Anything and everything is possible!

Vanvaas (Exile, Hindi; 2024)

Director, Screenplay, Producer: Anil Sharma

Zee5 global

I was watching this Hindi film with my wife. It was a melodramatic production in true Bollywood style, driven by filial piety or at least making children feel extremely guilty for not housing or caring for their parents. Sending elderly parents to specialised institutions to cater to their specific needs has never been part of any Indian dictionary. 

The aged father, a widower who still lives in the memory of his deceased wife, suffers from worsening amnesia. Despite his physical limitations, he remains a proud man with his own ways of doing things, often caustic with his words. He has done well for himself, having built a beautiful house and acquired other properties. He lives with his three adult children, their respective wives, and children. 

The father remains resolute in his role as the head of the extended family and makes vital family decisions. Likely due to their upbringing, the sons keep silent regarding the father's tantrums and peculiarities. The wives consistently voice their complaints about the father's antics, yet no one is willing to budge. 

So, when the family made a pilgrimage to Varanasi, the six adults decided to lose their father in the crowd. Without his amnesia medication, they thought he would be unable to communicate with passers-by and would not find his way back, ultimately fading away.

Just so you know, there are options for end-of-life care in Varanasi. Facilities exist for individuals diagnosed with terminal illnesses to spend their remaining days in that town, be cremated, and have their ashes immersed in the Ganga River afterwards. After all, the Kashi-Visvanath temple there is believed to be the abode of Lord Shiva. Spending one's remaining time in His presence would make perfect sense. 

In true poetic justice, the father is eventually returned to his family home by the compassionate vagabonds of Varanasi. The children had already sold their family home and were in the process of liquidating another property. 

My wife, still convinced that goodness is very much alive and flourishing on Earth, refuses to believe that any child would possess the gumption to essentially ‘kill off a parent'. In a group of six children, none would ever agree to stoop so low as to bite the hand that brought them into the world. She maintains that the plot is one-dimensional and strays significantly from reality. 

We are aware of the numerous social experiments and observations that clearly demonstrate human behaviour to be highly erratic. Hannah Arendt's insights during the Nuremberg Trials have highlighted the banality of evil in civil service, which extended into warfare. Closer to home, a Malaysian conglomerate concealed child abuse and money laundering beneath the facade of a flourishing global Islamic business model.

The Stanford experiments have demonstrated how readily humans fit comfortably into their assigned duties and soon become oblivious to their nefarious actions in the name of executing their responsibilities. Even regarding our own flesh and blood, evidence of fratricide is plentiful. Siblings once killed each other for the coveted throne; now, they murder one another for the familial loom.

Human history has made anything possible. However, civilisational progress and the imposition of values through religion and legislation mean little when people are desperate.

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Reality TV in Hindi?

AK vs AK
Director: Vikramaditya Motwane

At first look, it looked promising. The idea was revolutionary. The layout gave the feel of reality TV, an idea that probably arose from the makers of ‘The Blair Witch Project’. This is where the camera person is not stationary but will be running with the actors, how a paparazzi would chase its prey.

The characters used their original names, and it looked like the audience would have a peek into their private lives, which they did, to a certain extent.

Trouble brews when Anil Kapoor shares the stage with Anurag Kashyap during an interview. In the course of their conversation, Anil (an actor) and Anurag (a director, mostly)  argue about whose role is crucial in the success of a movie. As they defend their respective stands, things start becoming personal. Anurag accuses Anil of being an ageing actor on his decline, while in retaliation, Anil downplays Anurag’s directorial skills and success in the film industry. It leads to a bust-up, much to the excitement of the media and the general public.

The public takes Anil Kapoor’s side. Anurag is treated like a pariah and struck off the inner circle. He is refused new projects, and the old ones are canceled. Anurag devises an elaborate plan to get himself in the limelight and rejuvenate what he perceives as Anil’s flaying career.


Anurag writes a script where Anil’s daughter is kidnapped. Whilst an irritated Anil tries to shed off the irritating Anurag, he soon realises that the whole set-up is not merely from a script but something more sinister. Anil had to rescue his daughter before sunrise, or she will die. The police cannot get involved, and he cannot get help from friends and relatives. All phone conversations must be on speaker. To top it all up, it is Christmas Eve and Anil’s birthday. He had to put up a straight face with his family. Throughout the debacle, Anurag and a camera woman were to follow Anil and tape his every move.

The movie progresses well with its meta approach to filmmaking. Although dealing with a serious subject matter, there is dark comedy all around. To keep it real, the film goes on to show performers having to kowtow to the tunes of their fans, sometimes dancing monkey acts just to keep them happy despite the inner dilemmas they were embroiled in, but it soon becomes draggy. As in most Bollywood offerings, the filmmakers also become guilty of overdramatisation. The movie ends in an unceremonious dull thud.

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Above all, think!

 Maharaj (Hindi; 2024)
Director: Siddharth P. Malhotra

There was no big hoopla to announce the arrival of one of Bollywood star's son, Aamir Khan's Junaid Khan, to the silver screen. The film, however, had to be cleared by the courts for allegedly hurting Hindu sentiments before making a quiet screening on Netflix. From the get-go, people started demonstrating in front of Netflix HQ in the USA, accusing them of defaming Lord Krishna. Many of the demonstrators had not even viewed the show. Still, they demonstrated anyway, seeing the OTT platform, as in previous instances, had repeatedly been releasing movies that tend to ridicule or put Sanatha Dharma in a bad light. In their eyes, Hindus were like dodos, easy prey for target practice. For instance, no one would dare make a movie that even gives a hint of ridicule or as much questions Islamic figures or practices using modern-day yardstick. It is an unwritten rule that Islamic bodies had to give their nod before such a story hits the filming process. 

The whole story is based on an 1862 Bombay High Court case. In this case, a social reformer and journalist, Karsandas Mulji, and Nanabhai Rustomji Ranina, a newspaperman, were served a libel suit by Jadunathjer Barjratanjee Maharaj. The Maharaj alleges that the duo defamed himself and his religious practice and brought shame to the age-old religious practices of his Hindu sect, the Pushimarg of Vallabha Sampradaya. 

Vallabha set up the sect in the 1600s when he had a vision he was a reincarnation of Krishna. He set up a centre that grew big thanks to the contributions of various business communities and Vaishvanite Hindus. After Vallabha's demise, his descendants took over. The heir would be known as Maharaj. Karnadas' assertion was that the sect had deviated from traditional Vedic teaching. Its leader had abused his position by getting sexual favours from his devotees. 

The court case exposed the ignorance of his devotees. Many could not tell whether Maharaj was a guru (guide) or God himself. They blindly followed the herd in the name of devotion and service to the Almighty. This included sending their wives and teenage daughters for Maharaj's sexual gratification. It was also revealed that the guru was afflicted with syphilis. 

The case was presided over by two judges. Chief Justice Matthew Sausse, the senior of the two, overruled the other's decision to find Karsandas guilty of libel as private matters need not be publicised in public space and fined him 5 rupees. On the other hand, he affirmed that the sect was heterodox and deviant. Its songs in praise of Krishna, sung by young girls, were construed as amorous and sung by 16,000 gopis. Karsandas Mulji was awarded cost. 

This trial was a watershed case for India's social reforms and press freedom. 

Karsandas Mulji

The movie takes the liberty to masalafy the background of Karsandas, giving him a youthful look with a modern haircut. The level of drama is hyped with a dance number, a holi celebration with Karsandas love interest herself falling prey to the list of Maharaj. Melodrama reaches a point of no return when his lover subsequently commits suicide after Karsandas annulled their engagement after her seemingly wilful act of sex with the Maharaj in the name of divine service. 

This is not a documentary film. Hence, there was a need to spice up the characters and glamourise the narrative here and there. 

Yes, Modi had been reported to have sung praises of Mulji for his work in his newspaper, Satya Prakash, and his advocacy of women's rights and social reforms, particularly widow remarriage and the rights of the oppressed. So, people were surprised when a movie about him landed the producers in the courts. 

More than one and a half centuries after the trial, we find ourselves in the same boat as the members of the Pustimarg sect. We are easily cowed into submission when the name of the Divine is mentioned. It has become a dog whistle for the believers to toe the line. Questions cannot be raised as they are considered heretical. Just following, not asking questions, is the way to go. Like the children of Hamelin, we seem to be intoxicated to the tune of the Piped Piper's flute. 

https://enfolding.org/krishna-in-the-dock-the-1862-maharaja-libel-case-and-its-consequences-i/

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It's good to be bad?

Animal (Hindi; 2023)

Director: Sandeep Reddy Vanga

The mafia controlling Bollywood used to dictate to the Indian diaspora the whole over what constituted Indian culture. For a long time, they determined what ought to be screened as art and indirectly influenced the Indian way of thinking.

They said songs are a must, so be it. They handpicked heroes and heroines and defined what Indian beauty was. They ensured dynastic continuity by continually launching doyens' offspring's careers. More often than not, the juniors tanked at the box office. Nevertheless, actors with real talents lost out due to a lack of patronage. The paymasters, aka mafia, chose who would be the main star and who played second fiddle. Preferential treatment was the order of the day for heroines.

OTT platforms became a shot in the arm for second-rank filmmakers and actors not under the umbrella of the mafia. Movie themes became varied and more thought-provoking to accommodate Indians, who were clearly becoming more erudite and exposed to world affairs.

Watching 'Animal' reminded me of the Bollywood doyens who are still stuck in their own ways. Though outwardly Bollywood seems to promote literacy, women empowerment and liberty, they feel it is perfectly alright to shove thrash down the throats of those who still live smitten by the glitz and razzmatazz of the nostalgia of the yesteryears, when indeed the silver screen was in its golden era.

Being contradictory is an understatement. As India evolves to become the soon-to-be third biggest economy in the world, Bollywood stereotypes India as a basket base where law and order are non-existent. Ladies have improved their educational and economic standards over the years. Yet the filmmakers feel it is okay for a female character to lick the protagonist's boot to prove her love. Can anyone justify having an affair by quoting that that was the only way to save his father from assassins?

The main message I got from the movie is that everyone needs to be an alpha male and pick their mate. If they lack the prowess of alpha, they can be a poet or musician, tell sweet lies, and pin down their mates anyway! That was the law of the jungle, but since humans are animals but left their cavemen lifestyles long ago, the rule still stands.

The filmmakers thought if 'Kill Bill' and 'Pulp Fiction', with all the senseless killing and gore, could do well, why not 'Animal'? The things they forgot are, firstly, they are not quite Quentin Tarantino. Secondly, the audience came to watch a mainstream Indian movie, which is generally family-friendly, not a fringe ‘artsy’ restricted offering. The fact that this film still sizzled at the box office baffles me.

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Painting reality in words?

Who Painted My Lust Red? Book #2

Who Painted My Future Bright? Book #3

Author: Sree Iyer (2020)

There must be a reason why politics is labelled the second oldest in the world, after the flesh trade. Anything goes if the price is right. At least, that is the perception these books give an impression on politicians and people in power who make decisions that could steer the country's direction.

Money determines everything. It lubricates, moves and generates more wealth. There is a dire need to push as the window of opportunity only opens briefly. Wealth needs to be accumulated in the short time power is handed on a platter. In the meantime, vultures and hyenas will hang around to scavenge or perhaps initiate the kill themselves. 

In this fiction, Sree Iyer tells an account of a dog-eat-dog world of Indian politics. It is not all about Indian politics either. In an environment where everyone is yearning towards that one thing in life, money, nothing really matters anymore. The end justifies the means. All values held in high esteem in previous generations just go out of the window. Those who managed to scale the wall of wealth have it all. Once the Rubicon is crossed, everything else can go to hell - friendship, honesty, compassion, loyalty and humanity.

Hindus have an apt explanation for all of these. The great god-kings who appeared on Earth long ago were merely akin to what Plato would describe as philosopher kings. They were mortals elevated to demigods' status because they did what was right and just for the greater good. 

Iyer tells of an unholy alliance between Indian bigwig politicians, cricket officials and players, Bollywood, entrepreneurs, the mafia and a significant number of shady characters who bring tremendous value to the association by fixing all loose ends from setting hotel suits to appointments with big-shots to discrete hawala money transactions with a minimal service charge. Money begets money. Money as a social lubricant beings on power. The mind wanders to yearn for other bodily pleasures when zeros on the currency do not really matter. People are so gullible. Put some pretty face with hunky cricketers with God-like followings; people are bound to be interested. In a cricket-crazed country like India, the cricket league is big money. Running the Indian league from a God-forsaken place like Dubai means away from the scrutiny of Indian enforcement. Dubai is only interested in your money.

Against this grain, some will still believe in righting the wrong. Traditionally, law and order is maintained by the various arms of the administration. The press forms the Fourth Estate to do further checks and balances. Unfortunately, when the whole machinery is corrupt, and self-interest supersedes national aspirations, more creative ways must be derived.

In the meantime, the goalpost of what is right is constantly shifted to suit the flavours of the times. Conversely, seven-century wisdom is spewed as the legitimate decree for humankind to follow.

India boasts of being a Visvaguru (global teacher) to the world, as it was before the 15th century. It was then the wealthiest country in the world, controlling more than half of its wealth while the rest of the world was in darkness. India, in its previous avatar, was a cultural icon. Everyone in the modern world then wanted to emulate Indians. Its culture transcended its borders to adjacent lands and beyond its shores via its extensive shipping lines.

If India is not just reminiscing its glorious past but instead to re-establish its former status before it was flattened by colonising powers, it has a long way to go. It should keep in check with its own backyard. The civil service is wanting of a long deserving facelift. There is an urgent need to erase corruption as an accepted practice. The courts need to get their acts to mete swift justice.

The book narrates a fictional account of everything the author has been broadcasting over his channel all these years.

Money makes the world go around. Money even makes a corpse move, it seems.

Book #2 @ 'Lust Red' takes readers to the world of cricket match-fixing, honey trapping. money-laundering, hiwara services to ease transborder money transactions, blackmails and a lot of horse-trading. Political leaders, Bollywood bigwigs, high-ranking government officials, the mafia and ill-defined creatures who fix anything called middlemen make their presence felt amidst all the dealings. They determine the outcome of matches and make a killing from the results.

Book #3, 'Future Bright' reveals the confusing web of Indian politics. Taking a swipe at current and past leaders, it also presents Pakistan as the villain whose sole existence is to destroy India. Like Will E Coyote's repeated failed antics to trap Road Runner, Pakistan again and again has muck on its face as the endeavours fail miserably.

The setting of the book is strikingly similar to contemporary events. There is no denying that the characters here are no different to current national leaders and figures. The greatest fool among all these is the average citizen who fails to see beyond what is shown. They remain clueless about all the backdoor arrangements and arm-twisting manoeuvres behind the scene by people entrusted by the people to lead the nation to a brighter future.

(P.S. It seems Kings of yesteryears were so good. Perhaps people looked at them as God's representation on Earth, hence, are infallible. Maybe they were the true philosopher kings that Plato advocated so much. From a Hindu cosmology point of view, we are in Kali Yuga, the decadent times. People are supposed to be degenerate and materialistic. The last time the world had good kings was Rama in Trata Yuga and Krishna in Dvapara Yuga.)

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Beware of the circle of deceit!

Ardh Satya (Half-truth, Hindi; 1983)

Director: Govind Nihalani

This Indian movie is said to be a benchmark upon which other police dramas are compared. Acted beautifully by doyens of the silver screen of Bollywood then, Om Puri, Amrish Puri, Smita Patel, Naseeruddin Shah and Sadashiva Amrapurkar, it paints a multidimensional view of the job of a policeman. 

Our social system is flawed. The very system that had been devised to be law and order is anything but orderly. Things that go under the guise of upholding the law are anything but by the book. There is an unholy alliance between law enforcers and law breakers. The political dogs who made the gangsters their running dogs have made a lapdog of the police. The police, it seems, under the pointers of the politicians and the umbrage of the baddies. In a world where money can right a wrong, the brunt of law enforcement is only felt by the poor. The rich can literally get away with murder. They can quash evidence or buy the best legal representation that money can afford.

With increasing pressure to fill up the coffers within a lifetime, everybody is becoming increasingly creative in creating revenue for their own pockets. The whole shebang, from the low-ranking staff to the administrative panel, has their hands dug deep into the cookie jar. It is a mess out there.

Law enforcement is a messy affair. Too much in the hands of enforcers is bad, for sometimes the innocent get caught in the crossfire. Giving in too much to human liberty and human rights makes policing more difficult. In this type of Catch-22 situation, our man in blue tries to make this country safe.

This movie is said to be one of the most balanced Indian police dramas made in India. Unlike most Bollywood movies which usually showcase lone honest cops fighting singlehandedly a putrefying system and putting the fear of God into the villains, this one explores the challenges a cop has to face to do what is right. Following the footsteps of his father and grandfather against his own wish, Anant joins the police force. After getting into the police force, Anant tries to do what he perceives as right.

He finds that all in his station are working under the thumb of a local politician/thug. Anant tries to keep himself away from the clutches of the gangster, but it becomes increasingly more difficult. He hits a wall when a convict he interrogates dies in custody, and Anant has to get the help of the thug to bury the wrongdoing.

Meanwhile, Anant meets a literature lecturer who is his love interest and motivates him to do the right thing. Then there is a disillusioned drunk cop who was suspended because he fought the system. On his home front, Anant has to deal with an assertive father who wants to micromanage his son.

What is doing the right thing when exposed to the circle of deceit? Do we, like David, fight the Goliath of the system? Do we leave everything and start anew as if the grass elsewhere is any greener.

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