There were many reasons for watching this movie on the underworld gang lord-turned-politician Arun Gawli one of which being my roots in Mumbai city and Gawli’s charisma as a gangster-turned-politician. I was tempted to call Daddy a ‘biopic’ but it takes a rather beaten path than following facts, a lot of creative freedom has been taken to weave a dramatic story. But it’s based on the characters around Gawli and I’m a huge fan of movies that bring the retro look alive on the big screen, in particular my favourite decade, the 80s. The other reason for my anticipation of Daddy was the director Ashim Ahluwalia. I was very impressed with his previous classic ‘Miss Lovely’ which catapulted a lesser known Nawazuddin Siddiqui onto the international stage. It was a brilliant movie set in the 80s Bombay just like Daddy.
bollywood
Facts Over Films
Sanjay Leela Bhansali’s magnum opus Bajirao Mastani is due for release and there’s an outcry in the political circles for its ban already. The reason being an inappropriate portrayal of Peshwa Bajirao I.
The Peshwas were the designated Prime Ministers of the Maratha Empire, a post created by Maratha emperor Chhatrapati Shivaji Maharaj in the 17th century. The protagonist Peshwa Bajirao I (played rapturously by Ranveer Singh) was a brave general who served under the fourth Maratha emperor Chhatrapati Shahuji Raje Bhosale and his courtship with Mastani, the daughter of an Indian emperor, has evoked copious interest over a lifespan and figured in many writings. Sanjay Leela Bhansali’s attempt at characterizing their mystical love story for the big screen in typical Bollywood style has made historians and politicians seethe over its inaccurate dramatization; rather misrepresentation of the legend, and then the inane lyrics of the song ‘Malhari’. Known for his critically acclaimed big screen musicals like Khamoshi, Hum Dil De Chuke Sanam, et al, Sanjay Leela Bhansali attempts a creative reflection of a historical account with Bajirao Mastani. It’s certainly erroneous to consider his Bajirao Mastani as a documentary that strives to keep the artistic memory and present a historical view of the original folklore along with a soulful commentary. It’s a commercial entertainer, a movie which derives its texture and colourful backdrop from the rich Maratha history.
That Bajirao would have hopped to the tune of ‘Malhari’ the way Ranveer Singh has, or that the real Kashibai would have paired with Mastani at a festive occasion with her spirited and glamorous dancing is anybody’s guess. That’s where movies score a point over reality in providing delight to its faithful audience. But while history has its place in the hearts and minds of the viewer let’s be watchful that after all Bajirao Mastani‘s content must be revered or reprimanded as a motion picture and not be chastised for political gains. It’s an individual’s interpretation of a historical account which can be challenged just as its other contemporary films have been. And as aspirants of true love stories while we will learn about the immortal truth of Bajirao-Mastani from our history books, let the cinemas feed our endless love for entertainment eternally.
Drishyam
I hadn’t seen a taut thriller movie in a while and Drishyam fit that definition perfectly. Originally made in Malayalam by Jeethu Joseph and released in 2013, Drishyam (Visual) has now been remade in 4 other Indian languages, very recently in Tamil as Papanasam with Kamal Haasan and Gautami. The Hindi version which I thoroughly enjoyed has been directed by Nishikant Kamat whose earlier works I have enjoyed watching include his Marathi ventures the critically acclaimed Dombivli Fast (2005), and action drama Lai Bhari (2014), his Hindi action thriller Force (2011) with John Abraham, and Mumbai Meri Jaan (2008), a story about 5 characters in Mumbai and how their lives are affected by the 2006 Mumbai train bombings, which also won multiple Filmfare Awards.
A happy family in a serene Goan village, which includes the father (Vijay Salgaonkar/Ajay Devgn) running a small cable TV business called Mirage Cable Network, his simple, homely wife (Nandini/Shriya Saran) fondly looking after their two daughters, the older Anju, and the younger Annu. Apart from his lovely family Vijay has friends who vouch for his unblemished character, and he loves to watch all kinds of movies — you could see him glued to the TV set in his office all day and night, while his dedicated associate (José/Prathamesh Parab) goes around the small hamlet settling business. Then quite suddenly an incident occurs one stormy night and knocks the family into gloom and doom. It surrounds the bunch of happy campers into an unrealistic scenario with no sign of an escape from the inevitable. What happens next can only be described as an odyssey of plots and sub-plots and mysteries as Vijay goes from pillar to post to conceive a maze of mysteries throwing the police detectives, even the agile Inspector General Meera Deshmukh (another great portrayal by Tabu) in a tizzy, despite having an undoubted notion about the family’s undeniable involvement in the gory incident the police are sadly reduced to a gaping spectators! Under Vijay’s astute stewardship and shrewdness the family teams up to support the cause and overcome, what seems like an insurmountable challenge. But hang-on! It’s just when you think the movie is done and the cast has met its desired outcome, that the spine chilling climactic end is waiting to shock and raise your eyebrows even further. I can’t stop applauding the producers who have ensured the movie’s plot isn’t lost to the audience as it meanders from one sequence to the other ever so tightly, the sequences make you perch at the edge of your chairs, and if there was one movie where good music is used sparingly to provide relief from the ongoing tense drama, it’s Drishyam. It’s a brilliant plot, a brilliantly shot movie, and a must-see for movie lovers.
Fuss About Nothing!
Virtually everyone in India is now talking about the (edited) version of the AIB Roast show on YouTube which was hosted by ‘Roast Master’ Karan Johar in Mumbai and presided over by the glitterati from the Bollywood industry. The talking point has been the use of offensive, insulting and politically incorrect language to create humour involving 2 of Bollywood’s upcoming stars Ranveer Singh and Arjun Kapoor, who are publicly known to share a good companionship. If reports are to be believed, the audiences paid INR 4000 each (about CAD 80) to watch the show (*gulp*)! AIB or ‘All-India Bakchod’ (loosely translated – Bakwas = senseless and Chod = f**k, one who indulges in senseless talk) is an incongruous bunch of talented stand-up comedians who produce and act in satirical comical videos on YouTube often targeting politicians and film personalities.
When I watched the video, I was offended with the free use of foul language, it’s frequency and unfettered use in an attempt to create humour, when the audience in the video seemed amused and was laughing away to glory I was smiling in awe. 2 upcoming actors with some credibility bearing the brunt of a noxious attack from a gang of AIB speakers, the comments petrifying and undignified which would make anyone grunt in disgust but for the affable Ranveer and Arjun who were chuckling in absurdity, swearing back at the speakers now and then, and cringing uncomfortably in their red armrests (as would anyone) as their personalities were being torn apart by waves of filthy lexicons. For a good reason I was shocked why 2 young and promising actors put up their dignity and career at stake and signed up for this noxious onslaught, when the audience of their films was already doing it for them at the box-offices across the country regardless!
The whole debate about morality and culture, and the use of ‘offensive language’ has been raked up again in the garb of “hurting public sentiments”, and may I add, unnecessarily, and pulling us in the tussle between modernity and ethnicity; the right or the worse, the choice that we as intellectuals have to make over a mediocre event! It’s so depressing. The Maharashtra government has ordered a probe to investigate if the show was “vulgar” and in violation of laws, now why would one waste tax-payer’s money on such an ordinary event. The right-wing political party MNS in Maharashtra on the other hand has demanded an apology from Karan Johar, Arjun Kapoor, Ranveer Singh and others warning of dire consequences, luckily for them because their political fortunes were sinking already in the state for lack of a political agenda. And a police complaint has also been filed by the Brahman Ekta Seva Sanstha in Mumbai for use of “filthy and abusive language”. I am doubly upset now because the media and politicians haven’t helped by raking up an unnecessary controversy and offering credibility to such a crass show that it’s going to garner more hits and likes in the coming days.
Indeed the humour lacked an entertainment appeal so to speak, the speakers and the host sounded drab after a period with their continuous diatribe of raunchy and repulsive language, it was also shocking to see the free and open use of offensive language. Point taken. Let’s not forget that it was a privately funded show with full-grown adults paying for their own tickets willingly, it wasn’t a charity show involving the government or state money, and I don’t think any politician could be seen in the crowd applauding – if that’s true then it’s again his/her private business. The participants, the actors and the audience knew what they were signing up for. If so many others like me found the content to be offensive, my advice would be don’t watch it! If I felt any more offended than this I would hire a lawyer to fight a case in the highest courts of law in India. But any form of moral policing will only dent the fundamental structure of our democracy which we as a nation feel so proud about. Let’s stay away from advising others on the standards of entertainment and what others should and should not do, as long as they are doing it at their own expense and within legal terms. Let’s not play by our rules and pile up our definition of moral standards of entertainment and humour on others and ask them to “SHUT UP” and to fall in line.
A rational advice on choosing entertainment came in the form of a judgement from the Supreme Court of India. In its petition the All India Human Rights and Social Justice Front had argued that some scenes from the Aamir Khan starrer ‘PK’ hurt religious sentiment disturbing public order and hence the apex court should ban the film. The Chief Justice of India, RM Lodha said, “If you don’t like it, don’t watch the film. Don’t bring religious facets here.” also adding “These are matters of entertainment. If you restrict it, it will affect others’ rights. Everything is on the internet. What will you hide?”. Yes I am upset and offended, and it has hurt my sentiments. And honestly speaking, I won’t watch this crap again.
Oye Lucky! Lucky Oye! (2008)
After Dibakar Banerjee’s critically acclaimed movie Khosla Ka Ghosla (2006) comes Oye Lucky! Lucky Oye (OLLO). Dibakar’s style of showcasing real incidents in the genre of comedy is very inspiring for me. Additionally his ensemble of cast are actors that a) are not stars by Indian definition and b) are always set in northern India mouthing colloquial speech. OLLO is set on similar principles. It’s a point which I want to make to our film-makers – stars do not necessarily make a great movie but the story does play a integral part of the film-making process.