Showing posts with label red-tape. Show all posts
Showing posts with label red-tape. Show all posts

Tuesday, 14 July 2020

We are innately racists


He Even Has Your Eyes.
(Il a déjà tes yeux , French; 2016)
Netflix

It is used to be that bringing u a child was 'child play'. My maternal grandfather's philosophy was thus. Mother Nature has it all for us. Like the trees in the forests and God's creations in the wild, somebody will sow the seeds, and someone else will come to water or feed them. In times of crisis, every man (and child) is on his own, scavenging and struggling towards sustenance. They soon learn survival skills and street smartness.

It used to be that families with way too many mouths to feed willingly give their barren relatives their child to take care. The offspring would grow, knowing very well who the biological and adoptive parents are. Issues of abandonment or neglect and psychological scarring attached to this were unheard of. The whole village would nurture a child.

Such a set up seem so alien now, like almost happening in an alternative universe. We are living in a hostile environment, Man being Man's greatest predator. It is almost like the world will be a better place with its population all wiped out. Child molesters, adults with pedophilic tendencies and cannibals make adoption almost like human trafficking. The agencies assume that adopters are up to something no good unless proven otherwise. The complicated labyrinth of bureaucracy decides who is fit to be a parent and who is not.

It is almost like choosing the correct earring for a lady's attire. Both the couple's biodata is screened with a fine-tooth comb, financial security, criminal records, medical conditions, mental stability, household preparations and colour. It does not matter if the orphan child is deprived in the wilderness in slums in an abusive family elsewhere. Everything needs to be mixed and matched, especially race!


The public is quick to judge when a child appears different from their parents. It does not make sense, but generally, people are okay with fair-skinned people adopting dark-skinned kids. Conversely, if the parents were dark-skinned and the child light-skinned, they feel hot under the colour. Are they not good enough to care for a pale child? Paradoxically, even within the coloured, a white-skinned is viewed upon as not good enough to be adopted. Are their DNA inferior to carry the burden of their adopted tradition? Assumptions on the liberal attitudes of the biological mother are hurled.

In Malaysia, I have noticed that it is acceptable for an Indian couple to take in Chinese kids as their own. We have seen these much here over the years. Typical children with Oriental features uttering immaculate Tamil complete with eye and hand gestures. When it is an Indian child is raised by a Chinese family, society becomes curious. We are all inherently racists.

This French comedy looks at this cruel behaviour. A black couple who is an adoption list receives a call that their application is successful. The child is a 4 month-old blue-eyed blond white baby. The parents are over the moon on seeing their baby, but not so with one of the social workers who is hellbent on proving that the new parents of their white child.

The new mother's family is also shocked by the latest addition to the family. Together with the young couple's friends, the movie tries to highlight the farce behind adoption protocols and unsavoury societal perception of interracial adoption.



Sunday, 5 July 2020

Symbolism of a broken system?

The Overcoat (1959, Shinel, ШИНЕЛЬ, Russian)
A Soviet film adaptation of N. Gogol's 'Overcoat.'

Watching Mira Nair directed film 'Namesake' eventually brought me to this Russian movie. One of the iconic lines mentioned in 'Namesake' is 'we are all from Gogol's Overcoat'. The quote is attributed to Dostoevsky, who meant the whole Russian literary world owe their ideas and styles to Gogol, the pre-eminent satirist and literary realism. 

Gogol's Overcoat had made it to the silver screen many times over. From the silent film production in 1916 to the 2018 animated version, some of it carries different storylines.

This 1959 Soviet production stays true to the original short story. I also managed to catch up with a made-for-TV adaptation for 'Douglas Fairbanks Jr. Presents' starring Buster Keaton named 'Awakening'. Both of these movies are available on YouTube.

Akaki Akakievich, the protagonist in Gogol's story, is a sad character who leads a boring life. He works in a governmental agency doing seemingly mundane job of keeping records, writing and copying documents. In his mind, he is doing something quite profound. He knows all the figures and numbers like the back of his hand. His eccentricity is actually the butt of joke among his co-worker. Akaki earns pittance, and it shows. He lives in a rented room in the poor side of town. His overcoat is so worn out and cannot be patched anymore, according to his tailor.

Buster Keaton, in an atypical dramatic roles
He stinges through to be able to sew a new coat and receives attention from his co-workers when he shows up with his new overcoat. The usual socially awkward Akiki is feted with an office party in his honour. Akiki is extremely happy with his decision, but still, his new purchase cannot change his awkwardness. He personifies his coat and cares for it dearly, sometimes over the top. He even removes the coat when it snows, not wanting to get it wet.

Going home, his flashy coat draws unwanted attention. He is mugged. Muggers scoot off with his pricey possession. Next comes the lengthy bureaucracy of reporting his theft. He is given the runaround. His loss and exposure of cold proved too much for Akiki. Akiki succumbs to pneumonia and haunts the neighbourhood. A meaningless death to a person leading a meaningless life.

The Buster Keaton version (The Awakening) has a slightly different ending. Akiki does not die, but instead, is determined to relive his dream where he raises up to assassinate the chief of the tyrannic system.
The story is a symbolism of a broken system. Even though people's patience has been stretched thin with ridiculous policies and unwise decisions, the people go on thinking that they are doing alright. Not realising that the joke is on them, they blindly give themselves a pat on their back for a job well done. Unbeknownst to everyone changes can be detrimental, but then, the Truth or generation after them will rise to the occasion. This is shown as Akiki coming back as a ghost to haunt the living daylight of the people of St Petersburg.



“Be afraid. Be very afraid.”*