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Thursday, March 31, 2011

Season of the Witch

Directed by: Dominic Sena
Produced by: Alex Gartner; Charles Roven
Screenplay by: Bragi F. Schut
Starring: Nicolas Cage; Ron Perlman; Claire Foy;
Music by: Atli Örvarsson
Cinematography: Amir Mokri
Release date(s): January 7, 2011
Running time: 98 minutes
Country: United States
Language: English
Budget: US$40 million
Gross revenue: $81,127,228


Apparently, these days Hollywood actor Nicolas Cage would do any film offered to him. Once he was fantastic actor and a handsome man. Remember Raising Arizona? He won an Oscar for Leaving Las Vegas, and gave a stellar performance in Adaptation..

And now, he has been relegated to doing these CGI-enchanted "Sword and Sorcery" B-grade mishmashes. Last year, it was The Sorcerer’s Apprentice. This year so far, he has two such releases — Season of the Witch, where he is a mediaeval knight in a face-off with the Devil himself, and Drive Angry, where he is an escapee from hell to save his granddaughter from a Satanic cult.

Rumour as it that Season of the Witch was inspired by Ingmar Bergman’s classic The Seventh Seal, where a mediaeval knight meets Death in the plague-stricken countryside and invites him to a game of chess, as they grapple with the existential issues of faith and mortality. But Cage is no Max von Sydow. At best you can compare the film to the remake of another Bergman film, The Virgin Spring, into a Hollywood horror film, The Last House on the Left.

But you cannot really blame Season of the Witch. It doesn’t have any other ambitions than to be sword-and-sandal action fare. As the film opens, for a minute you think the film may offer you some rationale on the witchcraft issues. But no, the film takes witchcraft and witches very seriously and present them as very real. Indeed.

The story? The story is actually less heavy than the swords that the protagonist of the piece Behman (Cage) wields. He and his sidekick Felson (Ron Pearlman, yes the same guy who makes the Hellboy movies so wonderful, here invited to act in a few stunt scenes) are deserters from the Crusade since they had enough of the bloodshed and killing of the innocent. As they return home, they stop in a city ravaged by the plague. The cardinal (an unrecognisable Christopher “Dracula” Lee), who is dying, tell the strongmen that it’s all the handiwork of a witch who has been imprisoned. The only way to get rid of this plague is to take the witch to a remote monastery where she can be exorcised with the help of the last of copy of the book, ‘Keys of Soloman,’ which contains spells and incantations to defeat all evil. (In short, without the book, we are doomed.).

Our heroes obviously agree to escort the witch, otherwise we will have no film. They are accompanied by a nobleman, a priest, a young apprentice, and a swindler, not to mention the witch herself, a motley group, so to speak. The stage is set for action and adventure, which you get in good measures, and average computer graphics — there are shadows, a broken bridge, and wolves, and a few deaths.

Finally, we arrive at the monastery. Till here, the film was still making some sense, with the witch playing tricks with the minds of her captors, and the cynic warrior Behman learning to navigate his emotions. Then Hollywood takes over, and everything goes to hell. I mean, when you have the Devil himself at your disposal, why do you need his sidekicks, right? And, mind you, Nick Cage can fight anything, including the Devil. Remember Ghost Rider?

Only that Ghost Rider looks like a masterpiece compared to this unnecessary witch-hunt.

Wednesday, March 30, 2011

The Great Soul Controversy

Controversy has no parents. It can stem from anything. However, if it involves a person who is revered and celebrated, the controversy becomes juicier. For example, the ongoing controversy involving Mahatma Gandhi.

According to a section of book reviews published in western newspapers, the book ‘Great Soul: Mahatma Gandhi and His Struggle With India’ by Joseph Lelyveld (Knopf, 2011) , contains passages that claim that Mahatma Gandhi, when he was in South Africa, had a relationship with a male German national, and that he had left his wife to live with his ‘lover’ for almost two years.

After the controversy broke out, author of the book, Joseph Lelyveld, promptly denied such an inference in his writing. According to him, he had just presented the ‘facts’ he unearthed during his research; there is no mention of the word ‘bisexual’ in the book (Lelyveld was a journalist in South Africa and India for The New York Times, and is an expert on apartheid, who book on South Africa has won the Pulitzer Prize.). The presence of Hermann Kallenbach in Gandhi’s life during his time in South Africa is a fact, but that does not really mean that Gandhi was gay, bisexual, or whatever. (In that sense, Mr Lelyveld has enough credentials not to resort to cheap tricks to sell his book.)

This is the problem with controversies, with conspiracy theories. We get so emotionally involved with the inferences, the allegations, the accusations as facts that we fail to judiciously understand the real context. This is the fate that awaits ‘Great Soul’. In all likelihood, the book will be banned, at least in India, and no one will really bother to open the tome and go through the fateful passages that fuelled the controversy.

This is more or less what happened to Salman Rushdie’s ‘The Satanic Verses’ (1988), and James Lane’s ‘Shivaji: A Hindu King in Islamic India’ (2004) (I remember, two days before the controversy erupted and Pune-based Bhandarkar Oriental Research Institute was vandalised, a friend had shown me a copy of the book, holding it in front of me very dramatically, saying: “I got to hide this copy, it’s inflammatory stuff. I had asked, what was inflammatory. He had pointed to the subtitle of the book. You cannot become more polarised than this.)

I have no idea what the book actually says, and what does it mean. But I agree with Gandhian scholar Tridip Suhrud, who said in a Times of India report that the way men addressed each other in late 19th and early 20th century, with such terms of endearment, it is easy to infer them as lovers in today’s context. But, things were different then.

Our world has become polarised so much that we have devised names and labels for all our myriad emotions, activities, relations, and so on (Did you know there are people these days who identify themselves as ‘pansexuals’? Don’t ask me what it means.). Evidently, we have learnt to see everything from the ‘modern’ perspective. But if you read the personal correspondences of a man from the late 19th century, you must try and understand the writing from a point of view which is not your own, and which is not academic and post-modern. A difficult proposition indeed, especially when you write book reviews for prestigious publications.

I refer to the review published in the Wall Street Journal. Granted, Gandhi was no saint, he has his share of distracters. The WSJ review is one of them. In the beginning of the piece, the reviewer mentions Ambedkar as one of Gandhi’s distracters, then he goes on to discuss Gandhi in the same breath with Hitler (In the context that Gandhi wrote to Hitler, addressing him as friend.)

Writes Andrew Roberts: “Joseph Lelyveld has written a ­generally admiring book about ­Mohandas Gandhi, the man credited with leading India to independence from Britain in 1947. Yet "Great Soul" also obligingly gives readers more than enough information to discern that he was a sexual weirdo, a political incompetent and a fanatical faddist—one who was often downright cruel to those around him. Gandhi was therefore the archetypal 20th-century progressive intellectual, professing his love for ­mankind as a concept while actually ­despising people as individuals.”

Then Roberts comes to the controversy: “Yet as Mr. Lelyveld makes abundantly clear, Gandhi's organ probably only rarely became aroused with his naked young ladies, because the love of his life was a German-Jewish architect and bodybuilder, Hermann Kallenbach, for whom Gandhi left his wife in 1908. "Your portrait (the only one) stands on my mantelpiece in my bedroom," he wrote to Kallenbach. "The mantelpiece is opposite to the bed." For some reason, cotton wool and Vaseline were "a constant reminder" of Kallenbach, which Mr. Lelyveld believes might relate to the enemas Gandhi gave himself, although there could be other, less generous, explanations.

“Gandhi wrote to Kallenbach about "how completely you have taken possession of my body. This is slavery with a vengeance." Gandhi nicknamed himself "Upper House" and Kallenbach "Lower House," and he made Lower House promise not to "look lustfully upon any woman." The two then pledged "more love, and yet more love . . . such love as they hope the world has not yet seen."

“They were parted when Gandhi returned to India in 1914, since the German national could not get permission to travel to India during wartime—though Gandhi never gave up the dream of having him back, writing him in 1933 that "you are always before my mind's eye." Later, on his ashram, where even married "inmates" had to swear celibacy, Gandhi said: "I cannot imagine a thing as ugly as the intercourse of men and women." You could even be thrown off the ashram for "excessive tickling." (Salt was also forbidden, because it "arouses the senses.")”

Note the phrase “Mr. Lelyveld makes abundantly clear.” More than reviewing the book, the WSJ review presents Gandhi as a man of contradictions (something that is in the agenda of the book as well.). There is nothing wrong in the approach, but to what end?

Here’s the million dollar question, what does it mean if we come to know some intimate, clandestine sexual details from the life of a man who is considered the father of the nation? In Oedipus Rex, Sophocles said, what’s the use of the truth, if the truth is of no help. In the current situation, considering what the reviews allege is true, how does it help us understand the man and his historical significance for India and the world? If it does not help in any way, can we just ignore the whole thing and move on?

Meanwhile, it would be interesting to observe in the coming days if the queer studies scholars and gay rights activists appropriate this revelation to further their cause. Now, that’s an interesting idea. In the context of queer studies and the theory of new historicism, scholars have always gone back and unearthed the alternative sexual identities of great men from history. Sigmund Freud wrote a book on the sexuality of Renaissance artist Michaelangelo. Later, the creator of David was appropriated as a gay man. Vikram Seth has a beautiful poem about the first Mughal Emperor, Babar’s love for a young man in his collection of poems, ‘The Humble Administrator’s Garden’ (1985).

Meanwhile, I remember Arthur Koestler’s ‘The Robot and the Lotus’ (1960), which was banned in India because it contained an article on Gandhi’s views on self-administered enema.

Come to think of it, the sex life of Gandhi, and his favourite, Jawaharlal Nehru as subjects of discussion, and dissection is nothing new. Sudhir Kakar wrote two book on the subject, ‘Intimate Relations’ and Mira and the Mahatma. Last year, Jad Adams published a book entitled ‘Gandhi: Naked Ambitions’ about his sexual experiments with women.

Meanwhile, the affair between Jawaharlala Nehru and Edwina Mountbatten has been a subject of gossip for years now, the latest being ‘Indian Summer: The Secret History of the End of an Empire’ by Alex Von Tunzelmann.

>>>>>

The Wall Street Journal Review: Among the Hagiographers.

The New York Times Review: How Gandhi Became Gandhi.

The Times of India article: Outrage over reviews of new Gandhi book.

A review of anther Gandhi “sex” book, Gandhi: Naked Ambition by Jad Adams.

Naked Ambition: Is this the truth about sex life of Gandhi?

The following is the review of the book from Foreign Affairs

Not a biography -- Lelyveld says there are already more than enough -- this is a meditation on the interlinked puzzles of Mohandas "Mahatma" Gandhi's strange personal disciplines, the communalistic passions of the two societies where Gandhi worked (South Africa and India), his improbable achievements against vast odds, and the ultimate failure of his ideals. Here is an eccentric who achieved mass followings; a near-naked vegetarian and celibate who, by force of will, made masses of people temporarily abjure the primitive passion of communal enmity; and an icon who is worshiped globally while the hatreds he opposed flourish. Lelyveld, who worked in both South Africa and India as a New York Times reporter, focuses on Gandhi's opposition to race, class, and caste oppression in the two societies. He weaves a dense fabric of social analysis, biographical detail, and psychological speculation; zooms out for context and in for anecdotes; shifts between past and present tenses; and scrambles the chronology to find patterns across time. The book tries to recenter one's understanding of Gandhi away from the themes of Indian nationalism and nonviolent political action and toward the issue of social justice, which remains sorely unresolved in both countries where Gandhi worked.

Tuesday, March 29, 2011

Here is something more I am not going to write.
Here's something I am not going to write.

From Here to Eternity

Directed by: Fred Zinnemann
Produced by: Buddy Adler
Written by: James Jones (novel); Daniel Taradash
Starring: Burt Lancaster; Montgomery Clift; Deborah Kerr; Donna Reed; Frank Sinatra; Ernest Borgnine
Music by: George Duning
Cinematography: Burnett Guffey
Release date(s): August 5, 1953
Running time: 118 minutes
Country: United States
Language: English
Budget: $2.4 million
Gross revenue: $30.5 million


I came to From Here to Eternity following the adulation it inherits. It was the best picture of the year in 1953. It was nominated for 13 academy awards, won 8, including two acting awards for Frank Sinatra (his debut in silver screen) and Donna Reed. It is a major adaptation of a major best-seller of the time. It is Burt Lancaster’s first major role as lead. It contains one of cinema’s most iconic, erotic scene, the kiss in the surf between Lancaster and Deborah Kerr. So on and so forth.

And I was avoiding seeing it for a long time, especially when Wikipedia told me that the film is about a few armymen in Hawaii just before the days leading to Pearl Harbour. (I mean I have seen dozens and dozens of WWII movies. Enough. The last one was Inglorious Basterds, but that’s a different story!)

And now that I have seen it, all I can say is that unlike so many other films from the 1950s, From Here to Eternity looks little dated. Yeah, the photography is great. So is the presence of ultra-masculine Lancaster (But I like him when he is little older — in The Leopard, Local Hero, Field of Dreams), and that of Montgomery Clift (oh, he's so handsome).

Yet for me the film took ages to build up, and once it did, once the characters were really ready to yield the results of their actions, Pearl Harbour happens, and its The End. I mean, it’s really maddening when you invest so much time on those character and suddenly realise that their stories were never meant to be told.

Private Robert E. Lee Prewitt (Montgomery Clift) is transferred to a new army unit in Hawaii, where his captain wants him to play for the company’s boxing team, but he won’t, because he had killed someone while boxing, and he feels guilty. The captain does all his might to break Prewitt’s resolve, and like a classic movie hero Prewitt endures through everything, with minimal support from his only friend Maggio (Sinatra), Alma, a hooker who turned lover, and his sergeant Warden (Lancaster). Meanwhile, Warden starts an affair with the captain’s wife, Kerr. The stage is set for the drama. The action moves like slow-burning coal, it shimmers and shimmers. Oh, there’s some trouble involving Maggio. The action shimmer some more, as the army boys drink and complain and fall in love and just while away time.

After we have spent an hour-and-a-half, we come to some real dramatic action. Prewitt has his vengeance (there’s a nice scene where Sinatra’s character dies, the scene for which he was given the Oscar), and the captain is court-marshalled. And then, the war broke out and everything is lost. (Should I mention what happened to Prewitt, and to Alma, and Karen, or Warden? Pointless.)

And we were tired, we switched off the TV set and went to sleep.

Monday, March 28, 2011

Literary Buildings

“Last night I dreamt I went to Mandalay again...” begins Daphane du Maurier’s Rebecca (1938). The Rebecca of the title is long dead when we visit Mandalay, the mansion near the sea where Rebecca lived with her husband Maxim de Winter, to where comes the unnamed narrator of the novel, a young lady’s assistance, who is not even a patch on the sophistication and elegance of Lady Rebecca, which the housekeepers Mrs Denvers would be only too happy to remind her.

In Rebecca, Rebecca comes alive through Mandalay, the house. There’s Rebecca’s room which no one visits, there’s her writing desk with the papers bearing her initials, and there are her clothes. Rebecca is so alive in Mandalay that the narrator of the story cannot even utter her name there. And when, in the end, the protagonists deal with the memories of Rebecca, the house had to go, burnt into ashes. The same fate meets the house with a shameful history in Jane Eyre.

Houses and their architecture have a curious connection with fiction, especially in the tales of horror and gothic. Even the very word ‘gothic’ is borrowed from architecture. The first gothic novel was Horace Walpole’s The Castle of Otranto (1764), a horror tale set in the castle of the title. Prominent features of Gothic fiction include terror (both psychological and physical), mystery, the supernatural, ghosts, haunted houses and Gothic architecture, castles, darkness, death, decay, doubles, madness, secrets, and hereditary curses.

Says Wikipedia: Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture.

Emily Bronte’s Wuthering Heights refers to the house where the tragic drama of doomed love is played out. Without the house, which changed hands several times, the story of Catherine and Heathcliff would never be the same. And, the room where Cathy’s ghost visits the narrator, and the table where etched are the names of the doomed lovers, would never be so dramatic.

In Victor Hugo’s The Hunchback of Notre-Dame (1831), the Notre Dame cathedral is as much a character as the poor hunchback. Quasimodo cannot exist without the church which shelters him, and which prompts him to help Esmeralda. A church bell never tolled so loudly as it does at the end of the novel.

In case of The Phantom of the Opera (1910), Gaston Leroux’s novel cannot exist without the existence of the Paris opera, a grand structure designed by architect Charles Garnier, which was opened in 1875. Leroux’s tale may be imaginary, but the opera is bewilderingly real and Leroux describes it with all its opulence and mystery.

In the recent times, architecture comes to play an important role as a ‘plot device’ in Dan Brown’s Robert Langdon novels, especially The Da Vinci Code. Here the Louvre Museum plays such an important role. The novel cannot exist without the museum. And, the revelation of the novel comes at another architectural site — The Rosslyn Chapel in Scotland.

In Northanger Abby, Jane Austen goes to satirise the whole gamut of the gothic romance genre, only to create a gothic novel herself.

In E M Forster’s Howards End (1910), the house becomes the symbol of dying aristocracy. When the house is finally handed over to the Schlegel sisters, an entire era comes to an end.

In A House for Mr Biswas (1961), a house for V S Naipaul’s protagonist is a sense of belonging.

In Shame (1983), the house where Omar Khayyam was born to the three sisters, and which contains a murderous dumb waiter, is representative of a country oppressed by fundamentalism.

In Rama Mehta’s Inside the Haveli (1977), the haveli is the symbol of patriarchy which the protagonist of the novel must face and survive.

Saturday, March 26, 2011

Jane Eyre

Are you dying to see the latest Jane Eyre film as I do? Jane who? You ask. I cannot talk to you anymore.

There are several reasons I cannot wait to see Cary Fukunaga’s second feature (his first mainstream film; I absolutely loved his Spanish language crime saga Sin Nombre (2009)), starring Mia Wasikowska and Michael Fassbender. Fukunaga is one reason, another is the idea of Fassbender (remember that guy from Centurion (2010), and Bobby Sands in Hunger (2008)) playing Edward Rochester. There was a time I idolised (I mean, deeply in love with) Rochester, alongside Maxim De Winter of Rebecca. (I remember reading the Charlotte Brontë novel, first published in 1847, for the first time in high school and feeling immeasurably sad when Jane leaves Rochester and he goes blind, and feeling elated after a few pages when they are reunited and he gets his eyesight back. Perfect wish fulfilment!)

There are at least 25 films based on the novel, including the classic one featuring Orson Welles and Joan Fontaine (Is it a co-incidence that Fontaine was also in Rebecca opposite Olivier’s de Winter; my favourite Laurence Olivier role, my favourite scene the scene when de Winter finally confesses to the unnamed heroine that he had never loved Rebecca, oh that feeling of giddiness, that feeling of fulfilment! On the subject, for some curious reasons my second favourite Olivier role is the Prince Regent in The Prince and the Showgirl (1967). I know the movie was useless, and his accent overdone. But his awkward chemistry with Marilyn Monroe was something else.).

Then there are the countless spin offs of the Jane Eyre myth. I think each man meet girl-woman (rich man-poor girl) story (including Rebecca) is a variation of the Jane Eyre theme. (It’s interesting that the protagonist in the Bronte novel should be called Jane; while in police parlance, a man without a name is called John Doe, a woman without a name is called Jane Doe.)

Then there’s the moor, the ultra-gothic mysteriously desperate landscape, where everything is possible, where nothing is possible, where Heathcliff cries in brooding passion, where love is dangerous game.

Then there’s the house, the Thornfield Hall, and the attic.

And then there’s the other woman, the real Mrs Rochester, the Mad Woman in the Attic, as the feminist would call her, the one who was wronged. Jean Rhys took up the cause of Bertha Mason and reinvented her as Antoinette Cosway in Wide Sargasson Sea (1966). You blame the time, you blame the white colonialists, you blame money, but you can never blame Jane.

Jane’s journey through the turmoil and strife, and her final happiness, is the process of growing up, the process of finding your place in the world, the tale of never giving up, never losing hope. That’s the reason the retellings of the Jane Eyre story are not enough.

And we don’t mind even when the story is reinvented even in a horror film, I Walked With A Zombie (1943).

The allure of the gothic will never fade, as long as there’s Heathcliff and as long as there’s Jane Eyre. Thank God for the Bronte sisters.

Friday, March 25, 2011

RIP Elizabeth Taylor

Dame Elizabeth Rosemond Taylor, DBE (February 27, 1932 – March 23, 2011), often referred to as Liz Taylor, was an English-born American actress. Beginning as a child star then throughout her adulthood, she became known for her acting talent, glamour and beauty; as well as a much publicised private life, which included eight marriages, several near-death experiences, and decades spent as a social activist, championing the cause of AIDS awareness, research and cure. Taylor, a two-time winner of the Academy Award for Best Actress, is considered one of the great screen actresses of Hollywood’s Golden Age. The American Film Institute named Taylor seventh on its Female Legends list. (From Wikipedia.org)

Elizabeth Taylor Filmography

1942 There's One Born Every Minute
1943 Lassie Come Home
1944 Jane Eyre
The White Cliffs of Dover
National Velvet
1946 Courage of Lassie
1947 Life with Father
Cynthia
1948 A Date with Judy Carol
Julia Misbehaves
1949 Little Women
Conspirator
1950 The Big Hangover
Father of the Bride
1951 Father's Little Dividend
A Place in the Sun
Quo Vadis
1952 Love Is Better Than Ever
Ivanhoe
1953 The Girl Who Had Everything
1954 Rhapsody
Elephant Walk
Beau Brummell
The Last Time I Saw Paris
1956 Giant
1957 Raintree County
1958 Cat on a Hot Tin Roof
1959 Suddenly, Last Summer
1960 Scent of Mystery
Butterfield 8
1963 Cleopatra
The V.I.P.s
1965 The Sandpiper
1966 Who's Afraid of Virginia Woolf?
1967 The Taming of the Shrew
Doctor Faustus
Reflections in a Golden Eye
The Comedians
1968 Boom!
Secret Ceremony
1969 Anne of the Thousand Days
1970 The Only Game in Town
1972 X,Y, and Zee
Under Milk Wood
Hammersmith is Out
1973 Divorce His, Divorce Hers
Night Watch
Ash Wednesday
1974 Identikit Lise Also known as The Driver's Seat
1976 The Blue Bird
Victory at Entebbe
1977 A Little Night Music
1978 Return Engagement
1979 Winter Kills
1980 The Mirror Crack'd
1981 General Hospital
1983 Between Friends
1984 Hotel (TV series)
All My Children
1985 Malice in Wonderland; TV Movie
North and Southl TV Miniseries
1986 There Must Be a Pony; TV Movie
1987 Poke Alicel; TV Movie
1988 Young Toscanini Nadina Bulichoff
1989 Sweet Bird of Youth; TV Movie
1992 The Simpsons
Captain Planet and the Planeteers
1993 The Simpsons
1994 The Flintstones
1996 The Nanny
2000 God, the Devil and Bob Sarah
2001 These Old Broads; TV Movie

Friday, March 18, 2011

Lost and Found

Surendran, CP. Lost and Found. New Delhi: HarperCollins Publishers. 2010

Some facts (or conspiracy theories, if you like) about novels and novelists:

Fact 1: A good poet isn’t necessarily a good novelist, and vice-versa. It’s more so in case of a poet, as poetry requires a minimum scope of vision, whereas a novelist should be able to gasp larger scheme of things. A good novel requires a judicious amount of ‘showing’ and ‘telling’, the measure of perfect balance. There are chances of this balance going awry when a poet turns a novelist. Again, poets, by definition, are impatient whereas patience is the stepping stone on the way to become a novelist.

Fact 2: A journalist, especially someone who deals with newspaper copies, cannot be a novelist. While the use of journalistic jargon, word play, clichés, alliteration, and other such shenanigans can make a newspaper copy scintillating, in case of a novel, the same can be poisonous. Newspaper copies are either impersonal (“20 dead in car crash”) or opinionated (“Tendulkar shouldn’t have lost his cool”). A novel can be neither. A novel should have a throbbing heart, a clear mind, and a focused vision.

Fact 3: You cannot write an entire novel in present tense. In English language especially, the present tense has a very limited use. Everything we do or say instantly becomes past, or at the most, present perfect. There’s no perfect simple present tense situation. Under these circumstances, if you want to narrate your story, or shall we say several stories situated at various time and place, in present tense, your writing runs in the danger of sounding awkward. Read: She picks up the glass. She takes a gulp. She realises that the occult night has finally revealed its intention. She decides to leave the party. She looks at the mirror and powders her nose...” you know what I mean?

I came to the understanding of these facts while browsing through poet-journalist C P Surendran’s second work of fiction, Lost and Found. I must confess, I did not have the time to read the book entirely. I had borrowed the copy from a friend and had to return it to her after a week. Anyway, I intend to read the book soon, especially be-cause I enjoyed his first novel, An Iron Harvest, and also because the author was my boss for a while, and I admire his poetry.

India as a country has seen the revolt of the youth in one form or another, in one state or another in every decade. However, Indian writing in English hasn’t suffi-ciently focused on this issue. For this alone, we can count An Iron Harvest as an important edition to the gamut of Indian novel in English. The novel, among other things, features the hopes and frustrations of the 1970s naxal movement. However, there are doubts whether the book was successful as a novel. I cannot answer that question, only this: At times the language Surendran is preoccupied with precedes his sense of narrative telling. And what language? There are passages after passages in An Iron Harvest, which are sheer poetry, especially when the author describes the Karala landscape in the beginning of the novel. The book was indeed a poet’s book.

In comparison, Lost and Found is more prosaic, unsentimental and journalistic; (and caustic and ironic, if you like) it is given considering the fact that the novel features a journalist as one of the central characters, and at times even reproduces the copies he wrote for newspapers verbatim (there’s a nice “write-up” on a poet who suspiciously looks like Arun Kolatkar; I mean, the reference to the Wayside Inn is unmistakable). Does it helps the novel? Now, that’s a million dollar question.

I don’t have anything to say about the use of the third person present tense narrative, except that at times it sounds awkward.

Whatever I could read in Lost and Found, the book gave me the impression of it as a slippery being. There is nothing to hang onto in the narrative as it shifts from one person to another, one concern to another. Each chapter is a disjointed episode. At last, when these episodes come together, the impact is not as crackling as you would expect. It’s really strange especially when the incidents of 26/11 terror attack in Mumbai, which forms a major part of the novel, could have make it more dramatic.

Now, dramatic is Surendran’s forte. He is very good at out-of-box presentation. (I remember, once we were doing a story for the daily on how the city’s motorists defy safety concerns by refusing to wear helmets. For the story, he suggested that we take a picture of Alexander the Great, on a horse with his headgear, and use the caption: “Even he wears one.” I still think it was a brilliant presentation.) But in Lost and Found, the dramatic remains that of the daily newspaper variety. You read the story with interest, but forget all about it as soon as you have finished reading it.

From the blurb:
On a drunken party night, young and attractive Lakshmi kidnaps Placid Hari, a journalist, mistaking him to be the man who raped her sixteen years ago. The morning after alters the course of events: Lakshmi and Hari find themselves taken hostage in a terrorist siege of Bombay along with a teenage fledgling actor. The ji-hadi-in-charge is the boysoldier Salim, trained in Pakistan by Abul Razak, the object of whose hallucinogenic passion is Salim’s mother. Before the day is done, Salim finds that nothing back home could have prepared him for the fatal eventualities of his mission and his tryst with the compelling story of blood and tears that his cap-tives have to tell.

Thursday, March 17, 2011

A Handful of Time

I decided to give the 1989 Nowegian film, A Handful of Time (En Handful Tid), directed by Martin Asphaug and starring Espen Skjønberg, Camilla Strøm-Henriksen, Nicolay Lange-Nielsen and Bjørn Sundquist, a try after being impressed with the poster. The poster in muted colour features a man in nude, with a white headband, carrying a woman towards deep waters. I found the poster mesmerising, there was something primal, something erotic about it.

The film itself, which was the best Norwegian film of the year, and was Norway’s entry to the Oscars that year, is sort of primal, a tale of survival and loss, told with a visual flair, featuring the rugged, lonely hills of the Norwegian countryside in 1930s (though there are some lovely tracking shots which you may consider unnecessary in the context of the action depicted on screen.).

Then you realise that something is indeed very odd about the film, it doesn’t completely lead to a resolution, or redemption for the central character. Thing go really out of hand, when, towards the end, an English gentleman (Sir Nigel Howthorne of The Madness of King George fame) materialises out of nowhere to tell the protagonist that time is not actually linear, but round, and the events of past, present and future take place at the same time. More so, when the film goes out of its way to prove the point, by establishing that incest and abuse are more rampant than you would ever imagine.

The film is at once about incest, a tragic love story and the burden of memory, and it pushes you to the brink of despair when the three strands of the plot fails to come together in a cohesive end, especially when it’s a brilliant film in most parts.

After attending the 50th birthday of his son, Martin, who lives in an old-age home, starts hallucinating about his wife Anna, who died while giving birth to their son. As he realises that death is imminent, he begins to hear his wife’s voice, and despite the protest from his son, embarks on a journey to the west, where he had met Anna and where lies her tomb.

From this point the film begins to oscillate between the past and the present, with an older Martin visiting the places where a younger Martin had spent perhaps the best year of his life.

After his father is dead in a freak accident, Martin decides to leave home to rear horses when he was forced to take Anna with him, because she has been sexually harassed by her father. As they journey ahead, the young couple starts in an awkward footing, which later strengthen when Anna kills her marauding father who had pursued her all the way. Soon, they become lovers (this is where the beautiful scene depicted in the poster occurs), and take shelter with a family with incestuous history. This is where the film gains momentum where Anna tries to understand the queer couple who are also siblings, and their half-brother Henrik, who may really be insane. The doomed tale of the family, told with all the props of a gothic horror story, is perhaps the best part of the film, which gives the floundering narrative is emotional core.

From here the film moves ahead to depict how Anna dies during the childbirth, and how Martin failed to help the love of his life. This thread of the tale is fractured by the adventures of the older Martin, who travels to the mountain, falls ill, recovers, and again travels onwards to find his wife’s grave, only to encounter another father abusing his daughter, whom Martin kills as an act of redemption.

As the film ends with Martin lying in front of Anna’s grave, you wonder what it was all about.

Monday, March 14, 2011

Contracorriente

Directed by: Javier Fuentes-León
Produced by: Javier Fuentes-León
Written by: Javier Fuentes-León; Julio Rojas
Starring: Cristian Mercado; Manolo Cardona; Tatiana Astengo
Cinematography: Mauricio Vidal
Release date(s): 23 September 2009
Running time: 100 minutes
Country: Peru
Language: Spanish


There is a scene in the middle of Javier Fuentes-León’s Contracorriente (Undertow, 2009), a Peruvian film which was the country’s official entry to the Oscars, which explains subtly, but in no uncertain terms, the psychology of closet and coming out. Miguel, (Cristian Mercado), handsome and young, is a married man, with a son on the way, and a leader of sort for the fisherman community in Cabo Blanco, a small fishing village in the Northern coast of Peru, where the community has deep-rooted religious traditions. He also has a secret: He is having an affair with another man, Santiago (Manolo Cardona), a painter who is ostracised by the townsfolk for being agnostic and open about his sexuality.

Now, Santiago is dead, and his ‘ghost’ or whatever you may call it, comes to visit Miguel. As he had always done it, Miguel goes to meet him at a deserted spot near the sea, away from prying eyes. This time, Satiago insists on a walk through the town, claiming that no one except Miguel can see him. At first, Miguel is not certain about the claim; he takes a few tentative steps and nervously walks beside Santiago. As they continue, the townsfolk start greeting Miguel without any sign of recognising Santiago. When Miguel is finally convinced that no one but him can see Santiago, he drops his guard, his fear and nervousness, and reaches for Santiago’s hand. This lovely scene, in a long shot with the couple walking, explains the dynamics of coming out in the context of queer sexuality. We behave the way we do because society around us conditions us to do so. If our surrounding were not so hostile, it would be easier for us to express our true feelings for others.

Contracorriente, Javier Fuentes-León’s first feature, which won the audience choice award at the Sundance two years back and numerous other awards at numerous film festivals, is not a love story; it’s not even a queer film per se. It’s a story about a man’s journey to be true to himself despite the odds, braving the chance of losing everything he holds dear.

It’s interesting how the film, which could have been a bitter melodrama about adultery with a gay angle, becomes a queer wish fulfilment with a good measure of magic realism thrown in (it’s an Latin American production after all; and it plays more realistically than Demi Moore’s Ghost ever could), and finally appears to be a drama about choices we will have to make, sooner or later.

Considering Contracorriente as a gay film, what is admirable about the movie is how instead of establishing the growing love between the two men as is the wont of most queer films, the film approaches their love as given. There’s apparent class difference between Miguel and Santiago, one is a fisherman and another a city-bred painter. Their relationship began as a painter and a model. But attraction between the two is mutual. But Miguel is wary. He knows where to draw the line. He knows others won’t appreciate his ‘friendship’ with Santiago. He has duties towards his pregnant wife, towards the church, towards the community. Santiago knows it too.

Then Santiago dies as he was pulled away in the wave. This incident gives the film it’s name. And, in a typical magic realist fashion, Garcia Marquez would be proud, he comes to haunt Miguel. In the beginning of the film, the story establishes a myth about the community who offer their dead a burial at sea, and believe that unless it is done properly, the soul would never find peace (Director Fuentes-León clarifies in an interview that there’s no such ritual in Peru, it was invented for the sake of the film.). Santiago, who never believed in such mumbo-jumbos, finds himself in the limbo. He then requests Miguel to find his body and give it a proper burial.

Miguel dives deep into the sea and after several tries, finds the body. Now, something else was happening. Santiago’s death has empowered Miguel to live both his lives. He can now be a family man, and be with his lover all at once. There is a nice scene of them watching TV, Miguel, his wife, and his lover. Perfect. So, he decides to keep Santiago trapped in the world, and tells him that he could not find the body.

But the peace is short-lived. Someone wanders into Santiago’s deserted house and finds a nude painting of Miguel. Soon, the news spreads that Miguel is a fag, and his community does not take it lightly. At first, he denies the whole thing, but could not hide the truth from his wife. She is upset at first, but reconciles saying that they should put everything behind for the sake of their son, for the community. Miguel does that and in a heartbreaking scene, parts ways with Santiago.

But the question of integrity wouldn’t leave Miguel. And when they finally find Santiago body, Miguel must decide whether he wants to set free his lover’s soul.

It’s a tricky business to make a supranational love story work in a realistic setting. In Contracorriente, however, the appearances of Santiago does not hinder the flow of the story, for the film is not about their love, but Miguel’s reaction to his own feeling. It doesn’t take anything from the tale if we consider the appearances of Santiago as figment of Miguel's imagination. And, the way Cristian Mercado plays Miguel, as young, caring and man of integrity, that the audience is drawn towards his dilemma. You cannot really blame Miguel in the context of identity politics.

Regarding the question whether Miguel is gay or bi, director Fuentes-León (an open gay man) in an interview said, it’s not a valid question in the context of Miguel (or in the context of societies where homosexuality is not even recognised). These labels are cultural constructs popularised in America. For people like Miguel, sexuality is much more fluid, much more complicated, which cannot be contained and labelled.

It is heartening to see how queer cinema has matured from the days of new queer cinema movement — from the arty take of the closet, to the teen-age angst of Gregg Araki (he remains an important filmmaker just for the brilliant Mysterious Skin, the best film ever made on the issues of child abuse; his latest Kaboom has recently released) to the existentialism of Gus Van Sant, and everything in between, including the Technicolour worlds of Pedro Almodovar. It is also interesting to observe how most of these films are being made outside the US, in unlikely places like Philippines (Brillante Mendoza) or Israel (Eytan Fox) or Korea (No Regrets). But not in India, where queer cinema movement remains largely amateurish, barring perhaps My Brother Nikhil.

An Interview With Javier Fuentes-León in twitch.

Sunday, March 13, 2011

Megamind

What is it with Hollywood animation industry’s new-found fascination for villains as heroes these day? Agreed, villains make more colourful characters than the heroes. And, we are a little tired of seeing the good guy getting the girl every time.

I think the trend was somehow popularised by Shrek (2001), the story of an ogre who marries a princess. Three more films later, which have been released in the span of the last 10 years, villains are the new heroes in Hollywood animation films.

Last year, we saw two villains demanding our attention: Magamind, the eponymous villain turned hero, and Gru, aspirant of the greatest villain of the world title in Despicable Me. Both are well-made and entertaining pictures. But if you ask me to choose between the two, I would vote for Megamind. While the plot points of both the films are predictable, I enjoyed the grown-up approach in Megamind, and the classic superhero formula it mimics. Here, both Megamind and Metro Man are aliens. Despicable Me, on the other hand, is too realistic; actually with the introduction of the three cute girls, it makes the film look more like a fairy tale.

Another thing similar in both the film is the brilliant use of self-deprecatory humour. Both Megamind and Gru introduce themselves as villains, without qualms, and both are given their back-stories, the reasons why they decided to become villains.

After a Superman like journey from a dead planet, Megamind and his helper, Minion, a fish inside a suit in armour, land on our planet. On the way, he meets another castaway from another planet, who, as chance would have it, lands in a rich household. Poor Megamind, with a blue complexion and an extra-large head, lands in a jail, where he learns the tricks of the book. The rivalry between them grew when they started studying at the same school, and soon they grow up to be archrivals, saving and destroying Metro City. A classic comic book superhero situation, where the hero always wins the day, and the villain never stops making another plan. But, their latest showdown goes horribly wrong and Metro Man, the hero, is dead. Megamind becomes the evil overlord of the city. But, this was not what he wanted; he cannot remain a villain without a hero. So, he decides to create a hero with whom he could fight. At the some time, he starts falling for a TV journalist (Lois Lane, anyone.) You know what happens next, the love affair becomes a bumpy ride, and the intended hero appears to be more villainous with more powers than Megamind himself.

The best part of the film, apart from the fantastic animation work, is the voice performance by Will Ferrell, who with a few twist in intonation and pause, makes Megamind a well-rounded character. Observe how the mispronounce Metro City!

Despicable Me, on the other hand, is more cliché-ridden. Gru is a sociopath, whose only ambition in life to be the world’s greatest villain. When some young thief threatens to steal his thunder by stealing the, yes, Pyramid, Gru, with the help of his mad scientist aide, plans the ultimate heist, stealing the moon. But, for that he needs money, and the ‘shrink ray’. But the shrink ray is with someone else, and Gru cannot possibly penetrate the other thief’s castle. Then he decides that the three orphan girls who sell cookies door-to-door can be used for the purpose. Without much ado, he adopts the girl, of course, to disastrous consequences. Soon, from being a villain, Gru turns into world’s greatest dad. Sweet.

Friday, March 11, 2011

Uncle Pai

My first experience of jealousy (that green-eyed monster, as Iago would tell Othello) involved my best friend in school. We were in class IV. He was a great guy. He would buy me cotton candy while returning home. So, when one day he invited me to his house, it was a big deal. He lived in a colonial mansion (his grandfather or someone was a Raibahadur during the British era), unlike the small, rented house my parents could afford. What’s more, he had his own room. We went to his room, threw away our bags and shoes, and he opened a medium-sized wooden box which was sitting pretty on the floor. And lo, I was insanely jealous of my friend. I wanted his life, then and there — nothing less would do. The reason: The box was filled with comics, each issue of Tinkle ever published till that date, and every issue of Amar Chitra Katha comics. My eyes caught the cover of one of the comics, an Amar Chitra Katha issue on Urvashi, the heavenly nymph, as she waits for her lover in the garden, wearing, well, almost nothing. This is perhaps the only childhood memory I remember so vividly, with all its myriad colours. I still remember the desire filling my heart. I wanted that wooden box with all its contents inside, all for myself. It was the beginning of my love affair with books.

Those days we lived in a town where the morning newspapers arrived in the afternoon, after we had returned from school, had our lunch, and our mother was trying to convince us to take a siesta. The newspaper guy was a smart fellow. He would arrive in a bicycle, and ring his bell to hand over to us the copy of Dainik Assam. Then he would rummage through the basket tied in the handle of his bike and fish out the latest copy of Tinkle or Amar Chitra Katha. If I remember correctly, the price of the comics was Rs 2 or Rs 3. Those days that was a lot of money. We had a rule. We would buy only three comics in a month. Once the month’s quota was over, my mother would tell the newspaper vendor to bring the copy next month. It was painful to wait for the month to be over, especially after we had finished reading the three comics thousand times over...

This post was to be a tribute to Anant Pai, popularly known as Uncle Pai, who passed away last month. In the last two weeks or so, I have read the tributes and obituaries about Mr Pai, how he was the father of Indian comics, and how he changed the way we perceive publication for children in India. I have visited sites in the net hosted by people who are utterly, utterly nerdy about ACK comics. There are sites from where you can download scanned copies old ACK issues. I have a whole bunch of them in my computer. In short, the influence of Mr Pai on an entire generation of Indian population (especially those who grew up in early 1980s) is nothing short of historic. After his death, someone posted in twitter: “The contribution of Anant Pai to Indian culture and heritage is far more influential and important than most people who claim to be the guardians of Indian culture.” This says everything. Our history wouldn’t be the same without Mr Pai.

Personally, I owe my knowledge of Indian mythology, culture and history to Mr Pai. At least, he helped me build a great foundation.

What’s great about the ACK titles is how lucidly a series of panels could tell you an interesting story, which is at once informative and entertaining.

After Raja Ravi Varma, it was the ACK that visualised what mythical characters should look like and set a standard, a standard that has been followed over the years in various other medias. Remember, Ramananda Sagar’s ‘Ramayan’ and B R Chopra’s ‘Mahabharat’? Remember how the characters were dressed, and the kind of gaudy jewellery they wore? History tells us that the sartorial habits of the people from the ancient times were not that dramatic (for an authentic look at how our ancestors dressed, please refer to Sham Bengal’s ‘Bharat Ek Khoj’.) If it’s so, then from where the TV serials found their inspirations? From ACK, of course. Look at the drawings, the handsome figures, the pretty dresses, and all those fancy jewellery, — they are so lifelike, you start imagining these ACK panels as reality.

I don’t exactly remember most of the ACK comics I had read, and I have read quite a few. But if you ask my about a mythological story, say about Eklavya or Angulimaal, I can tell you the story — how it unfolded. I suspect the story would be the same story that I learned from an ACK.

>>>>>>

Anant Pai’s Wikipedia entry
An interview with Anant Pai in The Hindu
Anant Pai: The many sides of the ACK founder, in DNA
Uncle Pai’s love for kids was extraordinary, in DNA

Thursday, March 10, 2011

Hereafter

Directed by: Clint Eastwood
Produced by: Clint Eastwood; Kathleen Kennedy; Robert Lorenz; Steven Spielberg (executive)
Written by: Peter Morgan
Starring: Matt Damon; Cécile de France; Frankie McLaren; George McLaren;
Music by: Clint Eastwood
Cinematography: Tom Stern
Release date: October 22, 2010
Running time: 129 minutes
Country: United States
Language: English; French
Budget: $50 million


I admire Clint Eastwood. When all his contemporaries are either dead or retired, basking in their old glories, Eastwood has been scaling milestones after milestone, making at least a film a year, all of them better than an average Hollywood movie, even his bad ones (Is there a bad Eastwood film? Blood Work? Oh, I liked that film.) From the 1990s, starting with his universal masterpieces Unforgiven, Eastwood has been making movies with the zealousness of an artist in a hurry, as if it is a compulsion for him to make one film after another. In the hands of a lesser mortal, such a process would result in tepid, repetitive products. But, not in the case of Eastwood.

No two single films of his are similar, especially the recent ones. Even when he takes the same historical setting for the two films, Flags of Our Fathers and Letters from Iwo Jima, he makes two entirely different pictures. Letters..., the 2006 film in Japanese about the battle of Iwo Jima from the Japanese point of view, is perhaps his last masterpieces, which would rank with several other masterpieces he has given us — Unforgiven, The Bridges of Madison County, Mystic River, Million Dollar Baby... However, the recent Eastwood film I enjoyed immensely was the small 2008 film, Gran Torino. The film may be simplistic in parts, and hankered elsewhere, it is told with such heart and feeling that it becomes impossible not to fall in love with it. And Eastwood himself, as an old man preparing himself for the last act of courage, is endearing to the core.

This brings us to Eastwood’s latest, Hereafter, and frankly, I don’t know how to respond to the film. Based on an original screenplay by Peter Morgan, who wrote The Queen and Frost/Nixon, the film, starring Matt Damon, among others, is a beautifully photographed and languidly-paced meditation on life, death and afterlife, not necessarily in that order, that fails to find a closure for its own argument. Better still, was there an argument at all? I guess there was, and the French TV anchor turned author Marie Lelay (Cécile de France) insists, there’s an afterlife for sure, she had a glimpse of it during her near-death experience in the Tsunami. But, what this afterlife looks like, and what purpose does it serve for the living, the film skirts these issues. Instead, the film tells three unrelated stories about characters whose life has been shaped by death, and as the film ends, these three strands of the plot come gloriously togther at the crowded London book fair, with Derek Jacobi reading from Dickens before a mesmerised crowd.

I hated the ending. This much I am sure. It was as if, after playing for an hour, the film was in a hurry to finish the story, and took the easy way out, made everybody happy, with two perfect strangers Geroge and Marie kissing and walking together into the sunset, as young Marcus learns to stop searching for his dead brother. Everybody is happy, we can go home now.

A major theme of the film is the randomness of death and how it affects the living. The film features two major real life events — the 2004 Tsunami and the 2005 London metro bomb blast. But the concern here is not the dead, but the living in the face of death.

The film begins with the Tsunami in Thailand, a sequence that should be more than the worth of your admission price in the multiplex. The film was nominated for an Oscar in the special effects category on the strength of this single sequence. It gives you an idea what the Tsunami was like, and I must say, it’s far better than the entire 2012.

Marie, a tourist in Thailand, is swept away in the surge of waves, where she dies, sees a glimpse of the so called “afterlife” (shot in the typical cinematic vision of heaven, a broad open area of filled with light and shadowy figures; it’s not like the technicolour heaven designed by Peter Jackson in The Lovely Bones) and comes back to life. As she probes deep into her mind, she begins to loose touch with reality, and becomes more and more interested in afterlife, but faces resistance from everyone around her. Nobody wants to know about life after death. But Marie is adamant, and finally decides to write a book about her experience.

On the opposite pole is George (Matt Damon, in a muted, understated performance; this actor is growing exceptionally with each new film), an American who has access to afterlife following childhood medical complications, and it makes his life unbearable. If he could he won’t have anything to do with the dead, but he has the gift, or the curse, and the dead follows him through the living. Slowly, and ironically, George runs away from life to avoid colliding with the dead. (I am yet to see Alejandro González Iñárritu’s Buitiful, where the central character is also a psychic.)

Between them is 12-year-old Marcus, who has lost his twin elder brother Jason, the leader between the two, and his cracked up mother is no help. As he is put in adoption by the social services, Marcus visits one psychic after another to be able to reunite with his brother, and in a dramatic scene involving the London bomb blast, he is saved by the ‘ghost’ of his dead brother, who does not want Marcus to wear his cap. The story involving Marcus is the emotional heart of the film, the only reason you want to sit through the entire flick. What Marcus has lost is irreplaceable, and he has no help but himself. At the end, he meets George, who helps him come to terms with the fact that his brother is not lost forever, but there inside him, in his memories.

I wish I could love the film more; but there are more puzzles in the film that cannot be solved, and this, in the case of a ‘good film’ can be quite frustrating.

Tuesday, March 08, 2011

Beyond Indigo

Preethi Nair’s ‘Beyond Indigo’ is unabashedly a ‘chick lit’, a veritable com-com. You can make a Hollywood film based on the book, with Amy Adams and Patrick Dempsey in the lead. Oh, you will have to change the race of the central character, and the whole obsession about marriage. But that’s easy. It will take nothing away from the central theme of the book — a girl on the verge of giving up, discovering her talent, reclaiming her life and love and in the process also winning a coveted award. Neat.

The plot sounds too simple, too linear, and at times too cliché-ridden, that you would think you can too write a story like this. But making such a story a compelling read, like a suspense novel, is quite a skill, and Nair shows off her skills in broad brushstrokes.

What Nair achieves here is the masterful use of ‘delayed resolution’. You know what’s going to happen next. Nair also knows that her readers would guess what would happen next. So, she delays the events from occurring before it becomes inevitable. And when the event finally occurs, readers find a sense of affinity with the writer, they both guessed the same thing, they both are in the same page. It may not sound great, but it’s a remarkable skill for a writer.

The only problem I had was the caricature of the central character’s parents. Expect Nina, the narrator-heroine of the novel, no other characters have been allowed much scope for development. Yet, I found the portrayal of Nina’s parents, especially her mother, whose only ambition in life is to see her daughter get married, too much cliché-ridden. I know, marriage is the great Indian past time, still. (Then I remember, the book has been written by a London-based writer of Indian origin, targeted at the Western audience, so a dash of Indian exotica is given.) On the other hand, Nina’s ultimate love, Michael, also looks like as if he has just landed from a particularly soppy Mills and Boon romance. You know what I mean.

The story begins very much like recent Hindi film ‘Turning 30’, with Nina, a corporate lawyer, suffering a mid-life crisis. She wanted to be painter, instead became a lawyer to please her parents. Her best friend is dead. Her parents wants her to get married. Then one day she quits her job. While visiting an exhibition of French artist Henri Matisse, Nina is inspired by one of the artist’s quotes: “Creativity takes courage.” In a lurch, Nina decides to follow her dream, to paint, without telling anyone about it, especially her parents. Things complicate a lot when she finally agrees to marry an Indian guy, and invents an alter-ego for herself, a Japanese artist. And then problems after problems, solutions after solutions that read like a suspense novel.

It’s a skill to maintain the tempo in a first person narrative, and Nair does it quite well, giving the narrator-protagonist a believable voice.

Strangely, I had never heard of Preethi Nair before I picked up the book. Now, I can tell you, she has an assured voice.

(This must be a sign, as Nina experiences in ‘Beyond Indigo’: While writing this note, I came across a picture in tumblr where it was written: “Creativity takes courage.” — Henri Matisse.)

Morning Glory

Directed by: Roger Michell
Produced by: J. J. Abrams; Bryan Burk
Written by: Aline Brosh McKenna
Starring: Rachel McAdams; Harrison Ford; Diane Keaton; Patrick Wilson
Music by: David Arnold
Cinematography: Alwin H. Kuchler
Release date(s): November 10, 2010
Running time: 107 minutes
Country: United States
Language: English


What I admired most about Morning Glory was its resolute refusal to fall in the trap of the formula Hollywood romantic comedy. It comes dangerously close, the ‘object de amour’ is introduced in first 20 minutes, and the setting, a big city TV station, is an ideal place. Love is in the air. Only thing is, this Rachel McAdams vehicle is not a rom-com, and no, she does not fall in love with the Harrison Ford character in the end. In a world, where the formula is the safe bet, you must admire even a mushy film that dares to defy it, if only to a certain extent. Despite its courage, Morning Glory comes with own its territories, and in the end, fails to lift itself from the barriers of its own making.

Rachel McAdams has a commanding presence. But, does she have the strength to carry an entire film on her slender shoulders, a film which also features veterans like Harrison Ford and Diane Keaton? Recently, she was the time traveller’s wife, and the woman, Irene Adler, to Robert Downey Jr’s Sherlock Holmes. So, answer to the above question would be, yes. Only if the film itself would help her. The film hinges on her inter-personal relations with the Ford character. Here, the film scores above the formula rom-com, and here, at the same point, the film fails, as the Ford character is not given enough space to grow. (or is it because as audience, even we have fallen prey to the formula and can’t do without it?)

After she is fired from her job without much ado, Becky, a workaholic executive producer of a TV station, lands in a job at Daybreak, a morning TV show without a respectable rating. Nevertheless, she is kicked about her work, and wants to prove herself, above all. But, things are not going well. On the first day, she fires the co-host of the show. This everybody appreciates, he was a creep anyway, but where would they find another host, when the company is not willing to spend anything on the show. Becky finds a chance with Mike, once a star reporter of hardcore news, now without a job, yet still in the payroll, because he won’t compromise the values.

When Becky suggests Mike to join her show, he thinks it’s a joke. It’s beneath his dignity even to be associated with such a show, let alone hosting it. Becky shows him the contract. Mike does not have a choice, and he reluctantly agrees. What follows next is the struggle of will between the host and executive producer, also involving the other host, Colleen, played by Diane Keaton.

Things go from bad to worse. The company threatens to shut the show. Becky seeks a month. Her love life goes for a toss, as she struggle to up the rating, all the while Mike remaining nonchalant. You know how the film ends. Our brave heroine will win the day, and everything will be all right.

Ford plays Mike as a man disillusioned with everyone around him. It's a huge departure from the action oriented roles Ford is known. Here, he is cranky and bitter. It suits him. But he gets too much wrapped in the role. So when the moment comes for him to compromise between the hard news (the corruption of the Albanian president), and the fluff (how to make a frittata), it fails to generate enough dramatic punch. Again, there was not enough interaction between Mike and Keaton’s character, Colleen. The Hollywood veterans have worked together for the first time, and the banters between them are the best scenes in the film. The chemistry is crackling, and its sad that the film failed to cash on it. At one point, you wish if there were more of Mike and Colleen than McAdams’ Becky. Like in all her films, here too Keaton plays herself, yet, when she is on screen, you cannot look at anywhere else. She has a way of making you listen to her; that attitude!

But McAdams is the centre of Morning Glory, and she holds the film together with enough charm and warmth. The zealousness she infuses in Becky’s need to succeed make her vulnerable and real, and makes you root for her, not in a formulaic way, but genuinely.

Monday, March 07, 2011

The Long Kiss Goodnight

In short, the 1996 action thriller is a classic Angelina Jolie film, without her in it, of course. The film reminded me of the latest Jolie blockbuster Salt so much! Only difference is, while Salt is alone in her mission to save herself while eliminating her enemies, here Geena Davis has a sidekick in Samuel L Jackson. You would remember Davis from Thelma and Louise, and she perfectly fits the bill as a kick-ass action star. What intrigues me however is Jackson playing the sidekick, the demented action heroine’s voice of reason, at the height of his career, after his breakthrough role as Jules in Tarantino’s Pulp Fiction, and his star turn in Bruce Willis’ Die Hard With A Vengeance. Here is plays a tough but nice guy, almost emasculated, to enhance the masculine possibilities of the Davis character (At the beginning of the third act, he tells the action heroine, “I will wait for you to come and rescue me.” Nice.)

Written by Shane Black and directed by Renny Harlin, the plot of The Long Kiss Goodnight is an excuse for action. Samantha, a school teacher, has a lovely daughter and a nice boyfriend. Everything is perfect, except that she cannot remember anything of her life prior to the day she was rescued from the sea eight years back. She is the ‘amnesia chick’, who has hired several private detectives to dig up her past, but without success. The latest is Samuel L Jackson, a small-time crook looking for some easy money.

On the occasion of Christmas, she dresses up as Santa and takes part in a carnival, an event which unfortunately is broadcast in TV, and is seen by people who thought she was dead, and want her dead anyway. Meanwhile, Samantha meets with an accident and suddenly realises that she can wield the kitchen knife like nobody’s business. How? Next, a bald guy shows up at her home, and Sam more or less kills him single-handedly. Next, appears Jackson’s private eye with information, and Sam embarks upon a journey to open a can worms about her past as an government assassin. Wow. Next, it’s all bang, bang, and more bang.

Like Jolie, Davis navigates through the gunfire, explosion and fights with an effortless panache, which is fantastic to look at, as long as it is on. And then, you move on.

Rare Exports

Directed by: Jalmari Helander
Produced by: Petri Jokiranta
Screenplay by: Jalmari Helander
Story by: Jalmari Helander; Juuso Helander
Starring: Tommi Korpela; Per Christian Ellefsen; Ville Virtanen; Jorma Tommila
Music by: Juri Seppä
Cinematography: Mika Orasmaa
Release date(s): December 3, 2010 (Finland)
Running time 84 min.
Country: Finland; Norway
Language: Finnish; English

Rare Exports is a satire wrapped in the format of a horror/monster movie, sold as a Christmas film, complete with a child in the lead. If it sounds bizarre, that’s exactly what the 2010 Finnish film is, and it’s not necessarily a bad thing. The subtitle of the film reads: ‘From the land of the original Santa,’ and it involves a group of people whose business involves hunting reindeers. In the US, the film was released with the subtitle, ‘A Christmas Tale.’ But, if you are looking for merry, merry time here, you’ve been warned.

The film begins with an US millionaire excavating at the Korvatunturi mountain with small crew, who gets very excited when he’s told that they have found sawdust beneath the stone mould. He confirms that the legend is true, and he is about to fulfil the dream of his childhood. The excavation site looks eerily haunted, and in the context of a monster/horror movie, it’s not a good sign.

Two small boys from the nearby Finnish border sneak into the site to see what’s going on. One of them, Pietari, realises that something is indeed wrong. It’s two days before Christmas, and like all children of his age, he believes in Santa Claus, only that the Santa he has read about is not the old fellow with the ho, ho, ho laughter. Pietari’s Santa is a big, bad monster with two crooked horns in his head, who beats up children and eats them. A long time ago, tired of his cruelty, inhabitants of the land had tricked him to a lake where he was frozen, and the people had built a mould of stone above. Now, the Americans are digging up Santa’s grave.

One day before Christmas. Pietari wakes up in fright, especially when he sees giant foot marks on the snow on the roof of his room. Has Santa escaped from his grave? Pietari wants to warm his father, a butcher (His mother is dead, and the father and son duo lives in an isolated house in the snow-fill mountain, an ideal location for such a story to unfold.), but he’s busy. They have a big day ahead, to hoard reindeer with his partners.

Things dampen considerably when they find just two reindeers. Further investigation leads the party to the border where they find 86 reindeers, all gutted and useless. Santa must have been very hungry, Pietari thinks. His father is very upset and very angry, there goes his business. He thinks it’s the work of the American and his henchmen. The party crosses the border to the excavation site to demand compensation, the price of 86 reindeers. They find the site empty. For Pietari, his worse nightmare is confirmed. They have unearthed the original Santa. He wants to warn his father again, but who’ll listen to him?

Not until Pietari’s father finds a strange old man in the trap he had made for wolves. Strangely, this naked old man shows a glimmer of life when he sees Pietari. His father asks if Pietari knows who the old man is. Pietari answers, he’s Santa Claus. But Pietari is wrong, the old man is not Santa, he’s one of Santa’s helpers, an elf.

Where’s Santa then? And, why are the heaters from the neighbouring town are disappearing? And, as Pietari investigates, even the children are missing. He senses what’s going on. “It’s going to either Santa or me,” he finally tells his father, and hatches a masterplan to face Santa the demon.

Though Pietari is the protagonist of the film, Rare Exports is by no means a children’s film, far from it. The tone of the narration, the location, the way the film is mounted and shot, in dark blue and gray, and at night, it adheres to the classic monster movie genre, and excels in it. Until we come to the last act, the business of the ‘exports’ in the title. Here’s the film gives us a biting satire on American consumerism, especially the business Christmas. I am saying no more.

(Wikipedia tells me about the original myth of Father Christmas which inspired Rare Exports: “Home of the Father Christmas Korvatunturi is the place where Father Christmas (or Joulupukki in Finnish) lives. This legend comes from a children's radio show called Markus-sedän lastentunti ("Children's hour with Uncle Markus") hosted by Markus Rautio and broadcast by the Finnish Broadcasting Company between years 1927 and 1956. Uncle Markus told children that from this "Ear Fell" Father Christmas can hear what all the children are saying so he can find out if the children behave and obey their parents (and therefore may receive gifts next Christmas). This legend is an important plot point in the 2010 film Rare Exports: A Christmas Tale.”)

Friday, March 04, 2011

Modern Family

The modern family is not really modern. It’s more traditional, conservative, stereotypical and overtly racist.

Last night, I saw the complete first season of the American comedy sitcom Modern Family, imagine! What a waste of time! But it was fun, really. The episodes are short, funny, and in many ways, endearing. These are probably the reasons the series has been so popular.

I remember reading sometimes back, a critic commenting on how the series depicts, among other things, our overreliance on technology and gizmos, so much so that each episodes will feature some or other gizmos. The comment is spot-on. There’s an episode involving an iPad, an episode featuring a kindle, an episode about home theatre system with a high-tech remote.

All these things are cool, but what I could not stand was how overtly racist the family is, that too when one of the family members is married to a Colombian woman, and the gay couple has adopted a baby from Vietnam. Even when dealing with Gloria and little Lily, the white characters of Modern Family behave as if the ‘others’ cannot understand them. And, this is multicultural American. And here people are identified by their race, for example, the 'Asian doctor'. What is even more strange is that there are no black characters visible anywhere, especially in the first season.

Apart from these points, Modern Family is like our own saas-bahu serials, a big happy family dealing with each other's quirks. There is the patriarch Jay, his second wife Gloria and her son, Manny, Jay’s daughter Claire, her husband Phil and their three children, Jay’s son Mitchell, his partner Cameron and their adopted daughter Lily. Each episode talks about family values, parenting, and about adjusting with one another. It’s all fun, only you wish they were not that conservative. And, I am talking about a TV show where a gay couple plays a prominent role.

Among these three sets of people, I like the odd couple, grandfather Jay and his sexy Colombian wife Gloria, and their over-zealous son, Manny. That too, despite they being stereotypes.