Crash course on Avatars!

Mahavatar Narsimha (Hindi, 2025)
Director: Ashwin Kumar

https://www.imdb.com/title/tt34365591/

Growing up in the 1970s, the only way to learn about stories from Hindu mythology was through stories told by elders or in satsangs (religious gatherings). Later, we were introduced to Amar Chitra Katha comics, which were quite a hit among us, the children. We essentially heard most of our Hindu fables from these colourful books. Anything that came close to a TV production was an anime movie that came out, as an Indo-Japanese joint production, as 'Ramayana: The Legend of Prince Rama' in 1993.

Currently, a plan is underway to develop a Mahavtar Cinematic Universe, comprising seven films based on Hindu mythology, over a span of twelve years (2025 to 2037). Given the quality of this project, I am confident that in the years to come, we will be immersed in a cinematic wonderland.

 

The filmmakers decided to start by depicting Vishnu's most fierce avatars. The half-lion, half-human Vishnu is His most combative form. 

Directly or indirectly, we are aware that Vishnu, as the protector of the world, assumes various forms to restore order when chaos (adharma) prevails. All in all, He had taken nine forms thus far (in this yuga), with one more to go at the end of times, Kalki Avatar. He is duty-bound to fight evil and must do so cyclically, as time progresses in cycles, with fission-explosion-entropy succession. 

There is also a subtle reference to the Avatars in evolution. The first Avatar is Matsya, in the form of a fish, who protects the people on Earth and their knowledge from a mammoth flood reminiscent of Noah's Ark and the preservation of species. Now, one may wonder why this motif of the great flood appears in many cultures. In the Zoroastrian tradition, Gilgamesh is also credited with saving humankind from floods. 

As life evolved from being sea-dwelling creatures and became land dwellers, so did Vishnu's avatar. It is said that Vishnu assumed the role of Kurma, a tortoise form, to help in the churning of the Universe to extract the elixir of immortality and other benefactors in a deathly duel between the Asuras and Devas. This event is immortalised sculpturally in the Swarna Bhoomi Airport in Bangkok. 

The third and fourth Avatars, Varaha and Narasimha, are featured in this animated offering. 

Back to avatars and evolution, Varaha is depicted as a wild boar, said to be one of the most sturdy herbivores adapted to land-based living. Despite being a herbivore, it can be a ferocious beast with rudimentary tasks and muscular limbs. In this juncture, life has firmly grounded itself on land. 

In the movie, a pair of twins, Hiranyaksha and Hiranyashipu, were born. They were Asuras because their mother was from the Asura lineage. Asuras do not automatically infer that they are bad, but rather the general narrative in the Vedic scriptures, over the ages, has transformed to mean so. Because they conceived at an inauspicious time, because their mother, Diti, felt horny, and despite her husband Kasyap's warning, they succumbed to lust. Thus, two of the nastiest Asura of the celestial levels were born. 

On a side note, Hiranyaksha and Hiranyakashipu, the twins, were the reincarnations of Jaya and Vijaya, once the gatekeepers of Vishnu's abode, Vaikundam. Jaya and Vijaya were cursed by Brahma's sons for not allowing them to enter Vaikundam. Vishnu could not cancel the curse, but gave them two options. The first option is to be reborn seven times as a Vishnu bhakta (follower) or, alternatively, as an anti-Vishnu for three births. They chose the latter. Hence, Hiranyaksha and Hiranyakashipu were their first births. The next two are from Rama's era (as Ravana and Kumbakarna) and Krishna's era (as Shishupala and Dantavakra).

Hiranyaksha decided to submerge Earth into the cosmic ocean. Vishnu, as Varaha, fought Hiranyaksha and scooped up Earth, as Bhumidevi, the female personification of Mother Earth, with it. Now, here is the interesting observation that some Hindu scholars agree on. Some of the ancient sculptures of Varaha, erected for worship, depict the Earth as a spherical object. This means that the Indians were aware of Earth's appearance. It is not surprising, as the likes of Aryabhatta had already made gigantic steps in the field of astronomy by the 5th century CE.

After Hiranyaksha's demise, his twin Hiranyakashipu went into intense penance, worshipping Brahma for his boon. Now, Hindu supreme powers are usually quite generous with their wishes. The important lesson in any story where wishes are granted is that the requester must be extremely careful and precise in their requests. So when Brahma did eventually manifest and was willing to grant his wishes, Hiranyakashipu made his request-not to die at the hands of any of Brahma's creation, not to die inside a residence or outside, neither during day nor night, not to be killed by any weapon, human, animal, demigod or serpent. He should not be killed by anyone born of a woman, whilst having supreme power over all living beings. He is bestowed the boon.

The Universe had something up its sleeve. Hiranyakashipu's pregnant wife was kidnapped by the lustful God of the Skies, Indra. He was intercepted by the celestial sage, Narada, who took the pregnant mother under his care. The unborn child grew up exposed to songs praising Vishnu, to the extent that the child, Prahlada, became a devoted devotee of Vishnu.

Trouble brewed when the father, Hiranyakashipu, tried to market himself as a true god to his subjects. The recalcitrant Prahlada continued singing praises to Lord Vishnu, much to his father's chagrin. The son was punished again and again, only to be miraculously saved. At the point of reckoning, when told to show the might of Vishnu, the Lord appeared from the walls of a pillar, in a corridor, at twilight, to be mauled by a half-animal, half-man Narasimha, with His bare claws, without any weapons, keeping within the terms of his boon. 

The computer graphics are excellent. Similarly, the choices of colour, background score, storytelling, and continuity are also captivating. After the near demise of the Marvel Cinematic Universe (MCU) in Hollywood, the Mahavatar Cinematic Universe is here to take over where it left off. 

The story of evolution continues with human avatars of variable intellectual capacity, such as Vamana, Parashurama, Rama, Balarama, Krishna or Buddha. Kalki will appear at the end of times.

P.S. In future, when you find yourself stuck with a genie in a situation where you are granted three wishes, be wise. Ask for a wish where you never run out of wishes!

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Charge God for negligence?

Thor: Love and Thunder (2022)
Directed by Taika Waititi

Soon after the March 8, 2014, disappearance of MH370, the world went into a prayer frenzy. People from various denominations were in unison in wanting to invoke their respective Gods to give a favourable outcome to the fracas. Despite all the fear of possible eternal surveillance by the powers that be, people soon realised that they could let a magnanimous Boeing plane go missing right under their noses with no recourse to recover it.  

All the penance and the prayers proved futile as we have been made to believe that the vessel just disappeared into thin air. What is the response of the believers? Are you going to move on in life believing that the Divine Forces, in all their wisdom, work in mysterious ways and do what is best for mankind? Are they going to think that they had not prayed hard enough, or would they turn livid, believing that the Gods had let them down?

These thoughts went through my mind as I viewed MCU's latest offering. Not being an avid consumer of comics (I was made to believe in my childhood that comics are a waste of time), the characters introduced in this outing are Greek to me. 

As a devoted theist, Gorr soon discovered that the gods he held in high esteem were haughty, self-indulgent figures who never really cared for their loyal followers. At the height of emotional turmoil, Gorr unearthed a god-killing sword, Necrosword, to become Gorr the God Butcher. Gorr becomes a menace, threatening the existence of God. Thor has to save the day with the help of his ex-girlfriend Dr Jane Foster @ now Mighty Thor, as she can handle the hammer Mjolnir now; Valkyrie, the leader of New Asgard and Korg, an alien warrior.

The film earned temporary notoriety after being banned from being screened in Malaysian cinema halls because of its 'gay elements'. As the story in the movie goes, they is a suggestion that Korg was conceived when two male partners 'held hands over a fire'. And Valkyrie expressed love interest in somebody of the same gender in one of the scenes.

The ban is just viewed as a minor storm in the teacup. Nobody is bothered anymore as those who want to watch it do not have to depend on theatrical screenings. They have creative ideas for accessing it digitally, bypassing local authorities' restrictions. And the rest of the world is actually fed-up that LGBTQI elements are deliberatively inserted everywhere in the name of inclusivity, even though in real life, LGBTQI may only involve 1% of society.

The real issue highlighted here is about expecting 'God' to bail us out from all our follies. Should we accept whatever results come out of our endeavours as the will of God? Should we just pacify ourselves that whatever negative outcome manifest in our actions, we will be judged justly at the end of days? Then, why bother about anything, the discoveries, the legal system, the order and the whole shebang of living if living is for the afterlife? A case in point is the recent sentencing of Najib Razak. Despite all the glaring evidence, he and his lawyers insist they never got justice. His lead counsel even has the cheek to philosophise that only God can dispense true justice. It shows how much he believes in his profession; so much confidence he exudes in Lady Justice! 

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To demand, expect or accept?

Doctor Strange (2022)

Director: Sam Raimi

The people in the Marvel Cinematic Universe must be thinking that their diehard fans must be nuts. Still riding on the idea of the existence of multiple universes, MCU came out with their 28th instalment through this film. It is a simple story of a woman scorned by losing two young sons. As we saw in Wandavision in a make-believe happy family, Scarlet Witch is livid as she tries desperately to get back to her Universe. For that, she needs power, and she tries to sap the energy of a newbie superhero (who does not even recognise her superpower), American Chavez. The need for inclusivity brought in a Latina-flavoured character.

American Chavez and Wong, on their run, between Universes, land in Doctor Strange's Universe and the good doctor is sucked is in into the duel. After witnessing multiple eye-popping displays of CGI and destruction, we are told that there is another evil Dr Strange with a 'third eye' later seen in the post-credit scene. The storytellers hint to the fans of their next Dr Strange offering, which may show the good doctor going rogue. Maybe all that power to correct the imbalances between multiverses must have gone to his head.

Even though it is accepted as the norm that a mother will fight tooth and nail to care for and keep her young under her protective wings, Scarlet Witch realises at the end that all the violence, destruction and negativity just turns off her children. Their idea of a loving mother is a kind, mild-mannered one. 

That brings us to all those lovey-dovey Hallmark types of Mothers Day wishes hog our social media spaces. Sure, mothers would run into burning buildings or jump into icy lakes to save their offspring. Maternal instincts prepare them for the protection of the young so that the continuity of the species does not halt. Someone may say that it is just a biological process, but nothing is altruistic about it. Nature is only interested in the young and the progeny. It is hostile towards the old and weak to make space for the living. Hence, logically for an aged to be cared for should be a luxury, not an expectation to be demanded. Breeding and protecting the young is biological, but caring for the aged is only a humane or sociological expectation.

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Can anyone really be free?

Black Widow (2021)

Everybody talks about wanting to be free, free from any encumbrances, free to say and do as he pleases, free as a bird to move around. The caged dog looks at his stray counterpart on the other side of the fence with contempt for the freedom that he enjoys. On the other hand, the stray longs for the time when he does not have to scratch his head looking for his next meal.

We think we are free by living with our loved ones or within communities that we find commonalities. Sad to say that even within societies, certain norms and mores exist that one is excepted to conform to. Challenges are bound to happen with the members in the spring of their youth; the young feel restricted with educational exposure. They want to be free of any restrictive chains that bog them down.

Like it or not, it is not easy. Wilfully or not, we are tied down. A society is paved towards a particular direction by the instructions laid down by the majority. To reach greater heights, these laid laws need to be progressive in keeping with the changing times and their corresponding challenges. One cannot hope one archaic rule to apply to the end of times.

The Black Widow story is set before Avengers: Endgame, where Black Widow sacrificed herself trying to undo Thanos' snapping of fingers. It starts with Natasha Romanoff's (Black Widow) childhood in 1995 Ohio. She discovers that her parents had to flee to Cuba to escape arrest by the authorities. She soon discovers that her parents are Russian sleepers in the USA and that her family is just a front for espionage. In Cuba, Natasha's father (Red Guardian - Russia's answer to Captain America) is apprehended by Dreykov. Melina, her mother, is inducted as a chief scientist in the Red Room to research the mind. Natasha and her sister, Yelena, are enrolled on the Black Widow programme to churn out efficient lean, mean mind-controlled female assassins.

Along the course, Natasha escapes, join SHIELD and becomes a fugitive. When apprehending a rogue Black Widow, Yelena is sprayed with Red Dust, which removes her from the clutches of the Red Room mind control.

The rest of the story involves Yelena joining forces with Natasha to break their father from prison, influence their mother to reveal the location of the Red Room and destroy Dreykov to free all the Black Widows.

The word here is free. In the post-credit scene, we are told that Natasha had died, killed by Hawkeye. So, Yelena falls into the trap of Contessa Valentina Allegra de la Fontaine (Val) to avenge her sister's death. So much for being free. It looks like Yelena, like a Black Widow who was under the control of Dreykov before now, maybe under the thumb of possibly HYDRA.

Interestingly, HYDRA believes that humanity cannot be trusted with freedom. When freedom is taken away, they resist. Wars have taught them that humans become most resourceful, efficient and laborious under pressure. Hence, humanity has to surrender its freedom willingly. Sometimes it needs to be done without their realisation.

(P.S. This is a through and through a feminist movie. Almost every assassin, sharpshooters, armoured henchmen (who could be women) and the main characters are female. The theme of freedom and removal of ovaries hint at such an agenda. The male characters are weak. Look at the almost drunk-like Red Guardian and Natasha's sidekick/love interest Rick Mason who yearns for her approval by bending backwards to get the things she wants.)

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He who controls timeline, controls the Universe.

 Loki (Season1, E1-E6; 2021)
Marvel Cinematic Universe

When Loki was apprehended and transported after Avengers: Endgame, in the confusion of Hulk creating a tantrum for needing to use the stairs and Iron Man faking a heart attack, Loki escapes captivity through a Tesseract and enter a different realm. He lands in the headquarters of Time Variance Authority (TVA). 

Here, the narcissistic Norse God of Mischief Loki learns of variants of himself floating in the multiple timelines creating havoc. The Time-Keepers had set a Scared Timeline for events to happen, but somehow variants have made branches from the main timeline. The TVA's job is to ensure that the correct path of the Sacred Timeline is followed. Some of the variants are evil alter-egos and are hellbent on creating chaos. As he is charged against the 'Sacred Timeline', Loki's plea bargain is to hunt down another Loki variant who had killed TVA officers and stolen the time resetting devices.

Time, as we perceive, is a one-way single linear motion. In reality, it is a composite of multiple minor diversions which, from someone from a different dimension, sees it as one, much like we see a slithering snake past us by part by part in a twisting motion but on a straight path, with the present, past and future.

Since a Sacred Timeline is being followed, does it not mean that the characters in the timeline have no free will but have their path determined? No amount of willpower can change anything if everything is predetermined. If the variants have a free hand in doing things, then the whole balance would collapse. 

That brings us to the philosophical dilemma about battles and battleships in the context of free will and determinism. Who decides whether the war starts tomorrow? If it is predetermined that there is a battle tomorrow, what is the commander's decision-making role? If he chose not to go to war, is it his decision, or can we say that not having a battle was predetermined?

Loki and alter ego

Loki soon discovers a few disturbing revelations. The Time Keepers are mere androids but are controlled by someone else.

The rogue variant of himself that Loki was hunting for turned out to be a female, Sylvie. This must be a comforting story plot for those who look at gender as something quite fluid, yoyoing from one end to another and changing with time. The thing that takes the cake is that Loki, the narcissist, is so in love that he develops feelings for Sylvie! What do you call that? Love thyself?

TVA itself, the Lokis realised, is made up of variants. It turned out that it is not an authority to kerb variants after all. The need to find the real person who controls TVA becomes a necessity. This leads them to a new villain comparable to Thanos, 'He who remains' who is created in the mould of Kang the Conqueror.

The tenet of the storyline, which we will learn, is that branches from the Timeline would create variants. Some of them are evil and may overpower another variant on another timeline and exert their authority on the turn of subsequent events. It gets more complicated than in the final finale. A decision has to be made at the Citadel at the End of Time - whether 'He who remains' is the good variant trying to bring stability to the timeline or not. 

A wrong move... and a segue to the next season and the opening of a bag of worms where the evil 'He-who-remains' takes control of TVA, as Loki soon discovers...

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Strength in Unity!

The Falcon and Winter Soldier (Miniseries, E1-6; 2021)
Marvel Cinematic Universe

Just how long did it take for a person to stay in a country for him to be accepted by his fellow countrymen to be one of them? Human beings are innately racists. For a long time, they have generally felt safe being amongst their own kind who share the same sentiments and values. Perhaps it is something that they have not been able to shed off from their tenure as dwellers of the caves. In those days (even now, of course), Nature has been quite harsh for things to be left for granted. The vulnerability of exposure to the elements of Earth made us suspicious of everything. The last thing they want to be is to end up as a meal for others.

So, it is human nature to look upon the other who looks different from them and be wary of their intention. But we also have developed a sense of awareness that teaches good values and conducts. Are these mere decorative motifs to fill books and scriptures?

'The Falcon and The Winter Soldier' takes off from 'The Avengers: End Game' when Captain America (Steve Rogers) handed his mantle to Sam Wilson after 'The Blip'. Sam, feeling inadequate, donates Captain America's shield to the Museum. The real reason for his non-acceptance is that he thinks that America is not ready for a Black Captain America. He leads a life as The Falcon. When trouble starts with a group of serum enhanced anti-patriotism soldiers, Captain America's shield is gifted to an ill-prepared John Walker. 

The rest of the story tells how The Falcon teams up with The Winter Soldier to overpower the anti-patriotism group, taking the shield from John Walker to become the new Captain America, puts the names of former black soldiers who sacrificed for the USA in the annals of military hero list. The whole show is basically a social commentary that reminds us that America is neither white nor black, but it comprises a potpourri of colours and shades.

That brings us to our country, Malaysia. Modern Malaya skyrocketed to international fame in the early and mid 20th century in trade, commerce and sports. This happened primarily because of the hard work of various ethnic groups who landed here by choice or by fate. The euphoria of Independence and self-rule propelled them to even greater heights. We were labelled as the emerging 'Tiger of Asia'. The tiger, however, had its developmental milestones stunted by the works of bigoted zealots who were hellbent on purging the country of its people who were not of their selected ethnicity and religion. 

They know we grow in unity but in their blinkered eyes, but it seems that blind faith blinded them. In the meantime, we are spiralling down the ladder of hopelessness and ponder upon the possibility of becoming a 'basket case'. The pandemic is our wake up call.

Going back to the story of a black being Captain America, my friends and I had invested in hours of discussion on the above subject. On the one hand, the great divide is attributed to repetitive restrictive laws and social constructs that segregate and suppress a race the already had a checked start from the starting line. They were enslaved and systematically oppressed over generations leaving scars that left a trans-generational dent in their psyche. Opposition to this type of argument is that 150 years after their emancipation in 1865 is a long time for the oppressed to pull themselves up by the bootstrap. American history has its fair share of black success stories as well. Many black millionaires, entrepreneurs, and many musicians of the Harlem renaissance re-engineered songwriting and music appreciation. One or two success stories are here for perusal...

Harry Pace (1884-1943)
Founder of Black Swans Records and Northeastern Life Assurance Company.

Georgia born, orphaned and passed out as a white to live in a white-dominated housing area under the Jim Crow laws. In his later years obtained a law degree to have a legal practice.

Roland Hayes (1887-1977)

Started singing in his early teenage years in church choirs. After singing in troops, he finally picked the courage to have his own musical recital of classical European music at a time when black music was limited to minstrelsy and getting a sponsor was impossible. Using his good office at the church and kind sponsors, he rented a whole hall for this purpose. His popularity soared. He soon performed in many major US cities. He later performed in London for the British royalty. His magnum opus must be performing Schubert's piece in Berlin in 1924 in front of a jeering German crowd. This was after WW1 when the Germans were unhappy with placing black American soldiers in Germany. There was pin-drop silence once he started singing.

Roland Hayes' 'Were you there.'

(narrating the biblical moment when Christ was on the Cross.)

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Daddy loves you! It is what it is.

Irishman (2019)
Director: Martin Scorsese

This movie received brickbats even before it came to the screens (or rather Netflix). Scorsese, maybe on purpose, stirred the hornet's nest by making a statement about the genre that seems to captivate the imaginations of the Millenials - the Marvel Cinematic Universe (MCU). He asserted that the MCU world is not cinema but mere theme parks. To quote Scorsese, "cinema is about revelation — aesthetic, emotional and spiritual revelation. It is about characters — the complexity of people and their contradictory and sometimes paradoxical natures, the way they can hurt one another and love one another and suddenly come face to face with themselves. Marvel movies don't encapsulate those criteria."

To be fair, even Alfred Hitchcock's and P Ramlee's movies were criticised in their days. There were said to be gruesome or too violent (Psycho) or crossing the social norms (Ramlee's Gelora). Even though the new franchises are said to be final products of market-researched and audience-tested, as well as a matter of supply and demand and giving people what they want, there is still place for good old storytelling set in reality.

'Irishman' is based on by Charles Brandt's book 'I heard you paint houses'. It is supposed to be a confession by the protagonist of the tale, Frank Sheeran. He admitted having killed Jimmy Hoffa, a unionist and a mobster. In real life, Hoffa is said to have disappeared since 1975 without a trace. Since then, many have come forward to vouch that they had killed Hoffa and had their versions too. Sceptics have accused Sheeran of making the last kill (money wise) for the family as he struggled in the nursing home counting his end of days.

It said to be a presentation of septuagenarians trying the reminisce the good old times of the genre they are familiar with - Scorsese, De Niro and Joe Pesci and mob movies like 'Goodfellas' and 'Casino'. For good measure, they roped in Al Pacino, Don Corleone himself. 

As the story spans over almost 30 years, and they were utilising aged actors, the filmmakers had to use digitally de-ageing technology on them. MCU fans had a field day attacking Scorsese as it was in one of MCU films that this science was initially introduced - Michael Douglas in 'Ant-Man'.

This three-and-a-half offering tells about Sheeran, a WW2 veteran, who gets entangled with the mafia. He finds it rewarding to support his family. In the course and subsequent to this line of duty, he has to make many life-altering decisions. There is only so much of Mafia-related movies one can watch, the loyalty, the killing and all the coded talk. But still, there are some valuable points to ponder while watching the movie.

People can make a living or make a killing for a living. Ultimately we all work hard to ensure that the generation after us is not deprived of the things that we yearned and never got. We do not want them to go through the similar 'hardships' that we went through. But no, the offsprings will never appreciate this. They would look at the actions of their elders through a different prism quite contradictory to what the adults value. They (the youngsters) fail to appreciate the environment upon which their elders made the decisions they made.

Morality and kindness do not matter in desperate situations. When your next meal is not a given thing, your yardstick of what is right and what is not is malleable. This type of innovation can be seen in slumps and refugee camps. People become imaginative on how to survive, to fulfil their primal desires and acquire money. Somehow, money still remains the panacea of all woes.

This must probably be what Sheeran must have been thinking when he was sending his last few days in a home. All his friends and mentors were dead. He was the only person who would probably carry all his secrets to the grave. He was alone. His wife was dead, and his daughters shunned him for his association with the mafioso.

The question remains. Did he concoct the whole story for his children to savour the fruit of the returns of the royalty of his story? Even though Sheeran admitted in the book to have made the difficult decision of putting a bullet in the head of his mentor Jimmy Hoffa, many others claim to have done the same. Sheeran's story, it seems, did not collaborate with police records. Was the tale spiced up to show Sheeran making the difficult decision of following the orders of Russel Buffolini, his guru, versus killing Hoffa who was a thorn for the mafia? Haffa was possibly going to leak the secret of unionists monies being used to finance Mafia’s Las Vegas casinos.

The movie also suggests that JFK's assassination may have been arranged by the Mafia.

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