Just do it, whatever!

In the late 1970s, as my future laid bare before me, I found no time in anything but my books. I looked at watching movies as three hours of wasted time that could otherwise be spent on something more worthwhile, so I thought. At that age, everything was either black or white, factual and goal orientated. Watching the then Tamil movie which showcased hirsute stars in unkempt hair and their un-touched up face narrating mind-stupefying cheesy village stories was a turn-off. Its songs, despite be blared incessantly by my neighbours on their music devices, were just white noise. 

Actually, it was an annoyance, as something I had to run away from to find solace at the quiet corner of the cemetery or empty classroom in the school to jam-pack precious information into my grey cells. That was the time when SP Bala and Illayaraja were churning out hits after hit that just passed me by. Occasionally a song or two would come to my attention clamouring from my father rickety radio. I did not, however, give any two hoods to it till now. Deep within me, I thought they were doing just what I wanted to do; to find a footing in life, for fame and fortune and to leave our mark in the society.

S P Balasubramanyam

The recent passing of the legendary playback singer S P Balasubramanyam, and through all the postings dedicated to him, highlighted his groundbreaking feats. Having sung 40,000 songs in 16 languages must be an achievement by any standards. Many musical analysts have dissected his exploits and his collaborations with music directors to bring to the fore many of the efforts in exploring new frontiers in music-making, music compositions and voice modulations. And everyone is impressed.

                                                       

SPB was quite popular lending his voice to movie-stars as they belted their love and emotional messages in melodious tunes to plicate what could not be expressed in dialogues. And they had everlasting impressions on the minds of its audience. Sometimes the story is forgotten but not the songs.

Every single thing that we do it in life is a revolution in the making. A little experimentation here and a little pushing the borders there are all bold moves to make the frontier further. We think what we do is a mere waste of time; not going to have any effect on the evolution of mankind. Maybe not, but a journey of a thousand miles starts with a single step.

We do what we think is right. Let history decide its appropriateness. Generally, people are kind to the deceased.

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Affairs of heart are irrational

Sufiyum Sujathayum (Sufi and Sujatha, Malayalam; 2020)

It started with a slow but discernable sporadic increase in reported cases of Hindu girls eloping with Muslim boys. Then came in the honour killings. The media picked it up. Everyone else then came out with their experiences of so-and-so female members of their families ex-communicating from the rest in pursuit of true love. To these girls, it finally meant embracing a new religion, new name, erasing themselves of their past lives and age-old traditions.

People started calling this phenomenon as 'love jihad' - a supposed form of religious warfare by Muslim boys to entice Hindu girls into conversion through marriage. It was a numbers game. They allege that that was another modality to increase their representation in the community. In 2009, it garnered national attention with claims of widespread conversions in Kerala and Karnataka. There were also similar accusations by British Sikhs and minorities in Pakistan. Even though the National Investigative Agency (NIA) in India found common instigators in 'love jihad' cases, the police and the court dismissed them as pure fabrications with no substance. As there was a hypothesis that these brides were prepared to be made ISIS bride, it became a terror issue, hence, NIA came to the picture. 

Another point not mentioned in any of these arguments is the lack of young boys in many of the places where 'love jihad' takes place. There were no economic opportunities in these states and the young men had to go off to work in the Gulf States or Singapore. Young girls with raging hormones and Muslim boys, in the spring of youth, left behind to mind religious and theological duties were the best ingredients for a perfect storm. And suave hunks with Bollywood movie-star look as many of these Sufi practitioners have, as some are from the Middle East, sparks are bound to fly.

As these girls who are alleged victims of forced conversion were major in the legal sense and were intelligent and educated, the courts could not nullify such unions. Anyway, affairs of the heart are never logical and cannot be argued in a sensible manner. Blinded by romance, the world is a wonderful place and pigs can fly.

Even though movie pundits on the social media hailed it as another must-see movie of 2020, I seriously think one can give this one a miss. It tells the story of a vocally-challenged Hindu Karthak dancer whose only job seems to be to cycle around the village and play with children in the madrassah. In the small town where the only member of the male gender is an uncle or from the geriatric population, a tall bearded young man is a sight for sore eyes. She is fascinated with him and his way of life - his mystical dances and songs. She falls flat for him despite the arrangements made by her parents for her to be married to a groom working in Dubai.

Long story short, she is emotionally blackmailed by the parents to get married.

Ten years on, she returns to India with her husband, after the Sufi lover dies. The rest of the story is about her letting go of her boyfriend and coming in terms with her status as a wife and mother, leaving her juvenile puppy love behind.

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Every system needs periodical revamp

Rangasthalam ( రంగస్థలం, Theatre, Telugu; 2018)

You think he is alright as your leader. He seems well composed to hear things out. He exudes an aura of confidence. He always has people around him who love him. He gets things done. He must be doing something right. He is even to be personally partaking in religious functions. He appears charitable enough. The same divine forces that govern your life must be the same one that runs his. The Ruler of the world must have sanctioned him to rule over this piece of land.

Then you realise one or two things do not match. It does not seem fair; not proper. You pass it off your own naivety. After all, a person with so much public support and approval cannot be wrong. Then it hits you. Your liberty is snatched away. You scream injustice, but then it dawns upon you the whole administrative machinery has been turned to suit him. You and the ones wronged by the once thought to be the saviour of the land is actually a wolf in sheep's clothing.

You have no recourse to highlight your plight. What do you do? An uprising at the risk of losing everything you have accumulated like a sparrow slowly building its nest? A violent revolution causes the destruction of lives and property. Psyop needs time and resources. What avenue is left when the powers that be controlled the amenities that were created to serve you, anyway.

One website described this movie as one of those movies from South India over the last few years that changed the cinema landscape. This is just baloney. In the 80s, so many movies came out highlighting the nonsensical administration of the village panchayats and the cruelty of the land zamindars. Now it is the cooperatives, that is all. This formula of a lone wolf fighting a corrupt system, coming out unscathed and winning the heart of the beautiful lass is as old as the industry itself. The redeeming factor must be the excellent cinematography and its soothing melodies.

The film tells the story of a young hearing-impaired agricultural worker, who after seeing too many injustices happening under his very nose, takes the Village Cooperative Society President head-on. Mysteriously villagers who opposed the President's decisions committed suicide or went missing. The last straw came when his learned brother was killed when he decided to stand against the President in the local elections.

Can give it a miss but the massive box office earnings and the remake in Kannada may mean that the producers are just riding on its financial success.

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Desires last 60 days; lust 30.

Bangalore Days (Malayalam, 2014)

The stories of the silver screen and fairy tales make us believe that it is worthwhile to grasp that one chance at love. They convince us that it the single most crucial fight that one has to win. Overcoming that would translate to eternal bliss. It is happiness afterwards, forever and ever. Err... wrong answer.

In a very entertaining way, combining the scenic backgrounds of Kerala and Bangaluru, as well as the pleasing youthful features of the good looking actors, the story tries to tell us in a subtle way that it is not all hunky-dory when and especially after one finds love. It is an eternal struggle to keep the flames alive. Even if the ember stays aglow, there are too many interferences that threatened its harmony. In modern living, with the relaxation of rigid social restrictions that used to prevail and the scream of empowerment, no one can be pinned down anymore. Everybody is free to do what he (or she) wants. Is that daring to be different, to empower oneself, defiance to status or plain lazy to uphold the age-old agreed norms that rock the whole fabric of marital bliss? Or is it that the desire to defend the holy institution of marriage that makes one overlook or tolerate the many imperfections of the other?

Prince Charming turned out to be a loafer?
Like the Tamil proverb goes
'Desires are for 60 days, and lust is for 30 days'.
ஆசை 60 நாள் மோகம் 30 நாள் 

The story revolves around three cousins (Kuttan, Arjun and Divya) who are close as thick as thieves sharing an unforgettable childhood and the same sense of humour. 

Arjun, a son of an army man, went wayward after his parents divorced. We get the sense that he attributes his failure in life to his parents' separation. From a top student, he ended up being a dirt-bike racer and an occasional mechanic. His love interest turns out to be wheelchair-bound paraplegic. The positive thing about the film is the paraplegic character actually had a positive. Unlike a typical India movie where a far from 'perfect' person will usually sacrifice her life, here she is paved the way for a possible happy experience. 

Happy forever and ever?

Kuttan is a goody-two-shoes who followed all the pointers given by his parents and is a software engineer. One day, Kuttan's father disappeared from their home. He left a note citing his desire to find peace and purpose in life. A subsequent letter clarifies that he actually must be enjoying himself in the laid back beaches of Goa, away from the smothering of his wife, Kuttan's mother. Kuttan also realises that his mother, though meaning well, could be quite a pain in the neck when she moved in with him.
Meanwhile, Kuttan is also finding love, naively thinking that a nice traditional Kerala girl would be ideal. His first love, a stewardess, proved disappointing. She used him to get back to her ex-boyfriend!

Paris Laxmi
A French Malayalee
started dancing
Bharat Natyam at 3.

Divya, the only female of the trio, undergoes an arranged marriage to Shiva. After the wedding, Shiva and Divya move to Bangalore. By a twist of fate, her cousins land up in Bangalore. Divya soon discovers that her husband is far from intimate. Their marriage goes through a tailspin. Soon it is found that Shiva keeps a dark secret from his past.

The rest of the story is in trying to tie up everybody's life to a resolution and a happy ending. Inserted subtly into scenes are cryptic messages which tend to answer itself. One visible message is how Indians tend to parrot Western's way of dressing and embracing their culture while the Westerners look highly at the Indian way of living and cannot wait to immerse into them. 

At the end of the film, Kuttan, who was looking out for a typical Bharat Natyam dancing Malayalee with long pleats for matrimony, found one in Michelle, a Caucasian girl fitting the above description!

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All with the same trajectory, the atoms and the Universe

Super Deluxe (2019)
Story and Direction: Thiagarajan Kumaraja

Gone are the days when Tamil movie stories were rather two-dimensional. It used to be that there was a bright, distinct demarcation between characters. Everything was black or white; they were either good people or bad. And poetic justice would prevail at the end of the film, proving once again that the dharmic principles of life would be upheld.

If you are one of those who is looking for a break from making daily-altering life questions to see gyrating bodies to soothing melodies nowadays, look elsewhere. I just happened to bump into this movie by chance as I was scrolling down the Netflix menu and saw one of my favourite actors, Ramya Krishnan in a leading role.

I got hooked from the first scene itself. A young wife calls her ex-boyfriend college mate over for some hokey-pokey for old times' sake as her husband out on errands. Soon after passionate lovemaking, the lady discovers her lover stiff hard, out cold and dead. Then starts the panic as her husband walks in with some unwelcomed guests. 

This story is told in concurrent with another two (or maybe three) other tales which somehow gets intertwined as we will see later in the movie. In another scene, a young boy, a tween, is waiting patiently for his estranged father to return home after years of leaving home. A taxi stops in front of the house as the excited extended family members wait in anticipation. An overdressed lady walks out. Hold behold, the father is now a transgender person. Then come the discrimination, the ridicule and the humiliation of the 'father' and the family members. 

In another related storyline, five teenage boys play truant to watch porn. After craftily getting a copy of an X-rated DVD, they watch the show in one of the boy's home. One of them gets a shock when the lead lady is actually his mother! In anger, he throws the beer bottle on the TV screen, shattering it. He runs home in rage to confront his mother, Leela (Ramya Krishnan). As he runs with a kitchen knife to harm his mother, the boy accidentally trips and stabs himself instead, critically. Hence, starts a commotion; getting emergency medical treatment, contacting the boy's father who has left home to be an evangelical pastor. The boy's father, a tsunami survivor, feels that he is chosen by God to help people as he was the only one in his circle who survived the catastrophe as he held on to a rock statue of Jesus.

Vijay Sethupathi - excellent as transgender.

Also opened the bag of worms why the role should be played

by a male and not a transgender actor. They assert that being 
transgender is not mere wearing of a wig and applying make-up.

The rest of the boys, on the other hand, desperate to replace the broken TV get into a comedy of errors to get the money towards this end. If this is not confusing enough, wait for alien visitation and corrupt police force to completely knock you bonkers. Just when you think it is getting all draggy and how all these things are going to be tied together, it then hits you. Only then it dawns upon you that every scene and story is detailed to precision to make this offering simply a masterpiece. It leaves a trail of philosophy and questions about human behaviours that yearn to be answered. 

We are responsible for our actions, whether the scriptures tell us or not. The two-timing wife has to face the music when it is discovered. She is responsible for her activity as it has repercussions on people around her, like her parents, husband and in-laws. If her lover dies in her hands, she has to face the consequences.

Doing what seems to be the right things may not always be a pleasant thing to do.  Like the transgender lady (Manikam @ Shilpa, played beautifully by Vijay Sethupathi)) realises, even though it is her right to express her inner desires, her action may affect the people around her. It is not always about oneself but of people around her.

Being naked in public is frown upon by modern society. It is all in context. Being half-naked is the norm at the beach but not at a philharmonic orchestra performance. It might have been alright to be undressed in prehistoric times or perhaps even in generations to come, but now we have laws to govern these.

Society likes to see what it wants to see. It creates a storm when an actress acts in a porn movie but fails to credit her in a positive role, as a Goddess role. It chides the pedlars of porn but not its consumers.

A person who has done not so virtuous things also cares for his family. He also wants to do the right thing. A seemingly righteous person will do a 'sinful' things if circumstances dictate.

Apparently, just as the pastor who was enlightened during the tsunami, so was the transgender character. She also held her life on to a rock. After the ordeal, she just disposed of the rock and did her thing. The pastor, however, saw the rock statue that he held was that of Jesus and was a sign from God to save mankind. To one, it was just a piece of rock. To another, it was a message from the Maker. Interesting.

We make rules by association. We put two and two together to come to conclusions about things around us. We see the sun in the morning, and we see the moon at night, and we draw a conclusion that one appears mutually exclusive of the other. We get confused when we see both of them together. This knowledge is used by the philandering wife and her husband to confuse the police when they dispose of the body. 

Ramya Krishnan

The Universe seems to have a prototype for all of its inventions. The electrons and the tiny charged particles which are seen at a microscopic level or the intergalactic celestial bodies which are spread over many million light-years away, they are governed by a single law.

Everything holds its purpose for its existence. Like a single cell on the elephant that makes an elephant an elephant, every individual on this planet has his purpose. He exerts his influence in one way or the other - in the present time or the future. Just like historical events affect the present. The question is whether your existence is merely to fulfil your primal needs or for the betterment of the human race on the whole.

The alien character encourages us to view the human race objectively and re-evaluate the human race and laugh at our follies.

It appears like every scene, every dialogue, and every character is crafted with a purpose. No clip is introduced for the sake of filling the gap. Each has a back story. There are plenty of hidden messages in the background - like a silhouette of a flying plane to denote the timeline of the story. The cinematography is avantgarde at best, following the path of master filmmakers like Ray, Kurosawa, De Sica and Hitchcock. In many scenes, much is left to the imagination. Sometimes, sounds and dialogue have more impact. A partly obscured view adds more drama to our visual experience. 

A clear 4.8/5 that makes you want to view it again.

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The struggle continues...

Leila (Miniseries, Hindi; 2019)
Netflix

Many Indians have accused this miniseries and Netflix as being anti-Hindu.  They even called for a boycott of the channel. Some suggest that the setting of the show, a dystopian India of 100 years after its independence, reflects many things of the present. Detractors assert that this fictitious 2047 India, which worships one man as a demi-god cannot get more real than the present. They insist that the division of the nation along religious and class lines already exist. The film tries to imagine a future when the schism along these lines goes overboard. The rulers of the day want to purify the race, separating couples of mixed marriages and of their offspring.

India has been renamed Aryavarta, with an apparent reference to its Sanskrit roots. In Aryavarta, the rich have swapped places with the working class. A new nationalist leader has taken charge. An ultra-conservative stance is revered by all. The people who used to be amongst the upper echelon of society are vilified and sent to labour camps. Western ideas are scorned upon, and there is a penchant to go back to the traditional values of the community. In the midst of all these, civil society is broken. People live in fear, and the country is a big garbage dumpster. Water is a rare commodity and citizen kill each other for it. The air is severely polluted, and rain is dirty.

The protagonist, Shalini, is a Hindu woman who married her Muslim husband. Their 'decadent' lifestyle is 'punished' by government vigilantes. Her husband is killed. She is incarcerated for purification, and her child goes missing. The story revolves around the story of a mother who is trying to find her lost child. To do that, she has to work with the government resistance forces to beat the system that is hellbent on punishing its citizens who flout the seemingly just law.

Leila is India's version of 'Handmaid Tales' of a bleak future. Shalini's character is representative of the much-loathed liberal, an upper-middle-class young English-speaking urban-dweller. Despite her outlook of modernity, she has been ingrained over generations of caste and class consciousness in her daily life. This is what the new regime had promised to overturn.

What many fail to realise is that there is a lot of difference between the Hindutva political movement and Hinduism. Hindutva can be viewed as a governmental entity that seeks hegemony of Hindu practices over other religious beliefs, whereas Hinduism can be construed as a way of life as practised in the Indian sub-continent. The supreme leader referred to in the miniseries is none other than Modi himself. The motifs and colours used by the ruling junta have an uncanny resemblance to BJP's and Hindus' use of the colour saffron in many of their auspicious functions. No wonder the conservatives allege that there is a concerted effort by the West (or liberals, or leftist - pick your poison) to discredit anything positive developments in the post-colonial economies. When science and technology are emphasised, they are accused of sidelining poetry and literature. When history is retold from an Asiatic viewpoint, they are attacked for rewriting history to suit their political agendas. 

A particular sect of champagne-drinking intelligentsia and socialists who benefit from overseas grants from institutions with specific agenda would continue spewing hatred towards anything Hindu, they say. One way to achieve this is by creating false narratives of victimisation. But, surely there is work to be done in many areas to improve society. There is no perfect solution to the problems of the world. And the struggle continues...

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There is no one truth!

Badla (Revenge, Hindi, 2019)


Dhritarashtra, the blind king of the Kauravas, wanted an up-to-date account of the war. He summoned his charioteer, Sanjaya, who is said to have telepathic powers to describe the events in Kurushetra. 

The narration of the battle is from one person's perspective (i.e. Sanjaya). It is told in a version the listener wants to hear, i.e. how his army is doing. The truth is not something so clear cut. It is akin to a blind man describing an elephant, standing at one end of the animal. The understanding of the whole picture depends on where he is coming from. 

If Bhagavadgita were told by Draupadi, it would be a description of revenge and justification of violence on the grounds of humiliation and protecting one's dignity. As arbitration to avert war between cousins, the Pandavas and Kauravas, was on-going, Draupadi was all out for a clash to settle the score.

Influenced by how one tells his story, his body language, his persuasive skill, and how much he can use his sophist skills, he can manipulate the situation as he wants. It is not about fighting for justice or fear of retribution that seems to be the correct thing to do. In the modern world, it is rhetoric, deviant criminal minds and lawyers in expensive suits who will save the day.

In the cerebral battle of the minds, the truth can bend, and a lie may turn white. Forgiveness may become an act of revenge, and the truth may lie in the details. 

This Hindi crime drama is a gripping tale of a high-flying award-winning businesswoman who is embroiled in the murder of her lover. The successful woman is under house arrest and may be imprisoned in three hours. The whole movie is about her conversation with her new appointment, hot-shot lawyer. Yoyoing between truths and untruths, both try to find a sure way to save her skin. What awaits them at the end is the crux of the movie.

Nice one. 4.5/5.

The adage 'truth will prevail' is a fallacy. It just a lullaby song to pacify losers. The truth is determined by the victors who would cast it in stone as the ultimate truth.

In the end, the truth will prevail. Good and evil keep at war.

Whichever wins, future will believe it as the prevailing truth.”

― Toba Beta, My Ancestor Was an Ancient Astronaut

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A rewarding job?

Kavaludaari (Policeman, Kannada; 2019)
Amazon Prime.

Most Indian movies stereotype policemen as either corrupt or a superhero who would singlehandedly beat the living daylights of gangsters twice his size, with his bare knuckles. This rare neo-noir movie coming from the state of Karnataka puts things right in perspective. As in many things in life, there is no happy ending in police work. The Universe does not offer poetic justice. Is it our job to right the wrong? Should we just leave it to the divine powers to mete out justice in the afterlife or next birth? Should we use the whole length and breadth of the man-made justice system to punish the perpetrators? Are we justified to use the system to correct the mistakes when the system that we put up to provide justice fails? Can we, like Nadhuram Godse, in his last speech at his trial, justify our violence by quoting Man's history and scriptures which are anything but peaceful. 

Doing the right thing may not be easy. In retrospect, one's action may be just, but in the breath, a person with persuasion can paint an ugly picture of the act.

Not to give too much away, this film starts with a man lying in a pool of blood, an open and empty safe with a well-dressed man leaving the premises desperately. In the next scene, we see a traffic cop going out of his way to stick his head in a criminal case. In a highway construction site, old remains of three bodies are found. The gist of the story is tying up the cop and his obsession with the discovery of the corpses.

An exciting movie which breaks the mould of a typical swashbuckling and over-the-top ridiculous stories that are constantly churned out from the sub-continent. Of late, the industry seems to be going places.

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What is the writer's duty?

Manto (Hindi, 2018)

The versatile Nawazuddin Siddiqui in the lead.

Man is full of contradictions. He has laid rules that he proclaims to be of the divine decree, but nobody follows. They say one thing and do something else, knowing very well that their action is directly antagonistic to what they preach. But rules are for others.

They say all men are equal, but everybody knows that that only applies to a select group of people with political domination. Others do not really matter. Every community has its codes of decency, social mores and laws to put things straight but vice and crimes never cease. We know what is right and what is not, but we still turn a blind eye to atrocities that happen under our very noses.

What is really the duty of writers? Do they have any responsibility at all? Are they there just to preach a utopia that we can all transcend to? Is their job to highlight things as they are on the ground to create a certain awareness to change the status quo? To get people out of their comfort zones or indeed to create a platform for victims to be heard, writers may have a unique role. 

This biopic is the reply to Pakistan's 2015 multiple award-winning film of the same name. If the Pakistani version was longer and more in-depth, the Indian compensated through brilliant acting by the cast. It tells of the life and times of a Bombay author, Saadat Hassan Manto. A prolific writer before the Partition, he, due to the fear of religious double-crossing by his friends, he uprooted himself to Lahore. His intimate and graphic descriptions of true-to-life stories of the ordinary people, especially of women, did not go well with the conservative government of the day who considered his work as immoral. He spent most his short life fighting for his survival in the courts and being slaved to the bottle. Understandably, this film is banned in Pakistan. It portrays the Pakistani courts as a sham and the guardians of the legal profession as paternalistic dancing to the tune of the leaders. A good movie.

https://asok22.wixsite.com/real-lesson 

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