because those assholes buy up the entirety of screen inventory. During Diwali, families do tend to go to watch movies together. Its almost a tradition in many a middle class families. and then once you reach your favourite multiplexes with their many screens, the only choice you have is the show time. the makers have put their clout to use and all screens are running the same damn film. They are 100 cr films by default. Poor (rich) junta has no option but to hope that their family does not mind the 'mindless fun'. Just look sideways while watching film ...

"A favourite pastime in summer is watching the sand dunes whirl and inch their way right through the twisting narrow streets of the old town, to exit back into the desert again." so says an article in Outlook. Must sit there, roll a joint and stare out at the desert again. Pushkar had its charm, but I have never yet given deserts it due. I must spend some time in awe of the magnificent Thar soon. Reminds me of the lovely, dreamy movie 'road,movie' . Its not a movie actually. Its a dreamscape on celluloid. Watching it felt like watching ' 2001, a space odyssey ' when high. Its feels like flying in infinity. over vastness. being part of something great yet being just a mr. nothing. The vast expanses of dry land and blue skys. What a movie.

I saw two Mumbais this weekend.One through the movie- ' Dhobi Ghaat ' and another through ' City of gold' ; two completely different mumbais but all the same. Completely different narratives, but still gave the same stale smell of mumbai's stifling sea of humanity. While one movie had its politic about mumbai, the other was completely personal and intimate. Both talked about classes, but while one made me glad that I am from the privileged class the other once again filled me with nostalgia. I found 'City of Gold' to be very dark and over powering. I couldn't help but identify with the narrator's constant disgust, this sense of suffocation throughout the film. Even the scenes of happiness were quickly curtailed with the knife of cynicism laced violence. The movie laid out its politics, its helplessness, its accusations bare. The rich mill owner's disgust of the workers ("Bhikari" he keeps on barking, even before his imminent death) a...

I am gravely worried for the fate of India’s cultural empire. More than the Indian army or its embassies and aid packages, it’s the movie machine of Mumbai that has helped India raise its cultural flag beyond India. From Afghanistan to Japan, from Russia to south east Asia, Bollywood has found devout followers everywhere. This cultural advocacy helps corporate bodies when they march their imperialist marches into these countries. Hey, a dancing, overtly emotional Indian is better than a Kung-fu fighting Chinese.   But, Bollywood is losing its hold here at home. Its becoming a caricature of it's imagined self. The ‘desi’ moviegoer is increasingly being subjected to only Punjabi and Gujarati London/Canada dreams. The mainstream movies are rarely even shot in India at all. Since the moneyed few rules what is to be made, the available palette is primarily composed of galling stories of people falling in love in some white suburb of NY or some such world of big white people, where surpr...

I know, it might sound unduly parochial and unaccommodating of minorities perhaps, but why is Sanjay Leela Bhansali stuck on European sensibility? I am not questioning his choice of Goan catholic community as the backdrop for his stories (But even then there aren’t as many white people in Goa who dance the flamingo and wear jackets all the time or wear the Spanish gypsy dresses. In the movie most of the actors are very fair. Hmmm, perhaps it’s the Indian movies prerogative.), but his artistic liberty that is very narrowly defined by a certain romance with European visual culture and obscene opulence. What really bothers is, we don’t have many poetic visionaries creating beautiful cinemas, and the one we have is hopelessly afflicted with myopic obsession with a certain style that robs much from his story telling. Guzaarish is beautiful at times, but then it was actually supposed to be about life’s wonder and an individual’s choice. The beauty s...

chandan cinema. what charm! breath the warm smells of pop corn and whistle along the geysers of whistles blowing from all around. even amol palekar mentions it in 'golmaal'. lovely movie it was, god bless Hrishikesh Mukherjee. he perhaps has been responsible for billions of minutes of hearty laughs, content smiles and happiness throughout India. anyways.. (unlike my other blog, here i am going to let myself drift away in the thoughts and the language they come in as i write.. 'anyways' would represent getting back to what i wanted to say in the first place :P) and top it with front row seats. a sure fire combination for a great 3 hour ride. i remember watching 'bheja fry' in fun cinemas in ahmedabad. we were some 14-15 of us. all front seaters. after a few minutes from start, all came down and made themselves comfortable on the carpet beneath. people were sleeping, rolling around, sitting at the front while watching the movie.. what an experience it was. ...

I saw 'Mumbai meri jaan' .. and let me assure u, its a kickass movie. Brilliant it is! The movie is like a crow.. it nibbles at your wounds and makes noises that you would not like to hear. Its naked. A friend of mine was complaining '.. but I don't want to see this mumbai'. I won't give a description of the movies, or the details of the scene, (and I am so tempted to.. the sheer brilliance of them shots.. every shot has its politics.) or venture into an analysis of how this movie has shades of anti capitalism and so on $ ... but the beauty of the movie is in it's truthfulness and politics. I hope there were more crows like these. :P Another friend was complaining at the climax of the cliche therein, but then again why be non- cliche for the sake of it. The director pokes with the sensibility stick to the jaded zombified couch potato audience, and after the audience wakes up and becomes responsive, he holds the open soul-mouth of the audience so th...