SubscribeHats off to Bollywood’s Star
Imagine– Prime Minister Manmohan Singh visits the US, and one of his key meetings are with the creators of Wall-E because their film was about global warming and human waste.
That didn’t happen, obviously. But, when Secretary of State Hillary Clinton visited India, she met up with Aamir Khan. Before you scratch your heads, it’s because Khan is the brand ambassador for The Times of India’s Teach India Initiative. Why is a Bollywood star the brand ambassador for the program? Because he made a movie about a dyslexic child’s struggle with the Indian school system.
Before you think I’m pulling an Arundhati Roy and think it’s ridiculous for actors to voice their opinion or take a stance with social issues, let me tell you that I think what Khan’s doing is brilliant– and here’s why.
Years ago, I wrote an opinion editorial about Lage Raho Munnabhai’s incredible achievement of reviving Gandhi’s teachings in India (yes, Gandhigiri was so forgotten that it needed reviving). I thought it was incredible– and I thought, this is why Bollywood is great. Everyone watches mainstream Bollywood films. And if made right, they really can have an incredible social impact. Aamir Khan’s directorial debut Taare Zameen Par was one such film that highlighted a huge problem in Indian society. I’m not sure how much of an impact it had, if any, on the educational system in India, but it was definitely a topic that needed the limelight.
Khan and Clinton had an important conversation on the many problems in Indian education, like the lack of diversity in majors students pursue, or the style of teaching that the majority of teachers use. Usually, talks about education in India center around the need to make sure rural areas and women are getting a good education. Of course, that’s a topic of utmost importance. But a focus on the current methods of teaching that will impact future students must also be reviewed.
Aamir Khan, as many Bollywood actors, have been criticized for their support of different social issues (such as the Narmada dam). If Bollywood stars are capable of bringing important topics to focus, then I’m all for Bollywood stars getting active with social issues.
Waiting for Kaminey
Kaminey is the next big film to release in Bollywood, and I’m really excited.
The film is directed by one of my favorites, Vishal Bhardwaj. Originally a composer (Maachis was one of his best albums) and good friends with Gulzar, his films are some of the best that have come out of Bollywood in recent years. Most notably, Omkara and Maqbool, both interpretations of Shakespere plays (like Gulzar’s Angoor), were highly appreciated by audiences and critics. Maqbool, starring Pankaj Kapoor, Tabu and Irrfan Khan, reenergized Kapoor and Khan’s career. The haunting interpration of Macbeth reminded us why Tabu is the best.
Omkara went a few steps further. Although Maqbool had better performances and was overall a better film, Omkara was much more mainstream than Maqbool. While Maqbool had more parallel cinema stars like Tabu, Pankaj Kapoor, Naseeruddin Shah and Om Puri, Omkara had Saif Ali Khan, Kareena Kapoor, mast item-numbers from Bipasha Basu, an incredible performance from Konkana Sen Sharma, Ajay Devgan and Vivek Oberoi. All were phenomenal in their roles, and it was Khan’s most important and needed performance in his career after Dil Chahta Hai. This film also reminded us that Kapoor can act. It also reminded us that films with incredible depth, meaningful dialogue, and tragedy don’t have to exclude filmi item songs. Serious films can have some fun too, and Omkara taught us that.
So what will Kaminey teach us? Priyanka Chopra already had a fantastic 2008 (Fashion, Dostana, let’s pretend Love Story 2050 didn’t happen) and Shahid Kapoor needs what Omkara did for Khan, to show that he can deliver a performance different from his default role (Jab We Met). Let’s hope this caper helps remind Bollywood what good films are!
Bollywood’s peeking out from its closet
Finally. Finally finally finally. Indian courts yesterday ruled that gay sex is no longer illegal in India, stating that “The inclusiveness that Indian society traditionally displayed, literally in every aspect of life, is manifest in recognizing a role in society for everyone.”
Thankfully, in this new age of Bollywood where fimmakers are actually veering away from formulaic masalas, some films did have gay characters and addressed some issues pertaining to the gay community, some better than others. Here’s a look at some of those films that made an impact:
- Honeymoon Travels, Ptd. Ltd (2007)– A light film with some heavy themes. One of them was of an gay non-resident Indian who married an Indian girl he met online. Another newlywed couple start to face problems when the husband discovers that he may be gay. The reason why the film was important is because it doesn’t portray the two gay characters as cross dressers (which is Bollywood’s default definition of homosexuality). The men are perfectly normal, and are gay. It’s not overly dramatic, it’s actually very relatable. Hats off to the director!
- Fashion (2008)– The film was another from Madhur Bhandarkar, who is famous for his films with strong female leads. The film was mainstream, thanks to the strong backing of Ronnie Screwvala (the producer), and the lead actor Priyanka Chopra, but still touched on themes that were seldom addressed in films before. One of them was homosexuality. Some men were openly gay, while another openly gay established fashion designer asked a female friend to marry him because of pressure from his mother. She does, knowing full well that he is gay. The film did a great job handling the subject because it wasn’t demeaning and it was a realistic portrayal of gay men needing to marry to appease their family.
- My Brother… Nikhil (2005)– This film came out years before any of these others. I would credit it with opening the gates for homosexuality in Bollywood. The film wasn’t like the others– it was serious, and it was a tear-jerker. Also, the main character, unlike the other films, was actually gay. The protagonist, played wonderfully by Sanjay Suri, was diagnosed with HIV. The film doesn’t show any love scenes between the two men, but it does show a type of intimacy that was never before shown between two men in Bollywood. The movie was produced by one of the most powerful production companies in India, Yash Raj Films, but the promos never touched on the gay relationship, just on the AIDS theme.
- Dostana (2008)–I saved this movie for last because it is getting all the hype when it comes to homosexuality in Bollywood. (The New York Times even referred to it in its article about the court case today.) The reason why this film is a big deal is because it is produced by Karan Johar, and stars three A-list actors. Personally, I found some of the story ridiculous (like Priyanka Chopra’s wardrobe, or why Bobby Deol was even in that film). The two leading men (Abhishek Bachchan, John Abraham) pretend to be gay so they can live in an apartment with a girl who has an overprotective aunt. It was a masala flick that was a bit different, but still did have all the songs and ridiculous wardrobe choices and overacting. Although the actors pretend to be gay, homosexuality isn’t looked down upon, and a doting mother even accepts her son and his son-in-law. I wouldn’t say that the film was revolutionary for gay rights, but it seemed to make it OK to be gay, which was definitely needed. I just wished that the characters would have actually been gay.
I have left out Straight because the film failed and didn’t really seem to make sense, but it’s worth a mention because the leading character (Viinay Pathak) thinks he might be gay. It wasn’t that revolutionary, or even that good. I didn’t include Fire because it wasn’t really a Bollywood film and was made way before the period of Bollywood I’m referring to, although it was fantastic. Movies like Girlfriend wasn’t included either because it was all skin and no depth.
Obviously, Bollywood has a long way to go. I’m hoping that Bollywood moves on from only showing cross dressers or gay characters included in the script just for comic relief. Hopefully this progressive movement by the Delhi Court ushers in an even more progressive movement from Bollywood.
Remembering Michael Jackson through A.R. Rahman
When I think of Bollywood and Michael Jackson, I automatically think of this song.
It’s not an obvious copy of anything Jackson, which definitely were common in the 80’s.
The song “Urvashi” by A.R. Rahman was definitely before his Slumdog days, even before his Chaiya Chaiya days. The song, which was from Prabhu Deva’s film Humse Hai Muqabala, makes you feel nostalgic for the 1990s and for the late Michael Jackson.
The song made the now famous singer/ composer Shankar Mahadevan famous. Rahman, who joined Mahadevan for the vocals, made the song extremely popular and catchy.
Today, there are many noteworthy composers who take risks with their music, such as Pritam, Salim-Sulaiman, Vishal-Shekhar and Shankar Ehsaan Loy. In the 90’s, it was Rahman who left the typical Jatin-Lalit and Nadeem-Shravan melodies and made music that was distinctly original, whether it was Roja, Bombay, Dil Se, Taal or Rangeela.
“Urvashi” in particular stands out to me. For one, it was one of his early hits, before his name was a household one in the north (he was already extremely popular in South India). And the other is definitely because of the lyrics of the song.
The chorus simply says, “Take it easy Urvashi,” and the whole point of the song is to just go with the flow, a modern version of Dev Anand’s “Mein zindagi ka saath nibhaata chala gaya.”
Some favorite verses from the song are sometimes comical, sometimes revolutionary. Some favorite verses translated:
Urvashi, Urvashi, take it easy, Urvashi
…..
The way to win is by having a take it easy policy
There are only four days of bliss,
Youth is a fantasy
The power went off during Chitrahaar (popular TV show)
take it easy policy
After studying, still failed
take it easy policy
Father said that you’re mother’s enemy
take it easy policy
Commit sins, and wash them away
take it easy policy
……
Cats aren’t vegitarians, not everyone is God
Women won’t have equal rights without a revolution
Times have changed, old thoughts won’t work
She didn’t come for the movie
take it easy policy
If there’s an old hag sitting next to you
take it easy policy
If you have to work on Sunday
take it easy policy
She loves but then asks for money
It’s an incredible song, made better with Prabhu Deva’s dance moves. Here’s the video:
Bharat ko bachale Vidhaata.
Ram Gopal Verma’s new trailer for his film Rann somehow already managed to get banned by the censor board and reached the Supreme Court, who ordered the Censor Board to reconsider its ruling.
If you watch the trailer, hopefully you will recognize the melody and the words. It’s India’s national anthem, with some added lyrics. The song by no means tainted the national anthem or voiced any anti-Indian sentiments, yet it was banned.
The lyrics addressed the growing divide between Indian states and its people. It addressed India’s apathetic nature towards politics and the government, as was seen earlier this year when, despite major efforts to increase voter turnout, it was still only 50 percent.
The Censor Board referred to a law which stated that the National Anthem could not be altered, thus banning the trailer of the movie. But isn’t that at odds with the basic concept of the freedom of speech? Even if the song was unpatriotic and anti-Indian, it would surely warrant controversy, but definitely not a ban. And this song is far from either– the words and the creativity in which the song was rendered does not deserve such treatment from a progressive democracy.
The song isn’t anywhere near a performance by The Roots in California, where they sang Bob Dylan’s “Masters of War” but started the song by singing lyrics on the tune of the National Anthem. Some lyrics, directed at the leaders of the country at that time, were: “You play with my world like its your little toy… i just want you to know, i can see behind your masks. ” Very tame compared to Rann, yet no problem.
RGV has done many crazy things over the years, including some incredible films (Satya, Company) and some not so much (Daud, Gayab). But in this case, more power to him, and to the what should be progressive country of India. As said so wonderfully in the song, “Bharat ko bachale vidhaata.” God save India.
Bollywood’s growing up, and we’re watching.
When people think Bollywood, the script pretty much goes like this: The colors are so pretty! The dances are so fun! It’s escapism at its best! Everyone is so pretty! The acting is over the top. The story lines are completely unrealistic.
While many of these thoughts accurately reflect many Bollywood films, another style of Bollywood that stands in complete opposition from the mainstream masala flicks is regaining a strong following in Bollywood. These films don’t come with the generic ingredients to make a “only for profit” masala flicks, nor do they necessarily come with a profound message or are void of songs or silliness. They’re just better– more thought out, more logical, better for your brain– and more entertaining.
Now hold on. I’m not referring to the Bollywood that is completely “artsy” (although they count), I’m talking about films that are well-made, films not solely made to woo certain audiences to make some box office money. Recent examples include filmmakers like Vishal Bhardwaj (Omkara, Maqbool), Rajkumar Hirani (Munnabhais), Anurag Kushyup (Dev D). They were successful in making fantastic films that, surprisingly, were commercially successful as well. This clearly states that Indian audiences are expecting more than they used to. Films that once would have struck box office gold and won all the awards are failing. Switzerland and dance numbers just don’t cut it anymore.
The late 80’s, 90’s, and early 2000’s were dominated by masala films with formulaic scripts backed by producers whose sole purpose in making movies was to turn a profit. That’s not to say that this era completely lacked in profound cinema. Filmmakers like Ram Gopal Verma (Satya, Company), Vidhu Vinod Chopra (Parinda, 1942 A Love Story), Mani Ratnam (Roja, Bombay, Dil Se, Yuva) were those rare commercially successful yet innovatively enlightened filmmakers. I must add that I too am a a fan of commercial cinema, but more a fan of movies that broke from the norm (DDLJ) rather than followed it (too many to name).
The problem lies in the fact that that era lacked diversity in substance. Sure, commercial cinema, brainless entertainers, chick flicks are all welcome and an obvious ingredient in any film industry. But Indian filmmakers have so much more to offer, and we’re slowly watching what exactly that entails.
The point of this blog is to follow this new movement in Bollywood– call it progressive or parallel cinema. As Nasseeruddin Shah once said, “Bollywood is entering it’s adolescent phase.” Let’s be thankful that it got over its infantile phase and hope that Bollywood allows itself to fufill its incredible potential.
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