Against the grain

Sister Midnight (Hindi; 2024)

Written & Directed: Karan Kandhari

This is a peculiar film. Peculiar in a way that feels intriguing. It is a dark comedy, but it keeps viewers unsure about where the story will go. With minimal dialogue in most scenes, we often see the actors simply staring at each other in many shots. These awkward moments heighten the comedy. Then, suddenly, a rock song blares in the background—not in Hindi, the film's spoken language, but a psychedelic Cambodian tune.

A mismatched couple, married through arranged means, moved into the not-so-affluent, or rather, slum area of Mumbai. The groom, a painfully timid man, failed to fulfil his conjugal desires for his newlywed bride. In fact, he does not even come close to her. He even leaves the room when she is changing clothes. Being a good wife, the bride just waits for her husband to do what is needed. On her part, she is clueless about what to do at home. She neither knows how to cook nor manage the household. Her neighbours do not seem so unapproachable either. The husband leaves early in the morning, takes care of his meals, and returns late, often drunk. His reason for not telling her before leaving is that he is afraid of waking her.

The story continues with the bored housewife taking a job as a cleaner, experiencing fainting spells, developing a taste for eating live birds, and having vivid hallucinations. When the couple finally makes love, the husband suffers a heart attack and dies during the act. Interestingly, the wife simply keeps the husband in the house without arranging a funeral.

While watching this film, I was reminded of quirky classic comedies like Stephen Chow's 'Kung Fu Hustle' - nonsensical yet entertaining. This debutante director suddenly decided to include a clip from Akira Kurosawa's 'Seven Samurai', where a ronin (a masterless samurai) roams aimlessly, trying to do the right thing. In 'Sister Midnight', the protagonist is trapped in a similar situation—in her case, a marriage—and must explore the correct path with a future lying ahead. Symbolically, this reflects the story of life. We are parachuted into this existence, given some survival tools, and expected to forge a future—rightly or wrongly. We must discover ourselves, chart a course, and rebel against the currents to make it work.

That, my friend, is the profound take-home message from this strange movie.

Good show, 4.5/5.

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A peek into 1960s West Bengal...

Arohan (Ascent, Hindi; 1983)
Director: Shyam Benegal

imdb.com/title/tt0083575/

This movie serves as an eye-opener on the political changes in West Bengal. After the East India Company handed over administration of its prized colony to the British Crown in 1858, following the Sepoy Rebellion (also known as the First War of Independence), Calcutta was designated as the Capital of India. The crown built many learning institutions to help the natives aid in the British Raj administration. 

The British realised their mistake in 1905 when Lord Curzon partitioned the region of Bengal into two parts, the West and East, which later became the basis of the Partition of India. The erudite society was also very argumentative and resistant to the colonial government. 

This combative demeanour continued with their son of the soil, Subhash Chandra Bose, who was unceremoniously forced to resign from the Chair of the Indian Congress party. His militant, perhaps left-leaning approach to seeking self-rule was in tune with Gandhi's, as well as the British and the INC's approaches to independence. 

The post-British era saw the leftist movement remain active, particularly through academia and among disgruntled workers. The period from 1967 onwards was seen as the Communist 'golden era'. CPI-M took a stronghold on the running of the State. From 1977 through 2011, the CPI-M Left Front ruled the State. To be honest, in the first ten years, it achieved notable success in land distribution, agriculture, universal education, poverty reduction, and societal restructuring. Slowly, nepotism and misrule crept in. They were highly successful in deterring foreign investors and were primarily responsible for the relocation of many multinational industries and factories. Bengal's loss was another state's gain, e.g. Tamil Nadu. In 2011, Trinamool Congress defeated the Left Front with the support of rural Bengal.

The movie highlights the cruel transition period in rural Bengal circa late 1960s, where the poor sharecroppers are caught between the greedy landlords and the Naxalite movement. The initial arrangement was for the sharecroppers to pay a portion of their harvest as rent to the landowners. Hard times hit the sharecroppers, and they approached the landlords for loans. The illiterate peasants are cheated through one-sided agreements that they cannot read. They are instead employed as wage-earning workers. The younger ones among them head to the city, but go astray after being cheated blind.

The sharecroppers are also harassed by the Naxalite movement, which encourages them to rebel against the landlords. Amidst all this, there is the most violence, upheavals, and unending court trials that never see the light of day. The story is told in a melodramatic manner. In the parallel cinema of India, the movie portrays the plight of a poor farmer and his extended family during these trying times. It depicts the cruel turn of events for family members who migrated to the bright lights of Calcutta, only to face worse living conditions and disastrous outcomes. In the leading role, Om Puri won a National Award for his part.

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Not a joyride!

Crazxy (Hindi; 2025)
Written and Directed by: Girish Kohli

https://www.filmfare.com/reviews/bollywood-movies/
crazxy-movie-review-71820.html

When Girish Kohli shared his story, nobody believed it would sell. The idea of a lone man driving around in a car telling his story did not excite them. Therefore, Kohli turned to Sonny Shah, who agreed to finance and play the lead role. The end result turned out to be a real head-turner and an edge-of-the-seat, high-octane thriller. It is a road movie of a different kind, where most of the action and storytelling take place within the confines of the car, on the highway, and through phone conversations.

There are a few flashbacks and a video conference; otherwise, Sonum Shah is the only actor in the film. In the finale, his teenage daughter makes a brief, touching appearance. The caller ID images provide us with a rough idea of the other character's demeanour and role in their life.

I recall an instance when a medical officer, a mother, was busy at work in the Emergency Department, attending to a room full of sick children. Anxious parents were making a fuss, complaining about the long wait, the staff shortage, and the precariousness of their children's situations. They quickly shifted their anger toward the doctor, whom they perceived as incompetent. They became silent when the receptionist told the parents to bear with the doctor as her daughter was undergoing chemotherapy for cancer. 

That sums up the multitasking some professionals must undertake to responsibly execute their assigned tasks while fulfilling personal duties as a father, spouse, or child to their loved ones. Even in times of adversity, they must put on a brave front to give their subordinates undivided attention; they must remain pillars of strength despite the uncertainties they face. They must act professionally amidst all the turmoil in which they may be immersed. The world shows no sympathy for individual needs; it considers the bigger picture. An individual is merely a minute speck within the greater scheme of the Universe.  

The film begins with Dr. Abhimanyu Sood packing a bag filled with ₹5 crores in cash into his car. Dr. Sood, a general surgeon, finds himself in a predicament. A teenager he operated on for appendicitis dies due to complications, and he is squarely blamed for the death because of his antics outside of work. He has admitted to snorting cocaine. His lawyers have advised him to pursue an out-of-court settlement, as his chances of winning in court are slim. Therefore, he is making his way to drop off the money at a disclosed location.

It was April 1st. The radio was blaring, with April Fool's pranks filling the air. So when someone called him on his phone to inform him that he had kidnapped Sood's estranged daughter and wanted a ransom for the exact amount he was carrying, he was sure it was just a prank. 

Sood had previously left his wife and their daughter with Down Syndrome on less than amicable terms. His new girlfriend is eager to begin a fresh start. Juggling emotionally draining calls to verify the legitimacy of the claims and conversations with his current crush, Sood finally realised he had not been a good person. He had been unfair to his young daughter and wanted to make amends. He decided to use his stash of money to rescue her.

His situation becomes more precarious as his lawyers press him to deliver the money. His car tyre developed a puncture and needed to be replaced. To top it off, Sood's patient in the ICU requires urgent surgery. Sood assigns his inexperienced, reluctant junior surgeon to perform a major surgery under his direct video supervision via mobile. 

Despite being a solo performance with limited dialogue and a monotonous background, it succeeded in gripping its audience and maintaining their attention until the end. 4.5/5. Recommendable.

P.S. It is based on the 2013 Hollywood film 'Locke', starring Tom Hardy.

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The good can be perpetrators of evil too!

Vanavaas (Exile, Hindi; 2025)

Director: Anil Sharma

I was watching this Hindi movie with my wife. It was a melodramatic film in true Bollywood style, invoking filial piety or at least making children feel guilty for not caring for their elderly parents in their twilight years. Sending elderly parents to specialised institutions to cater to their specific needs was never in any Indian dictionary.

The aged father, a widower who still resides in the home of his deceased wife, is suffering from worsening dementia. Despite his physical incapacity, he is a proud man with his own ways of doing things and is caustic with his words. He had built a beautiful house and amassed other properties. He lives with his three adult children, their respective wives, and their children.

The father is still determined to be the head of the extended family and makes crucial family decisions. Probably due to their upbringing, the sons remain silent about the father's tantrums and idiosyncrasies. The wives constantly complain about the father's antics, but 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 dementia medications, they thought he would not be able to communicate with passers-by and would not return, eventually withering away in oblivion.

For the record, Varanasi offers avenues for end-of-life care. Facilities are available for individuals diagnosed with terminal illnesses to spend their remaining days in the town, where they can be cremated and have their ashes immersed in the Ganga River afterwards. After all, the Kashi-Visvanath temple is believed to be the abode of Lord Shiva. Varanasi is supposed to be Siva's summer residence. The idea of spending one's final days in His presence makes perfect sense.

In true poetic fashion, sympathetic vagabonds from Varanasi eventually bring the father back to his family home. The children had already sold their family home and were liquidating another property.

My wife, still believing that goodness is very much alive and thriving on Earth, refuses to accept that any child would have the gumption to essentially 'kill off a parent'. In a group of six children, none would agree to stoop so low as to bite the hand that brought them into the world. She insists that the plot is one-dimensional and has deviated significantly from reality. In her mind, no way any human worth his salt would do anything like this.

Scrolling through actual crime cases over the years, I understand that the human mind has no boundaries. It is capable of performing the most profound things and, at the same time, being manipulated or brainwashed into believing the impossible. It is a common occurrence to see how one dominant character can wrap the weaker around his finger to work like an automaton. Case files from the Nuremberg trials, which document the banality of evil, are testimonies to this. In more sedate times, the Stanford Prison Experiment showed that good people can be transformed into perpetrators of evil.

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Dirty linen?

Ankur (The Seedling, Hindi, Deccani; 1974)

Director: Shyam Benegal

https://www.amazon.com/Ankur-Seedling-
Hindi-English-subtitles/dp/B008V22NKE

The recent passing of actor Manoj Kumar reminded everyone of the patriotic Bollywood films (once known as Hindi or Hindustani cinema) that endeavoured to stir nationalist fervour among the audience. His films from 1965 to 1974, which include Shaheed (1965, about Bhagat Singh), Upkar (1967, set against the backdrop of the Indo-Pak war of '65), Purab Aur Paschim (1970, celebrating Indian values over the West), and Roti Kapada Aur Makaan (1974, emphasising the needs of the common man—bread, clothing, and shelter)—prompted his audience to reflect on their country rather than be numbed by the intoxication of love or the struggles of others in romance. Interestingly, the idea for Upkar came to Manoj Kumar after he was honoured by India's beloved PM, Lal Bahadur Shastri, who inspired him with the notion of a farmer transforming into a war hero through Shastri's party slogan, Jai Jawan Jai Kisan (Hail the Soldier, Hail the Farmer). In Upkar, a farmer becomes a soldier to defend his nation amid greedy and ungrateful brothers and relatives.

The question arises as to whether the storyteller exposes dirty linen in public when he writes stories about vilifying practices in his country, particularly as his films are viewed by diaspora audiences worldwide. Paradoxically, is he enlightening the general public, in the hope that they will strive for improvement?

While Manoj Kumar @ Bharat Kumar's films appeared in mainstream cinema, which typically boasts a larger budget, more opulence, music, and colour, as well as star power to attract the audience, there existed a parallel cinema platform that was less ostentatious but focused more on everyday issues. Shyam Benegal was one of the creators of such films. 

'Ankur' is Shyam Benegal's debut film. It introduced Shabana Azmi and Anant Nag to the cinematic world and proved to be quite a sensation. Naturally, the world often takes notice when India, Indians, or the Indian way of life is portrayed unfavourably.

It tells an intricate story seamlessly, using minimal dialogue and more symbolism. Sometimes, words can convey only so much; many of the tales are shared through gazes and silence.

The story centres on two characters, Surya and Lakshmi. Surya believes he is a modern man with contemporary ideas, having obtained a BA. However, his ambitions of pursuing higher education are thwarted by his father, who sends him to tend to a family-owned piece of land. The father has a mistress in the village, and Surya's stepson is attempting to claim that land. Thus, Surya's task is to protect the land and ensure that the produce is not looted away. Despite thinking the modern man he is, Surya has to oblige his family's demand to marry a very young bride before being sent off, but alone.

The way Surya is treated in the village is typical of caste and class segregation. Lakshmi is the maid assigned to maintain the bungalow where Surya is staying. Lakshmi is the wife of a lowly, mute village potter. His pottery business has seen better times now that the villagers are comfortable with aluminium pots and pans.

The 'modern' Surya allows Lakshmi to prepare his meals despite her low caste, yet his other behaviour does not seem particularly civilised. When Lakshmi's husband goes missing after being humiliated by the villagers, Surya begins an affair with her, which results in her becoming pregnant. One day, Surya's wife arrives, and Surya behaves as though nothing has occurred.

 

Essentially, nothing has changed. Surya has a mistress and an illegitimate child, much like his father. An immersive watch. 4.5/5.

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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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Missed the point!

Emergency (Hindi, 2025)

Story, Direction, Starring: Kangana Ranaut

https://www.imdb.com/title/tt21279420/

The first thing my language teacher told me in essay writing class was to stay on topic. Therefore, with a title like 'Emergency,' I expected to learn about the events leading up to the 1975 black mark in Indian democracy. I wanted to understand how the Opposition and civil society responded to Indira Gandhi's iron-fisted rule. Instead, I received a mini biopic of Mother Indira, the so-called Mother of India. The Emergency was rushed through, I thought. It would have been better if the film had started with the events just before 1975 and given some credence to the audience to know a little bit of Indra's background.

I recall that in 1977, my classmates and I, the so-called Backbenchers of the Class, engaged in lengthy, recurring debates about India, Indira, dictatorship, and democracy. Our teenage minds, albeit somewhat precocious, concluded that for a vast and complex country like India, communism was the best solution.

It was euphoric following India's handling of the East Pakistan issue, as they emerged victorious, defeating their troublesome neighbour, Pakistan, in just 14 days. The Indira Wave propelled her to a significant majority, allowing her to outmanoeuvre her political opponents. She believed it was her time to modernise India. Although the 1971 War strained India's economy, the country sought to increase revenue through taxation and nationalisation of projects. She centralised power within the Prime Minister's office. She likely harboured dynastic intentions, as she encouraged her son, Sanjay Gandhi, to engage actively in running the party and government, even making critical decisions. The veteran members at the party were not particularly pleased. Sycophants were rewarded, while the economy experienced sluggishness. Railway workers were on strike, and the press revelled in the chaos. The successful detonation of India's first nuclear test occurred in 1974.

In 1975, the Allahabad High Court disqualified Indira's victory in the 1971 elections due to her misuse of government machinery during the campaign. She was also barred from holding the position of Prime Minister for six years.

JP Narayan

Massive demonstrations ensued, demanding her ousting. Jayaprakash Narayan, a Gandhian at heart, was vocal in his calls for Indira's resignation. Although this did not occur, the President, on Indira's advice, declared a state of Emergency on 25th June 1975 at the stroke of midnight. A widespread power failure was implemented to halt the printing of newspapers, which was then the sole means of news dissemination. Radio was also under control. Thousands of political opponents and activists were apprehended. The Maintenance of Internal Security Act (MISA) was invoked, allowing dissidents to be detained without charge, effectively making them disappear. The Emergency period witnessed the banning of trade unionism and significantly curbing media freedom. The people of India received news about their country from foreign correspondents.

There was an ongoing conspiracy theory about Jaya Prakash Narayan's rapidly deteriorating health following his incarceration. Despite the official announcement that he had diabetes, his kidney function declined sharply, leading to speculation about possible foul play. After his release in March 1979, it was mistakenly reported that he had died, resulting in public mourning and the closure of schools, parliament, and radio broadcasts. He ultimately succumbed to his illness only seven months later.

Indira Gandhi continued to govern the country by decree, passing laws and attempting to appease the masses. Sanjay Gandhi, now active in the ruling elite, believed bulldozing squatters was a sure way to modernise Delhi. He was also instrumental in the brutal forced sterilisation of the poor to curb the population explosion. Twenty-two months after its declaration, the Emergency was lifted, and elections were called. Indira lost to the Janata Party, a new political party initiated by Jayaprakash Narayan.

The newly formed coalition government did not last long. It collapsed, prompting fresh elections in 1980, in which Indira Gandhi was re-elected. A few months after her victory, she tragically lost her son in an air crash. Soon afterwards, Indira Gandhi faced unrest in the state of Punjab. Her actions during Operation Blue Star to regain control of the terrorists in the Golden Temple in Amritsar proved to be her coup de grâce.

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