Health for all?

X: The Man with Xray Eyes (1963)
Director: Roger Corman

Ray Milland, who first came to my knowledge through Hitchcock's 'Dial M for Murder', had a successful acting career. He was seen as early as 1929 and went through to the 1960s. The pinnacle of his career was winning an Oscar for Best Actor in 1945, 'The Lost Weekend'. This particular movie is a B-grade science pulp, but a rather interesting one at that.

I remember the umpteen comics I used to read at the barbershop during my childhood. All the comics had classified advertisements at the back, selling X-ray glasses, which were an adolescent boy's dream present. A pair of special vision glasses that could see through garments was something to get excited about. The only hurdle was postage, as the given PO box was in the USA. If only they had Lazada or Shopee, then...

The film effectively portrays how society treats members of the medical profession. Individuals enter the medical field with the desire to serve humanity and alleviate suffering. Unfortunately, things are not straightforward. Resources are finite, and healthcare is getting more expensive. Health workers and patients are at the mercy of those who control finance.

The business people have the money but not the compassion. What they see are dollars and cents as well as return on investments. Everything and anything can be done but at a cost. There is no place for charity. In fact, health providers are dangled with a carrot so enticing that they fall prey to material lures. They are given the illusion that they are serving the needy, but the selected target only serves to fatten the coffers of the financiers. No businessman is altruistic.

The film goes on to narrate the story of Dr Xavier, who discovers an eyedrop that extends the range of what the eyes can see beyond the usual spectrum of wavelength. He sees vast potential in his discovery, but the medical community is wary of its potential dangers. They want more research to understand its downside. Xavier has no patience for that. He wants to spread its usage as soon as possible. The concoction obviously has its side effects, making Xavier so impulsive; the effect of the ointment is so unpredictable.

In a tussle with his superior, he accidentally knocks him over a window, and he dies. Dr Xavier is now a fugitive. 

He tries to make good use of his discovery by practising as a faith healer, only to realise that he is being used by his host as a cash cow. Dr Xavier then tries to use his X-ray vision to win at the casino to win lots of money to fund and expand his ointment. The casino is not going to give him money lying down. They bring in the might of the police to hunt him down...

Hence came a tragic end to what could been a novel desire to indeed improve people's health and to bring technology to where it mattered most. Instead, like today, the greatest expertise is used to treat trivial and inconsequential ailments that may be self-limiting. The counterargument against this is that it frees the burden of public healthcare. Personalised treatment can be focused on seriously ill patients. The fact of the matter is it also helps the high-heeled to jump the queue and be uppity about sharing the same facility as the plebians.

https://www.freemalaysiatoday.com/category/opinion/2025/01/11/can-private-hospitals-be-efficient-compassionate-and-profitable/

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Of feudal tyranny!

Nishant (Night's End, Hindi, 1975)
Director: Shyam Benegal

Cultural practices and people's thinking evolve as society progresses. Everybody likes to think that it is progress. If, a generation ago, hugging and cuddling between family members was not the norm, now, touch is considered a prerequisite for healthy psychological growth, especially for the young. What seems perfect today may, in time to come, turn unspeakable.

Long ago, the group of people known as the Paraiyars held a certain status in society. They were reputable for making good drums, which were an essential item then. Drums were important tools in religious ceremonies and battlegrounds, and they were an excellent mode of communication in battles. Coded drumming conveyed specific codes. At one point, the Paraiyars even broke from their armies and formed their own empire.

Over time, the belief system of the land underwent its own renaissance of sorts. Breakaways from Hinduism viewed meat eating and working on carcasses as something demeaning. Elitists of the Hindus decided that they would instead revere cows and omit meat altogether from their diet. The Paraiyars soon found themselves treated as outcasts, clinging on to the lowest rung of the food chain.

When the British colonial masters came over to India to aid their project of squandering wealth from the exotic, they had to analyse the societal strata. It aided in their policy to 'divide and rule'. For that, they used a system akin to the one used in Europe, subdividing people by profession. For example, a Baker bakes, a Thatcher repairs roofs, a Fletcher is an arrowsmith, and a Schumaker makes shoes. In their census, the British classified their subject by profession.

Smitha Patil, Shyam Benegal, Shabana Azmi

@ Cannes Film Festival 1976.

Before the Europeans reared their ugly heads to the subcontinent, the Indians had their own internal economic equilibrium. This, however, was put in disarray when mercantilism and imperialism changed how business was done. This modern trade system placed a strain on the social layout. The divide between the haves and have-nots increased. People did what they could to prosper, like dancing to the tune of the leaders of the day. This created a ruling class and a subserviently helpless working class.

This is what happened in 1945 in India, as depicted in this movie. The landowner class used their bargaining power to cow the helpless farmers. They not only cheated by them blind with arbitrary rules but also got away with bullying and other activities. Nishant is one such movie. It is a product of the parallel cinema in India. Made by master filmmaker Shyam Benegal, it was acted beautifully by doyens Smitha Patil and Shabana Azmi. Amrish Puri plays the villain. It was a powerful narration of social oppression, feudal tyranny, and social injustice complemented by subtle but intense characterisation by the actors who took this film to Cannes in 1976. It showcased Benegal's creativity as a filmmaker who dared to tell stories that mattered to the world, leaving an everlasting impact on Indian and world cinema.

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To learn, one has to listen.

Seven Years in Tibet (1997)
Director: Jean-Jacques Annaud

(Based on Heinrich Harrer's book with the same name)

Similar to the internment camps established in the USA for German and Japanese migrants during the First and Second World Wars, India had comparable camps. Numerous German workers and even alpine climbers from Austria were detained in various camps around Ahmedabad and Dehradun. One notable individual was Gustav Hermann Krimbiegel, an extraordinary gardener credited with creating royal gardens across India. Krimbiegel was a German botanist who migrated to Britain in 1888. He began his apprenticeship at Kew Gardens and was subsequently recommended to work in the garden of the Maharaja of Baroda. After witnessing his remarkable gardening skills, he was commissioned by other princely states. He is recognised for his development of Lalbagh in Bangalore, Brindavan in Mysore, and many others. In addition to his horticultural achievements, he is also known for introducing new seeds from abroad to India, along with innovative architectural designs, creating a distinctive Indian aesthetic for gardens.

When World War II broke out, Krimbiegel, due to his German origins, was confined to an internment camp as an enemy of the British Empire. With the assistance of King Baroda, who was at the time the wealthiest man in the world, special arrangements were made with the Empire for his release. Krimbiegel is credited with introducing innovative agricultural practices that enhanced irrigation, supported local economies, conducted tree censuses, and infused European techniques into traditional Indian gardening. 

Gustav Hermann Krimbiegel (1865-1956)
https://medium.com/@andrewabranches/
gustav-hermann-krumbiegel-b6bdb9ad28c0

'Seven Years in Tibet' is based on the life and times of Heinrich Harrer, an Austrian climber who spent seven years in Tibet between 1944 and 1951. Starting as a haughty and rash young man with an attitude leaves his fully pregnant wife to go hiking in the Himalayas in 1939. When WW2 started, Herrer and his friends were imprisoned as POWs. In 1944, he escaped from prison and ran to Tibet, hoping to eventually go back home.

What happened afterwards was a life-changing experience for Harrer and his fellow climber, Peter Aufschnaiter. After receiving divorce papers from his wife and a cold letter from a son he had never met, Harrer chose to stay in Tibet to embark on a journey of self-discovery. Coincidentally, he had a chance encounter with the young Dalai Lama in Lhasa, becoming the Dalai Lama's teacher and close confidante. 

The invaluable lesson that is taught to us from Harrer's life experience is this. Isolation opens our inner eye. Stranded in the middle of the gargantuan forces of Nature, one is humbled to come to terms with his vulnerability. Ego is crushed, and all he sees in front of him is his mortality and the life that passed him by. It is at this opportune time that one can make amends. By being respectful and curious, one can be a good student. Watching this film and viewing Zakir Naik's vile video, one can understand how wrong and close-minded Naik is in spreading his deluded 'wisdom'.

https://mindiafilms.com/the-maharajas-german-gardener-g-h-krumbiegel/

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Now, 'trans' can compete with 'cis'?

Emilia Pérez (2025)

Director: Jacques Audiard

mvtimes.com/es/2024/10/29/emilia-
perez-film-musical-genre-bender/

This musical offering would not have garnered as much airtime if it had not been for an openly transgender individual who won the Best Actress awards at both the Cannes and the Oscars. Interestingly, a female actor (a cis woman) insists on being referred to strictly as an 'actor', not an 'actress'. They are particularly keen on this, demanding to be addressed as 'actors'. I suppose this does not apply to transgender actors. A quick glance at Karla Sofía Gascón's Wikipedia page states her occupation as an actress. For a transgender person, being addressed as female represents the ultimate victory of her transition. 

It continues to be one of the most nominated films of the year and the most nominated non-English language film in the Academy's history.

When it comes to the basics, this is a gangster film with a twist. The twist is that one can never conceive of a mob film as a musical. What's more, it makes the feared mobster, Manitas, want to leave it all behind to transition into becoming a woman after abandoning his wife and two children. To facilitate this, he hires an aspiring and desperate lawyer, Rita, to arrange all the medical and legal matters for him to disappear. After months of painful gender reassignment surgery and cosmetic procedures in Thailand and Israel, Manitas becomes Emilia Pérez. His wife and children are relocated to Switzerland. Manitas' death is staged.

Four years later, Manitas, now Emilia, must long for her family. She meets the family and introduces herself as Manitas' distant cousin. With the assistance of Rita, the lawyer, they relocate to Mexico City and live as one large, happy family. Trouble arises when Manitas' widowed wife rekindles her romance with an old flame. Emilia also runs a non-profit organisation that seeks justice for individuals killed by gangsters in Mexico.

Interspersed and woven into the story are actors bursting into song, occasionally with quite catchy tunes.

 

It's amusing that we used to laugh at Indian films when actors broke into song and dance back in the day. A 1932 Hindi film, Indersabha, along with its Tamil counterpart, Indrasabha, featured 70 songs. Now, Hollywood musicals are receiving awards—garnering all the nominations for highlighting the LGBTQ agenda, which is currently in vogue, though not so much for their artistic merit.

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Normalising woke culture?

Kadhalikka Neramillai (No time to love,  காதலிக்க நேரமில்லை;  Tamil, 2025)

Director: Kiruthiga Udhayanidhi

https://www.moneycontrol.com/entertainment/kadhalikka-neramillai-ott-release-
when-and-where-to-watch-this-romantic-drama-starring-jayam-ravi-a
nd-nithiya-menon-article-12936421.html

It would have been just another Netflix recommendation that I would have ignored. Having such an unoriginal name, which had been used before, did not excite me. For the ignoramus, in 1964, the Tamil cinema was taken back by Sridhar's superhit. Its psychedelic, picturesque Eastman moment came to be defined as Tamil cinema's first rom-com. The hit song. 'Visvanathan, velai vendum!' became to be sung as the voice of defiance of the oppressed.

My interest was piqued when a YouTuber of a channel I follow went into a tirade trying to tear down Netflix and its moviemakers for thinking out of such a crass movie. Other Tamil movie reviewers were kind to the movie, praising it for its modern approach to storytelling and refreshing filmmaking. They probably did not want to offend the First Family of Tamil Nadu, as the ruling CM's family is involved in the film's direction, production and distribution. My YouTuber accused Netflix and the producers of trying to tear down every fibre of decency and threaten to destroy the Indian way of life. The prescribed Indian or Tamil way of living, where a female is supposed to follow specific rules regarding sex, weddings and patriarchal lead, is torn down.

The movie starts with a rebellious daughter, Shriya, working as an architect in Chennai, asking her mother how sure she was that her unmarried daughter was still a virgin. The mother almost faints whilst the father ducks down, avoiding the confrontation that ensued. 

To put things in order, it is a story about a daughter who plans to migrate to the US after a civil marriage with her 4-year-old boyfriend and obtains her visa. One day, after returning from work earlier than usual, she finds her husband in bed with her best friend. She annuls her wedding.

The 1964 version

In another town, Bangalore, another architect, Sid, is all set to engage his model girlfriend. After a minor misunderstanding, the fiancée decides not to turn up. As is often the case, he goes on bedding beaux one after another for revenge. 

Meanwhile, Shriya realises that her biological clock is ticking away and wants a baby as soon as possible. What does she do? She goes straight for donor insemination. And guess whose sperm she receives? Don't ask how, but she receives Sid's from another state. Sid had once accompanied his gay friend to donate his sperm for future use. Sid does the same. This gay friend reappears later to marry his partner. This became a point of contention for the commentator as if the film is normalising gay weddings in India. For the record, while the third gender is recognised in Indian law, gay weddings are not. 

The purists also have issues with the casual portrayal of alcohol consumption by both sexes and across all layers of society. The familial decorum, such as the parent-child barrier often observed in traditional Indian families, seems to have disappeared. Single parenting is depicted as the most natural thing. It is trying to shove in the Woke's gender agenda. 

Most Indian movies end with all the characters agreeing that the Indian way of life is supreme as if to resolve all the issues. No, not here. The protagonist decides to live with the sperm donor as her live-in partner. 

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Not easy to be light!

The Unbearable Lightness of Being 1988
Director: Philip Kaufman

https://image.tmdb.org/t/p/original/

g1kPEwATsCI8DnGx6ViAhUVKQSI.jpg 

This film, with such a provocative title, is based on a novel by Milan Kundera published in 1984. It takes place during the Prague Spring of 1968. Against the backdrop of political upheaval in Poland, the narrative explores what it means to be liberated from political oppression as well as the pursuit of sexual freedom.

The phrase 'being light' probably has its roots in the New Testament, "My yoke is easy, and my burden is light." (Matthew 11:28-30). It is said that keeping up the strict law of the Pharisees was difficult, so the followers were told to leave their burden to Jesus. So, to be light is to be free.

Freedom comes with its burdens. It is an essential privilege that humans strive for. Its significance cannot be overstated for the modern individual who values self-expression and individualism. Achieving complete freedom without the burden of control can be challenging. Although all forms of governance appear promising at their inception, they ultimately falter miserably. The concept of an authoritarian leader supposedly ordained by God only functions well as long as circumstances are favourable. In the face of calamity, people would seize their pitchforks and sickles to demand equality. The equal distribution and Kafkaesque rule ultimately turn on themselves. Just when one believes that capital would save the day, it reveals its inherent predatory nature, fuelled by human greed. 

Through much trial and error, society has established rules for how individuals engage in communal living. Many of these regulations lack a scientific foundation and are established solely by consensus, with sexual engagement being one such example. 

Although people may disagree with this arrangement, they generally adhere to it. Nonetheless, they long to defy the law. 

This film endeavours to illustrate the merits and drawbacks of both arrangements, namely, a more unrestricted form of governance and an open relationship where loyalty to one partner is not essential. It recounts the transformative times of 1968 Prague when a dynamic new leader assumed control. His notions of press freedom and literary liberty clash with their Russian superiors, who rolled their tanks into Prague. Against this backdrop is a free-spirited young surgeon whose perspective on sex is libertarian, bordering on promiscuity. The doctor eschews monogamy. While in a relationship, he meets and marries another woman. He maintains his affair with his girlfriend while she is in another relationship. The doctor and his girlfriend pursue different life paths due to the events in Prague. By the end of the journey, we are left with the impression that adhering to a conventional and familiar path may lead to a more fulfilling outcome.

At times, we project an image of 'being light', appearing easy or free (light), to convince ourselves that we are fine. 'The burden of being light' refers to the paradoxical feeling of being weighed down by the pressure to appear carefree, effortless, or joyful, even when facing personal struggles or difficulties. It embodies the stress of continuously presenting a lighthearted façade while concealing the heavier emotions beneath. 'Light' typically signifies ease and freedom, whereas 'burden' suggests heaviness and stress, creating a paradoxical image. Social media influencers, multi-level marketing entrepreneurs, individuals in leadership roles, and those who are inherently optimistic experience the pressure of constantly uplifting others, even when they themselves require support. The incessant need to appear light can lead to feelings of isolation, anxiety, and even depression if one feels unable to express their true emotions. The necessity to feign freedom is challenging. Sometimes, it is easier to be like sheep and follow the breadcrumbs left by those who have walked the same path.

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Just another day?

The Sun rears its orangey hue over the horizon. Yet another new day dawns. The Sun does not know it is starting a new horizon. It performs its preordained duty, firing nuclear fusion reactions on its surface. It is the round Earth that revolves around the Sun. The Earth does not know a new day has begun. It just revolves counterclockwise on its axis. It has multiple new dawns at its manufactured latitudes. It neither knows where it started nor its point of reference. A series of celestial accidents brought it to be with its speed and its faithful lunar companion.

https://borderlessjournal.com/2025/02/14/just-another-day-2/

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