Now, I am not a very violent man. I am an enthusiast of choreographed action; but not the person who goes out and picks a fight on a daily basis. However, slapping is simultaneously a symbolic and a physical reproach. This city of joy that I have grown to love has so many great things about it. The top ten things about Kolkata will make it'z debut in this same space tomorrow. However, there are certain kinds of people, who hurt the city consistently in their narrowminded shenaniganary. Here is my list of the ten people in Kolkata that I want to slap.
10, The Cheap Bodhi. You have seen her haggling to the poorest of the poor over things you would never think anyone would bargain on. I remember this once where a bodhi got on a bus with two kids about 15 and 11 years of age. When the conductor asked for tickets, she actually bargained with him and refused to pay for the second child - who was occupying an adult seat in the bus (it was one of those Tolly-Airport a/c buses). Come on. The average Kolkatan is someone who puts in about an hour's commute everyday to do a job that would have paid him more anywhere else in the country. Stop being a cheap haggler. When you hand in the twenty unhesitantly at South City for parking, why do you fight over the 5 rupees parking on Rashbehari?
9, The one at a time shopkeeper. Have you ever stood at a shop counter in Kolkata and waited, just endlessly as this person next to you is THINKING of what to buy. The shopkeeper, just stands there, in awe of the capacity of the person to contemplate what (s)he wants. You cannot express annoyance, because you are next in line. I have seen shopkeepers handling upto four clients simultaneously while engaging in small talk with all of them in Madras. I am not expecting everyone to do the same; but someone needs to slap this shopkeeper to wake him up.
8, The happy Aantlamo. Ooohh yea... This is that person who has to have an opinion about everything and automatically assumes invitation to conversations when there were none. The idea of Adda or chatting for the sake of it is an age old custom in Calcutta. It is a healthy exercise of speaking about nothing, with passion. I like this. I don't have a problem with this. However, I have a problem when people barge into these conversations and kill the idea of private space (more on that later). You can identify this person by his/her disregard for popular bangla cinema, a pretentious know-all air about an obscure subculture and an acute awareness of their own pseudointellectualism.
7, The Lake-destroyers. I am not against Public Display of Affection. I think it is very sweet when couples share an awkward kiss or hold each other in public. However, what happens at the lake on Southern Avenue is NOT an innocent gesture of affection. It is almost often a case of horny people with no marked definitions of shame. Even when you go out for a walk in the morning, which is considered one of the safest timezones to visit the place wtihout being scandalized, you are bound to encounter couples who are walking around aimlessly, taking stock of the situation. The moment the clock strikes eight a.m, they grow bolder and stare at you as if YOU are invading their area. These people who take such joy in killing the lake for children and old people alike in the afternoons deserve a massive slap.
6, The jay-walker. My dad often says that drivers in Calcutta, except the bus drivers are so well behaved. They don't go too fast nor do they try killing others just to get ahead. However, some people constantly keep trying their luck, almost challenging the driver into running them over. These are people from ALL walks of life, young and old, who think that just putting a hand out gives them a right to cross the road, whenever and wherever it pleases them. It kills me that there is an automated voice message begging them not to cross the road when the walking sign is red. In a spree of collectve color blindness, the people continue to cross at will and it is better to slap them before they get run over.
5, The callous smoker. Probably I am being a little unkind to the smokers here, for I come from the world's first (and currently ONLY) smoke-free mega-city. But I simply cannot accept the degree of approval that smoking gets in the city. Smoking is NOT cool. It kills you and people around you. And people continue to have the least regard for this, smoking in public vehicles, parks, offices and even educational institution. Couple of days ago, I cornered and stopped another biker and shouted at him for tapping the ash of his cigarette while riding the bike. If the idiot wants to die, fine; let him not try killing others on the road.
4,The over sensational journalist. Have you ever felt that the newspapers in Kolkata (I take Times of India regularly and Telegraph, I read occasionally; don't know about the Statesman) over-sensationalize even the tiniest thing? Often, they behave like they live in a bubble that is outside the continuum of reality but also keep making comments that speak as if they are the only ones that know how to direct the course of the nation. I am not against strong, critical news-reporting; but I don't want to wake up to read fabrications and forced-stories. Maybe that is the trend world-wide now, but as long as I was in Chennai, The Hindu did not screw with news.
3, The Spitter/litterer. When I first reached Calcutta; I told my friend that the two disparate things that you notice, is the City's beauty and it's poverty. It is not just the poverty in an economical basis I am talking about; but a general sense of disrepair and a total disregard for the beauty of the city by many, MANY people. How often have you seen really rich people, in big houses, casting away their garbage BANG in the middle of the road here in Cal? The worst thing, however, is the constant pan-chewing spitter who makes EVERY corner stained and disgusting. The other day, I went to Kalighat and it hurt me to see that, right at the entrance of the temple, was a flowerpot kept exclusively for the purpose of spitting. One of the greatest temples in India spat over on a daily basis. It is a shame that I wish someone redresses.
2, The Kolkata Basher. We have all met one of these people. The pretentious snob who is either from a different place, grown up in this city or from the city, but grown up in a different place who has NOTHING else to talk about, except how "primitive", "boring" and "oldfashioned" Kolkata is. The constant bashing of the city for its values reveal a deep sense of disgruntlement with their own personality and it is plain pissing off to be around these people. These people never raise a finger to change anything even when they could, they pretend not to understand bangla and walk with a pout that makes them look like dead fish. Repeated slaps may help these people get their heads out of their asses.
1, The one who says, you can't change it; this is Calcutta culture. The one person who is worse than those who bash Kolkata, is the persn who does more damage to the city, by saying it cannot be changed. I once remember somone telling that Old Development cannot internalize new changes. I know that to be untrue but in Calcutta, that is accepted as the be-all and end-all of things. How many times have you seen punctuality going for a toss because it is Calcutta culture? I used to go to a college where classes started at 8.15, and we were expected to be in class by 8.05 (failing which, we are not allowed inside the class for the first hour). To be at the great JU where the first hour starts at 10.20 and see even professors taking it lightly and turning up only after 10.30 breaks my heart. It is not the culture of the city that changes people; but the people who can change the culture of a city. So the next time someone says that Calcutta cannot be improved because that is the way they have always been; give them a good healthy wallop.
Some honorable mentions that did not make it to the final list; The four decade no-gooder was kept out of the list because their decisions affected the whole of WB, not just Kolkata. The JUnkies were also kept out for being too specific/topical a group. Not to mention bus-drivers in the city and old people who just stare at you. And of course, there are always my security guards who have not perfected the art of doing just ONE thing that I have been asking them to do for the past two years - put my bike out so that it does not get caught behind three cars everytime I want to go out.
Showing posts with label Art School. Show all posts
Showing posts with label Art School. Show all posts
27 August 2010
12 August 2010
Quick reviews; edition 3
Duplicity (2009)
Clive Owen is a man who I did not like when I saw his first film. But he has a knack for appearing in damn good movies; much like Russell Crowe. Not like Tom Cruise or Brad Pitt, mind you, who just choose roles that fit them well. Owen has an uncanny knack of acting in memorable movies. Owen does what is demanded of him and he will surely be remembered as one of the most underrated stars of this era. Opposite him is yet another ageing Hollywood female superstar who thinks that she can pull it off. But yes; Julia Roberts does justice to her role as the paranoid and ever efficient spy who wants to break away from her job at the CIA. Apart from paranoia, themes of deception and ego is dealt with extremely well in this rivetting film of two hours and five minutes. Paul Giamatti is one of the most respected actors in the business for a reason. He shines in his short but compelling role. I would go as far as to say that anyone else except Tom Wilkinson would have stunk up that unrealistic possum-playing role; but casting, as you could have guessed if you noticed the pattern, has been a strong point in this film. With a regular double-cross with a twist plot; Duplicity guarantees for an interesting two hours and gets a 6.8 regular rating. It's capacity of self-awareness gets it a 5.8 on the critical scale.
Law Abiding Citizen (2009)
I see a movie like this and think about Dracula 2000 and wonder, just how far Gerard Butler has made it. If a movie stars Jamie Foxx and you end up rooting for anyone else in the film, the actor has done one helluva job. Gerard Butler does that in this excellent socio-psychological Thriller where you are torn between the inevitable and the impossible at the end of the film. A friend of mine recommended this movie to me and I thank you Bat, for doing so. The plot cannot be simpler - and more disturbing. What does a superspy do when his family is raped and murdered and all that the law does is give smug half-answers? He gets involved. Really, really involved. The movie makes us feel the difference between the idea of murder as punishment rather than murder as revenge. Great tragedy sparks off other events of horror but can someone salvage enough sanity to orchestrate that horror into a meaningful question? Butler's character sets about his task and we all wish him to succeed, while knowing that ultimately, he has to turn savage to prove that he too, is human. This paradox heights this cat and mouse game. This movie could have ended up like a dozen other regular chase films, but stands out due to the intensity of the performances and a very smartly written script. This movie will appeal to a large section of the audience cutting through many demographs and that is precisely why I rate this pretty high on the regular scale at 7.8 but its weak ending and often over-dramatic and invented resolutions, it does not get better than a 5.8 critical rating.
State of Play (2009)
I hate Russell Crowe; his style of acting, his attitude, his face, everything. But most of all, I hate it that he ends up being a part of so many good movies that I have to watch him and enjoy his performances. State of Play is one such movie. This is perhaps the best political thriller I have seen in a long time and it keeps you hooked every step of the way. The only other movie which surpasses this, would be Michael Clayton, but that is another review. Crowe is a journalist whose estranged friend, a congressman, Ben Affleck breaks down in front of the media when his secretary (with whom he was having an affair) is murdered. This could not have come at a worse time for this congressman has been the rallying point against the privatization of the army lobby. The movie works like a boxing bout, with each side seeming to gain advantage only to go into twelve rounds. Businessmen with highstakes against journalist who will do anything to keep the truth afloat; the movie at time tends to make things too black and white for my liking; but the turn at the end of the film justifies the reason behind such contrast and comfort it offers - making it a theme and a central conflict of the movie itself. But the need for the truth is so dramatically important that we just cannot give it up yet. Based on a TV series of the same name, State of Play is a rivetting, instant classic that is simultaneously both realistic and dramatic. It gets a high 8.2 in the regular scale but the critical rating does not go beyond 6.4 for it tries to make a symbolic greater drama of good vs evil when they are so undistinguishably inter-twined. In short, it is a great cinematic experience, succeeding where cheap thrillers like JFK fails; but still ends up a foot short when it comes to considering the human condition - would we really be so good when the moment arrives? The movie seems to be too sure of itself to be true. But undoubtedly, it is a must watch.
Clive Owen is a man who I did not like when I saw his first film. But he has a knack for appearing in damn good movies; much like Russell Crowe. Not like Tom Cruise or Brad Pitt, mind you, who just choose roles that fit them well. Owen has an uncanny knack of acting in memorable movies. Owen does what is demanded of him and he will surely be remembered as one of the most underrated stars of this era. Opposite him is yet another ageing Hollywood female superstar who thinks that she can pull it off. But yes; Julia Roberts does justice to her role as the paranoid and ever efficient spy who wants to break away from her job at the CIA. Apart from paranoia, themes of deception and ego is dealt with extremely well in this rivetting film of two hours and five minutes. Paul Giamatti is one of the most respected actors in the business for a reason. He shines in his short but compelling role. I would go as far as to say that anyone else except Tom Wilkinson would have stunk up that unrealistic possum-playing role; but casting, as you could have guessed if you noticed the pattern, has been a strong point in this film. With a regular double-cross with a twist plot; Duplicity guarantees for an interesting two hours and gets a 6.8 regular rating. It's capacity of self-awareness gets it a 5.8 on the critical scale.
Law Abiding Citizen (2009)
I see a movie like this and think about Dracula 2000 and wonder, just how far Gerard Butler has made it. If a movie stars Jamie Foxx and you end up rooting for anyone else in the film, the actor has done one helluva job. Gerard Butler does that in this excellent socio-psychological Thriller where you are torn between the inevitable and the impossible at the end of the film. A friend of mine recommended this movie to me and I thank you Bat, for doing so. The plot cannot be simpler - and more disturbing. What does a superspy do when his family is raped and murdered and all that the law does is give smug half-answers? He gets involved. Really, really involved. The movie makes us feel the difference between the idea of murder as punishment rather than murder as revenge. Great tragedy sparks off other events of horror but can someone salvage enough sanity to orchestrate that horror into a meaningful question? Butler's character sets about his task and we all wish him to succeed, while knowing that ultimately, he has to turn savage to prove that he too, is human. This paradox heights this cat and mouse game. This movie could have ended up like a dozen other regular chase films, but stands out due to the intensity of the performances and a very smartly written script. This movie will appeal to a large section of the audience cutting through many demographs and that is precisely why I rate this pretty high on the regular scale at 7.8 but its weak ending and often over-dramatic and invented resolutions, it does not get better than a 5.8 critical rating.
State of Play (2009)
I hate Russell Crowe; his style of acting, his attitude, his face, everything. But most of all, I hate it that he ends up being a part of so many good movies that I have to watch him and enjoy his performances. State of Play is one such movie. This is perhaps the best political thriller I have seen in a long time and it keeps you hooked every step of the way. The only other movie which surpasses this, would be Michael Clayton, but that is another review. Crowe is a journalist whose estranged friend, a congressman, Ben Affleck breaks down in front of the media when his secretary (with whom he was having an affair) is murdered. This could not have come at a worse time for this congressman has been the rallying point against the privatization of the army lobby. The movie works like a boxing bout, with each side seeming to gain advantage only to go into twelve rounds. Businessmen with highstakes against journalist who will do anything to keep the truth afloat; the movie at time tends to make things too black and white for my liking; but the turn at the end of the film justifies the reason behind such contrast and comfort it offers - making it a theme and a central conflict of the movie itself. But the need for the truth is so dramatically important that we just cannot give it up yet. Based on a TV series of the same name, State of Play is a rivetting, instant classic that is simultaneously both realistic and dramatic. It gets a high 8.2 in the regular scale but the critical rating does not go beyond 6.4 for it tries to make a symbolic greater drama of good vs evil when they are so undistinguishably inter-twined. In short, it is a great cinematic experience, succeeding where cheap thrillers like JFK fails; but still ends up a foot short when it comes to considering the human condition - would we really be so good when the moment arrives? The movie seems to be too sure of itself to be true. But undoubtedly, it is a must watch.
10 August 2010
You think you know him...
CHRISTOPHER NOLAN is not someone who disappoints both at the box office as well as at a critical level. The worst things about him is that he is in love with his own protagonists and he overuses the same kind of music in his movies. And... Well, there is very little I can add to this. I have not seen his early work but since the turn of the millenium, he has impressed me so much that I am definitely and unabashedly a Nolan fan. So without much ado, here'z me taking y'all on a short walk of Nolan's decade of dominance.
Memento (2000) was an interesting film. More than any of his other films, his investigation of ethics is most direct in this one, where Leonard (Guy Pearce) a man suffering from short-term memory loss is looking for revenge by hunting for his wife's rapist/murderer. Straightforward Steven Segal stuff, right? Not so much. The storytelling takes us through a compelling journey of discovery where we are forced to reckon with pieces of Truth that the protagonist has the luxury of forgetting. Joe Pantoliano has not been in a movie that gives him a canvas wide enough to exhibit his skills. Carrie Anne Moss is just stellar in her complex and underplayed role. Guy Pearce makes it seems so real and intensely normal. Most people say that the best thing about the movie is it's narrative technique, which was borrowed from primarily a French drama called Irreversible (starring Vincent Cassel and Monica Bellucci). However, I must admit that Memento was much more entertaining and gripping than Gasper Noe's film. The technique of flash forwarding in a reverse narrative comes across as very brave and original. Nolan paints an unflattering image of the Nature of man; but he keeps it real. More than anything, this movie is remembered for the second most memorable memory loss patient (that's ironic) after Dora from Finding Nemo. I must note here that both the Tamil and Hindi versions of the movie (self-procclaimed adaptations) were major forgettable fiascos. Coming back to the film, it blew my mind away when I first watched it and has always given me something new to enjoy every other time I have seen it. Thanks to rewatchability and popular appeal, I give it a generous 7.4 on the popular scale and a decent 6.1 on the critical scale. The year is 2000 and Nolan is just about getting started.
Insomnia (2002) is a movie that goes further into the question of ethics while moving away from it. In the sense, though it questions the nature of man, it looks very specifically at two men at the opposing ends of the spectrum and trains our eye on the quality of the individuals rather than the whole spectrum of human nature. Starring Al Pacino and Robin Williams, this is an extremely intense experience that loses pace in the middle but never loses the audience interest. Williams plays the worst kind of villain there is, a garbage heel, blackmailing coward; and the conviction he plays the role with makes me wonder how come he is better known as a comic despite his variety of great character roles. Al Pacino plays yet again a brilliant rendition of himself. I like the dude but I wonder if he ever stepped out of the Michael Corleone mode. Again a deceptively simple tale of a crime investigation in a part of the world where there is no Night for months on end, turns into a gripping drama beyond the cat-and-mouse variety. Sadly, you cannot watch this movie more than once and even the first viewing will be like streaks of great cinema followed by weak moments. Overall, the movie scores a credible 6.8 popular rating and a 5.8 critical rating.
Batman Begins (2005) was a reboot of the character on screen and people were anticipating how well could someone like Nolan do it. Before we go to the movie itself, we must consider that the Batman series on screen has always suffered more than any other series due to the eccentricity of its makers. Now, I am a HUGE Burton fan, but I must admit that his style of comic-book film-making was so precariously placed that nobody could recreate his magic. Enter Bruckheimer. This was a man who visualized Mr Freeze as a muscle on top of muscle maniac. Now, I am not one of the many comic book fans who cried foul that the story departed from the books; but Arnold Schwarzenegger as a sophisticated, tragic evil scientist/supervillain is an aesthetic and dramatic genocide. Throw in the Halle Berry/Catwoman disaster; Gotham was in serious trouble. Given this background, Nolan had his task cut-out. Also, we must remember that he was replacing the Most Talented Mr Aronfsky who wanted to make DKR with Clint Eastwood as Bruce Wayne. What did Nolan do? Break away from many Bat-movie conventions. The villains were not the superbills (of course, Liam Neeson is a "Big Name" and Cillian Murphy is a "Name" but both were not big enough to outshine Christian Bale), Bruce Wayne was not a Jokester, the (bad) comic-book feel was replaced by a realistic action/thriller style of cutting and the Bat-mobile was finally given the respect it deserves. It was not a toy anymore but a really bad muthafucka in its own right. Most importantly, there was no nipple suit. Also, Nolan chose to base his plot loosely on one of the best Batman writers/story-arc; Frank Miller's Year One. If you notice closely, this movie too follows the question of basic human nature and behavior but it feels a lot more simplified, as it is meant to appeal to children as well. Not much to say about the movie itself; for it was a great relaunch pad for Batman and a chance for him to go back to black. It gets an all-pleasing 6.6 popular and 5.4 critical rating.
The Prestige (2006) is by far the most complete film that Nolan has ever made. It is strong in its narration, characters, action as well as the overall craft. This is not only an extremely entertaining period drama based on rivalries between two great magicians, but also an engaging duel that shows, like other Nolan movies discussed before, as to how far are we willing to go to register that ultimate victory. Starring Christian Bale, Hugh Jackman, Scarlett Johanasson and Michael Caine, this movie gets the best performances from each of the actors. The movie creates unforgettable moments that do not impede the storytelling in any way, whether it is Jackman taking a bow under the stage or Bale biting a bullet quite literally. Set in an age where technology still hasn't taken over the art of narration by a magician, the movie quite convincingly makes believers out of us. Like most of his other movies, it also has a single germ that has to be internalized and believed before the movie starts making sense. But the third stage of the Trick is the same in every field of story-telling; it is the Prestige or how the magician overcomes and lives on that is most interesting. For this reason, I rate this as the best Nolan film I have ever seen with excellent rewatchability and great intensity even after the "maze" has been deciphered (something that most puzzle movies fail to do). It scores a whopping 8.1 on popular scale and a sound 6.9 in the critical scale.
Dark Knight (2008) is for many people the best Batman movie there is. With excellent game-psychology and a truly creepy performance from Heath Ledger (and this means a lot for it had to out-creep Jack Nicholson's levels of creepiness) that even killed the actor, the movie sets its scene in the dark alleys of Gotham where the Thinking Man's greatest Enemy, Anarchy, takes the shape of the Joker and challenges Gotham's Knight in Black Kevlar Armor to a duel. We all know how well Nolan performs in Duel movie situations (almost each one of the movies mentioned here is a duel) and he moves the game up a notch. This movie is significant for the optimistic turn that Nolan takes as the climax of the movie has a boatload of criminals refusing to sacrifice a boatload of civilians and vice versa because there is a bond of humanity that goes deeper than just the deeds of the person. A typical tale of Good vs Evil, I felt that despite the story-telling, Nolan went over to the didactic mode a bit too often with this movie; particularly with the entire Two-Face angle. I liked the ending where the honor of the White Knight is restored even when it is at the cost of the Dark Knight's reputation. Over all, this was a very entertaining film that scores a 7.5 on the popular ratings but barely breaches 6.1 on the critical scale for it is only a good bridge movie from Year One Batman to something bigger. It must be noted that with Ledger passing on and people anticipating nothing less than one in a million, the next Batman movie is better not made; for it has a BIG chance of disappointing a LOT of people.
Inception (2010) is a movie that left me doing two things; 1, swearing that Christopher Nolan should rot in hell. 2, waiting at the gate of the cinema hall as the credits rolled on wondering if there was a scene AFTER the credits that finished the last action on screen. Leonardo DiCaprio does not disappoint in yet another psychological thriller. To be frank; I was dreading for the worst from this film for a handful of reasons. The trailer made it look like a cross between any generic action movie and a disaster movie. Besides, I have been waiting for this movie for MONTHS. apart from that, I had not seen this movie for over three weeks after the release. I had excellents and great and amazing from many sides and I was bracing myself hoping not to pick up anything about the movie. I was also fearing the worst for I had insisted that my girlfriend come along for this, knowing fully well that she is not a fan of action movies. The first half hour into the movie, I had a slow/sinking feeling. Not that the start of the movie was bad; but it somehow kept reminding me of a LOT of other movies/TV shows/books from before. I was not really hooked on until the "Mission" started. But from that point on... That is perhaps the longest a movie can make us hold our breath starting from somewhere around the first hour mark to the end of the movie. I would like to take a moment to thank all my friends who had already seen this movie but still did not reveal the plot/or give away spoilers about the movie. I was unaware of the wordmeaning of Inception within the storyline until I went to the theatre and to keep up my end of the deal, I would not spoil that for you, my dear readers, here either. So for that reason, I end this note quickly by just giving my ratings for this movie at 8.0 popular and a 6.9 critical rating. This comes a close second to The Prestige (a decision that may surprise many, including myself), for the Jackman-Bale starrer did not have a single moment of self-doubt whereas this movie, despite its unparalleled second half, the first half made us reminisce to a flurry of movies/TV shows ranging from **Spoiler Alert (if you think this as a spoiler that is), Matrix, Johnny Quest, Supernatural, Eternal Sunshine of A Spotless Mind, Identity, Twelve Monkeys and most damagingly, to Leo's very own Shutter Island. **Spoiler close. However, the movie is an experience not to be missed. Ken Watanabe is one of the most respected performers around the world and the confidence with which he says, "I bought the airlines", sums up his total capacity. This movie is a must watch and is worth buying on DVD for your personal collection, EVEN if you do not like Action genre.
Memento (2000) was an interesting film. More than any of his other films, his investigation of ethics is most direct in this one, where Leonard (Guy Pearce) a man suffering from short-term memory loss is looking for revenge by hunting for his wife's rapist/murderer. Straightforward Steven Segal stuff, right? Not so much. The storytelling takes us through a compelling journey of discovery where we are forced to reckon with pieces of Truth that the protagonist has the luxury of forgetting. Joe Pantoliano has not been in a movie that gives him a canvas wide enough to exhibit his skills. Carrie Anne Moss is just stellar in her complex and underplayed role. Guy Pearce makes it seems so real and intensely normal. Most people say that the best thing about the movie is it's narrative technique, which was borrowed from primarily a French drama called Irreversible (starring Vincent Cassel and Monica Bellucci). However, I must admit that Memento was much more entertaining and gripping than Gasper Noe's film. The technique of flash forwarding in a reverse narrative comes across as very brave and original. Nolan paints an unflattering image of the Nature of man; but he keeps it real. More than anything, this movie is remembered for the second most memorable memory loss patient (that's ironic) after Dora from Finding Nemo. I must note here that both the Tamil and Hindi versions of the movie (self-procclaimed adaptations) were major forgettable fiascos. Coming back to the film, it blew my mind away when I first watched it and has always given me something new to enjoy every other time I have seen it. Thanks to rewatchability and popular appeal, I give it a generous 7.4 on the popular scale and a decent 6.1 on the critical scale. The year is 2000 and Nolan is just about getting started.
Insomnia (2002) is a movie that goes further into the question of ethics while moving away from it. In the sense, though it questions the nature of man, it looks very specifically at two men at the opposing ends of the spectrum and trains our eye on the quality of the individuals rather than the whole spectrum of human nature. Starring Al Pacino and Robin Williams, this is an extremely intense experience that loses pace in the middle but never loses the audience interest. Williams plays the worst kind of villain there is, a garbage heel, blackmailing coward; and the conviction he plays the role with makes me wonder how come he is better known as a comic despite his variety of great character roles. Al Pacino plays yet again a brilliant rendition of himself. I like the dude but I wonder if he ever stepped out of the Michael Corleone mode. Again a deceptively simple tale of a crime investigation in a part of the world where there is no Night for months on end, turns into a gripping drama beyond the cat-and-mouse variety. Sadly, you cannot watch this movie more than once and even the first viewing will be like streaks of great cinema followed by weak moments. Overall, the movie scores a credible 6.8 popular rating and a 5.8 critical rating.
Batman Begins (2005) was a reboot of the character on screen and people were anticipating how well could someone like Nolan do it. Before we go to the movie itself, we must consider that the Batman series on screen has always suffered more than any other series due to the eccentricity of its makers. Now, I am a HUGE Burton fan, but I must admit that his style of comic-book film-making was so precariously placed that nobody could recreate his magic. Enter Bruckheimer. This was a man who visualized Mr Freeze as a muscle on top of muscle maniac. Now, I am not one of the many comic book fans who cried foul that the story departed from the books; but Arnold Schwarzenegger as a sophisticated, tragic evil scientist/supervillain is an aesthetic and dramatic genocide. Throw in the Halle Berry/Catwoman disaster; Gotham was in serious trouble. Given this background, Nolan had his task cut-out. Also, we must remember that he was replacing the Most Talented Mr Aronfsky who wanted to make DKR with Clint Eastwood as Bruce Wayne. What did Nolan do? Break away from many Bat-movie conventions. The villains were not the superbills (of course, Liam Neeson is a "Big Name" and Cillian Murphy is a "Name" but both were not big enough to outshine Christian Bale), Bruce Wayne was not a Jokester, the (bad) comic-book feel was replaced by a realistic action/thriller style of cutting and the Bat-mobile was finally given the respect it deserves. It was not a toy anymore but a really bad muthafucka in its own right. Most importantly, there was no nipple suit. Also, Nolan chose to base his plot loosely on one of the best Batman writers/story-arc; Frank Miller's Year One. If you notice closely, this movie too follows the question of basic human nature and behavior but it feels a lot more simplified, as it is meant to appeal to children as well. Not much to say about the movie itself; for it was a great relaunch pad for Batman and a chance for him to go back to black. It gets an all-pleasing 6.6 popular and 5.4 critical rating.
The Prestige (2006) is by far the most complete film that Nolan has ever made. It is strong in its narration, characters, action as well as the overall craft. This is not only an extremely entertaining period drama based on rivalries between two great magicians, but also an engaging duel that shows, like other Nolan movies discussed before, as to how far are we willing to go to register that ultimate victory. Starring Christian Bale, Hugh Jackman, Scarlett Johanasson and Michael Caine, this movie gets the best performances from each of the actors. The movie creates unforgettable moments that do not impede the storytelling in any way, whether it is Jackman taking a bow under the stage or Bale biting a bullet quite literally. Set in an age where technology still hasn't taken over the art of narration by a magician, the movie quite convincingly makes believers out of us. Like most of his other movies, it also has a single germ that has to be internalized and believed before the movie starts making sense. But the third stage of the Trick is the same in every field of story-telling; it is the Prestige or how the magician overcomes and lives on that is most interesting. For this reason, I rate this as the best Nolan film I have ever seen with excellent rewatchability and great intensity even after the "maze" has been deciphered (something that most puzzle movies fail to do). It scores a whopping 8.1 on popular scale and a sound 6.9 in the critical scale.
Dark Knight (2008) is for many people the best Batman movie there is. With excellent game-psychology and a truly creepy performance from Heath Ledger (and this means a lot for it had to out-creep Jack Nicholson's levels of creepiness) that even killed the actor, the movie sets its scene in the dark alleys of Gotham where the Thinking Man's greatest Enemy, Anarchy, takes the shape of the Joker and challenges Gotham's Knight in Black Kevlar Armor to a duel. We all know how well Nolan performs in Duel movie situations (almost each one of the movies mentioned here is a duel) and he moves the game up a notch. This movie is significant for the optimistic turn that Nolan takes as the climax of the movie has a boatload of criminals refusing to sacrifice a boatload of civilians and vice versa because there is a bond of humanity that goes deeper than just the deeds of the person. A typical tale of Good vs Evil, I felt that despite the story-telling, Nolan went over to the didactic mode a bit too often with this movie; particularly with the entire Two-Face angle. I liked the ending where the honor of the White Knight is restored even when it is at the cost of the Dark Knight's reputation. Over all, this was a very entertaining film that scores a 7.5 on the popular ratings but barely breaches 6.1 on the critical scale for it is only a good bridge movie from Year One Batman to something bigger. It must be noted that with Ledger passing on and people anticipating nothing less than one in a million, the next Batman movie is better not made; for it has a BIG chance of disappointing a LOT of people.
Inception (2010) is a movie that left me doing two things; 1, swearing that Christopher Nolan should rot in hell. 2, waiting at the gate of the cinema hall as the credits rolled on wondering if there was a scene AFTER the credits that finished the last action on screen. Leonardo DiCaprio does not disappoint in yet another psychological thriller. To be frank; I was dreading for the worst from this film for a handful of reasons. The trailer made it look like a cross between any generic action movie and a disaster movie. Besides, I have been waiting for this movie for MONTHS. apart from that, I had not seen this movie for over three weeks after the release. I had excellents and great and amazing from many sides and I was bracing myself hoping not to pick up anything about the movie. I was also fearing the worst for I had insisted that my girlfriend come along for this, knowing fully well that she is not a fan of action movies. The first half hour into the movie, I had a slow/sinking feeling. Not that the start of the movie was bad; but it somehow kept reminding me of a LOT of other movies/TV shows/books from before. I was not really hooked on until the "Mission" started. But from that point on... That is perhaps the longest a movie can make us hold our breath starting from somewhere around the first hour mark to the end of the movie. I would like to take a moment to thank all my friends who had already seen this movie but still did not reveal the plot/or give away spoilers about the movie. I was unaware of the wordmeaning of Inception within the storyline until I went to the theatre and to keep up my end of the deal, I would not spoil that for you, my dear readers, here either. So for that reason, I end this note quickly by just giving my ratings for this movie at 8.0 popular and a 6.9 critical rating. This comes a close second to The Prestige (a decision that may surprise many, including myself), for the Jackman-Bale starrer did not have a single moment of self-doubt whereas this movie, despite its unparalleled second half, the first half made us reminisce to a flurry of movies/TV shows ranging from **Spoiler Alert (if you think this as a spoiler that is), Matrix, Johnny Quest, Supernatural, Eternal Sunshine of A Spotless Mind, Identity, Twelve Monkeys and most damagingly, to Leo's very own Shutter Island. **Spoiler close. However, the movie is an experience not to be missed. Ken Watanabe is one of the most respected performers around the world and the confidence with which he says, "I bought the airlines", sums up his total capacity. This movie is a must watch and is worth buying on DVD for your personal collection, EVEN if you do not like Action genre.
06 July 2010
The Thomas Crown Affair
I have always liked heist movies. Or chase movies (when the term is not merely confined to fast automobiles). For some strange reason, like Woody Allen's movies, I think that there are not enough movies in this genre. Sometimes you wonder; if they make a movie with a strong plot and a semi-decent cast in this specific genre (like puzzle movies, adventure, epic movies), they would make great hits. But why do the producers in the Holly town think otherwise? I had to grow up a few years to figure out that these are not only risky ventures that a producer would rather not touch with a ten foot pole, but also that the quality in writing itself is so poor when it comes to big studios and such genres. The really good movies remain hidden in Independent film circuits. But once in a long time, the biggies come out with a real good number. Usually they are of the blockbuster variety with two bankable stars and a few breathtaking visuals. Rarely, do we find treats where the actors are trusted enough to be allowed to carry the film entirely on their shoulders - with just their sizzling chemistry and acting skills. One can count the movies which do that by hand, like The Sleuth starring Laurence Olivier and Michael Caine and The Man from Earth. One does not expect a movie of that nature out of a Bond actor, albeit Entrapment with Sean Connery and Catherina Zeta Jones gave the feel (with some techno effects). The Thomas Crown Affair, though a remake from a 60s movie of the same name, does just that.
This is a cat and mouse tale with a little differnce. The hunter knows who her prey is. The prey likes living on the edge. Both of them can end the game whenever they want to but find a compulsion to play it, just because it is more challenging, more intense and most of all, more fun that way. The storyline is simple but solid; that of a criminal who is off-limits and a ruthless investigator who knows no limits face off against a stolen painting. The twists and the turns of the plot do not feel forced and even the most predictable moments in the movie are elevated to a sparkling moment thanks to excellent acting and packaging of the script. At the very end of the film, a lot of questions remain unanswered and still manage to keep the audience impressed; because the story has long passed the mere framework of a puzzle movie as it has generated human interest. There are also poignant moments in the film when the director underlines the nature of what crime is and what is not crime; for some people, it is merely a way of expressing their non-conformity to a mundane society. While there are other people, who beat their ten year olds in their drunken stupor and kill their wives. Everyone has an urge to be a delinquent. Thomas Crown merely has the means to live his desire.
Pierce Brosnan is near-perfect in his portrayal of Thomas Crown. One feels like that he is being more of a Bond here than in any of his Bond films. Perhaps the Bond movies shaped him to be better suited for such roles or maybe it is just the fact that the suave, stylized man of taste image was not rushed and forced in this movie; it comes naturally to Brosnan. This is his best yet. In his Bond movies, he was like a boy trying to look like a man. But here, he holds his own against someone who threatens to replace the authority of his titular role with her powerful screen presence. Rene Russo is a treat to watch and no, my dear perverts, I am not saying this because she bares it all for a scene. Though it must be mentioned that the detailing and perfection in acting and aesthetic packaging is complete even in that short, impressive scene of lovemaking. A lot of people rubbish this scene when compared with the McQueen-Dunaway scene in the original. I would say that they are two different kinds of scenes, creating two different kinds of tension. Both work in their own way. The chemistry between Rene Russo and Brosnan is sizzling and makes us feel for them. The other actors are not so shabby themselves.
This movie uses technology to further the plot, a role for which technology should be used in movies at all. Crisp editing can make a good scene gorgeous. The climax of the movie where the second painting is stolen is just a gem in this consideration. The camera work was even all through the movie. The pictures themselves were chosen not to complicate things. However it was a little fun to identify the Monet which I had once studied for a class. The theme of Monet as the man who could see the same things differently each time, gives an added angle to the film and its primary players.
All this said and done, the thing I love most about the movie is its music. Both the original scores and the soundtracks were excellently chosen and placed; barring the Sting version of The Windmills of Your Mind. Please Sting, we love you; but that was just about the most ridiculous cover of a great song. The only flipside seems to be the over-emphasized dramatizations that tend to get a little too predictable at times; but again, we are watching a major Hollywood motion picture. So I give this movie a regular rating of 7.5, heist rating 8 and the verdict is; this is one of the movies that you want to catch as many repeats on TV as possible/buying a personal DVD copy is not a bad move.
This is a cat and mouse tale with a little differnce. The hunter knows who her prey is. The prey likes living on the edge. Both of them can end the game whenever they want to but find a compulsion to play it, just because it is more challenging, more intense and most of all, more fun that way. The storyline is simple but solid; that of a criminal who is off-limits and a ruthless investigator who knows no limits face off against a stolen painting. The twists and the turns of the plot do not feel forced and even the most predictable moments in the movie are elevated to a sparkling moment thanks to excellent acting and packaging of the script. At the very end of the film, a lot of questions remain unanswered and still manage to keep the audience impressed; because the story has long passed the mere framework of a puzzle movie as it has generated human interest. There are also poignant moments in the film when the director underlines the nature of what crime is and what is not crime; for some people, it is merely a way of expressing their non-conformity to a mundane society. While there are other people, who beat their ten year olds in their drunken stupor and kill their wives. Everyone has an urge to be a delinquent. Thomas Crown merely has the means to live his desire.
Pierce Brosnan is near-perfect in his portrayal of Thomas Crown. One feels like that he is being more of a Bond here than in any of his Bond films. Perhaps the Bond movies shaped him to be better suited for such roles or maybe it is just the fact that the suave, stylized man of taste image was not rushed and forced in this movie; it comes naturally to Brosnan. This is his best yet. In his Bond movies, he was like a boy trying to look like a man. But here, he holds his own against someone who threatens to replace the authority of his titular role with her powerful screen presence. Rene Russo is a treat to watch and no, my dear perverts, I am not saying this because she bares it all for a scene. Though it must be mentioned that the detailing and perfection in acting and aesthetic packaging is complete even in that short, impressive scene of lovemaking. A lot of people rubbish this scene when compared with the McQueen-Dunaway scene in the original. I would say that they are two different kinds of scenes, creating two different kinds of tension. Both work in their own way. The chemistry between Rene Russo and Brosnan is sizzling and makes us feel for them. The other actors are not so shabby themselves.
This movie uses technology to further the plot, a role for which technology should be used in movies at all. Crisp editing can make a good scene gorgeous. The climax of the movie where the second painting is stolen is just a gem in this consideration. The camera work was even all through the movie. The pictures themselves were chosen not to complicate things. However it was a little fun to identify the Monet which I had once studied for a class. The theme of Monet as the man who could see the same things differently each time, gives an added angle to the film and its primary players.
All this said and done, the thing I love most about the movie is its music. Both the original scores and the soundtracks were excellently chosen and placed; barring the Sting version of The Windmills of Your Mind. Please Sting, we love you; but that was just about the most ridiculous cover of a great song. The only flipside seems to be the over-emphasized dramatizations that tend to get a little too predictable at times; but again, we are watching a major Hollywood motion picture. So I give this movie a regular rating of 7.5, heist rating 8 and the verdict is; this is one of the movies that you want to catch as many repeats on TV as possible/buying a personal DVD copy is not a bad move.
Whose history does the sad goddess sing about?
In the poem Colonial Girl’s School, Olive Senior writes about how her school, in Jamaica taught her the language of Shakespeare and declensions in Latin but “Told us nothing about ourselves, There was nothing about us at all.” A land ruled by another race is distinctly different from its past. There are erasures and continuity is compromised in this subordinated life. However their products still have deep-rooted connection to what can be called home; like the Lhamo, for instance. The Tibetan opera is a form that has found strength in its identity as a displaced art. Not long ago, it was an unchanging tradition that was passed down over centuries in the strictest discipline. It has, however, now found new strength by drawing attention to itself as a rootless tradition. Lhamo has transformed itself into a window to the historic and cultural past of the Tibetan people. The form itself is quite different from the Peking Opera not only in its style but also due to its highly Classical (Sanskrit) structure. It also gives a much more important position to women due its origins which trace the first performers as women (the word Lhamo which means Goddess, comes from a phrase that they look like dancing Goddesses). The significance of this art form was so high in Tibetan culture, that when his Holiness, Dalai Lama came to India in 1959, one of the first institutions he established was the Tibetan Institute of Performance Arts. It was under his efforts that there has been a recent attempt to revive the Shoton festival, to encourage Lhamo performances. Traditionally, this festival was held for a week at Norbolinga, in Tibet, the summer palace of his Holiness with performances by the four district troupes of Tibet. In India, the troupes come from different settlements across the country, though the main performances are from TIPA itself.
As encouraging as it sounds, we must pay attention to the deteriorating interest in the Lhamo. The length of the plays (they are originally seven hours long) too discourages many from taking an active interest in it. Even though modern versions are brought down to the usual two-hour traffic, the apathy towards Lhamo continues. With stylized dance moves and high-pitched singing, it has taken up a ceremonious role in the society as opposed to its traditional role as an entertainment for the masses. Some say that the reason behind this lack of interest is due to the lack of quality Lhamo. Students these days are more interested in training themselves in dance and music and the Lhamo becomes a routine feature of their annual activities. Since it is easy for a good musician or a good dancer to get cast in chief parts of Lhamo, specially trained actors have become a rarity in this craft.
If one digs deeper considering the attrition as a symptom rather than a cause in itself, we can see that the chief reason is that despite its captivating ritual-nature, the Lhamo falls short due to its limited canon. Outside the dozen or so traditional works inspired from Sanskrit, there have been a few original plays written for performance. Most of them are invariably weak as the new plots are framed in the same structure with similar characters, as well as borrowing heavily from dance sequences from traditional plays. Most importantly, no songs are originally written but used from the traditional repertoire. This presents with very little scope for innovation and driven many students away from the theatrical side of things. Interestingly, a form which has survived and thrived without any formal structure has fallen on hard times despite organized support in the form of TIPA. What could be the reason?
The answer is a little anti-climactic for its obvious nature. It is the structure that has changed the fortunes of the Lhamo. Well, the structure that has been brought upon by the displacement. What was once a tradition that was home-grown in each district with its own regional flavor, was now a composite cultured in a forced environment of the Institute. The voice of the oppressed never finds the same pitch if it is silenced once, for there has been a change. This change in the state of life has sadly never been addressed by TIPA. Instead of forming a powerful that could speak aloud bravely of the tragic tale of their homeland, TIPA has manufactured the perfect Cultural-Historical sample piece which makes no effort to developing into an organic, contemporary form. Rather than focusing on turning the Lhamo into a vehicle for the future which focuses on contemporary problems of this displaced society, it has become a mere spectacle which commands little attention even from its own people. As a people who were forced to find homes in an alien land, the Tibetan public could not make a connection with the folk tales whose meaning have only an ironic value today. Disconnect, however, does not occur in isolation.
Since it is easier to ignore that which is politically uncomfortable, the refugee becomes the biggest blot on the clean chit of diplomacy. How can we get investors from China when those who fled the country are treated with dignity within the boundaries of our nation? We change our stand. The unconditional welcome to the fleeing thousands is cast outside the discourse of politics. We give them shelter, like we give shelter to dogs in the rain. But we really do not care much about the politics of why they are here. We do not want to find out. What drove them? Oh, Lhasa is a very cold place; so they wanted to move somewhere warmer. It is easier to believe that. So continues our hand-wringing, apologetic explanations of the embarrassment that our guests have become. India is a nation without a middle class. The top five percent of the nation controls its majority resources. When the picture of India needs some shining, all the remaining 95% is brushed under the carpet. Minorities, tribal peoples, refugees; they are the same. They are the collective shame of a nation which is fast trying to be developed nation. How do we do that? We will them into a collective non-existence. We change our past. They are there but we pretend they are not; like cockroaches.
Indians have an obsession with history. Like any other country in the world, we have books on history in school, compulsorily read till class ten. But unlike any other country in the world, our history books are dialogues of a total, singular Indian identity with the rest of the world. We are so involved in our pasts that we have developed an ingenious system of filtering, which selects which history is non-offensive to a certain national character we are supposed to accept and be proud of. The event which has had the highest impact on the modern Indian nation is not liberalization as the World-Indian-Citizens would like one to believe, but the Emergency. And still, it is reduced to a paragraph with three lines in it, mentioning the start of it, the end date and what its constitutional position is. Nobody is willing to tackle the emergency in its own terms. Once we are willing to assume a purpose and a position, there is nothing that we are not willing to compromise to achieve it. Education is always the first victim to this sense of purpose. So has it been the case in a place like TIPA.
The students are selected, almost at random, when they are as young as seven or eight years of age. They are isolated and trained in an academy which also gives them a regular school education. However, the question of choice is totally eliminated. This might have produced great actors in the past where children are simply hypothecated to performance groups. It does not, however, work in a world where they have been displaced from what was once their home. They are not just performers but are loaded with the double responsibility of representing their nation-in-exile as well as being artistes. This is where we realize that a specific system of education has hurt them enough for many students to not want to pursue the course they are supposed to follow. It is tragic, particularly when a form which could be a protest in its sheer performance, becomes an archaic, out-dated and inaccessible element in the minds of the people who are supposed to take it forward.
What could be done? For all the good work TIPA has done in the past years, it has also secluded itself from the rest of the town and townsfolk. To re-integrate itself with its people is the only way to allay any hostility towards “the tourist-like attitude of the people from TIPA”. Any sense of resistance must first come from within. For this very reason, the Lhamo needs to not only find new tales to tell but also find new music and expression to give life to those new tales. The double consciousness of being an individual as well as a refugee must not be compromised in following a system of art. In essence, a shift from an eclectic towards the popular will create new avenues for this otherwise captivating art form.
And from this, a form will spring forth, which can reach its audience while demonstrating contemporary concerns. Children would learn from songs, about the past and their futures for statistics can explain only so much. For not just what we learn, but the way we learn it has a role to play in what we retain and what we let go.
As encouraging as it sounds, we must pay attention to the deteriorating interest in the Lhamo. The length of the plays (they are originally seven hours long) too discourages many from taking an active interest in it. Even though modern versions are brought down to the usual two-hour traffic, the apathy towards Lhamo continues. With stylized dance moves and high-pitched singing, it has taken up a ceremonious role in the society as opposed to its traditional role as an entertainment for the masses. Some say that the reason behind this lack of interest is due to the lack of quality Lhamo. Students these days are more interested in training themselves in dance and music and the Lhamo becomes a routine feature of their annual activities. Since it is easy for a good musician or a good dancer to get cast in chief parts of Lhamo, specially trained actors have become a rarity in this craft.
If one digs deeper considering the attrition as a symptom rather than a cause in itself, we can see that the chief reason is that despite its captivating ritual-nature, the Lhamo falls short due to its limited canon. Outside the dozen or so traditional works inspired from Sanskrit, there have been a few original plays written for performance. Most of them are invariably weak as the new plots are framed in the same structure with similar characters, as well as borrowing heavily from dance sequences from traditional plays. Most importantly, no songs are originally written but used from the traditional repertoire. This presents with very little scope for innovation and driven many students away from the theatrical side of things. Interestingly, a form which has survived and thrived without any formal structure has fallen on hard times despite organized support in the form of TIPA. What could be the reason?
The answer is a little anti-climactic for its obvious nature. It is the structure that has changed the fortunes of the Lhamo. Well, the structure that has been brought upon by the displacement. What was once a tradition that was home-grown in each district with its own regional flavor, was now a composite cultured in a forced environment of the Institute. The voice of the oppressed never finds the same pitch if it is silenced once, for there has been a change. This change in the state of life has sadly never been addressed by TIPA. Instead of forming a powerful that could speak aloud bravely of the tragic tale of their homeland, TIPA has manufactured the perfect Cultural-Historical sample piece which makes no effort to developing into an organic, contemporary form. Rather than focusing on turning the Lhamo into a vehicle for the future which focuses on contemporary problems of this displaced society, it has become a mere spectacle which commands little attention even from its own people. As a people who were forced to find homes in an alien land, the Tibetan public could not make a connection with the folk tales whose meaning have only an ironic value today. Disconnect, however, does not occur in isolation.
Since it is easier to ignore that which is politically uncomfortable, the refugee becomes the biggest blot on the clean chit of diplomacy. How can we get investors from China when those who fled the country are treated with dignity within the boundaries of our nation? We change our stand. The unconditional welcome to the fleeing thousands is cast outside the discourse of politics. We give them shelter, like we give shelter to dogs in the rain. But we really do not care much about the politics of why they are here. We do not want to find out. What drove them? Oh, Lhasa is a very cold place; so they wanted to move somewhere warmer. It is easier to believe that. So continues our hand-wringing, apologetic explanations of the embarrassment that our guests have become. India is a nation without a middle class. The top five percent of the nation controls its majority resources. When the picture of India needs some shining, all the remaining 95% is brushed under the carpet. Minorities, tribal peoples, refugees; they are the same. They are the collective shame of a nation which is fast trying to be developed nation. How do we do that? We will them into a collective non-existence. We change our past. They are there but we pretend they are not; like cockroaches.
Indians have an obsession with history. Like any other country in the world, we have books on history in school, compulsorily read till class ten. But unlike any other country in the world, our history books are dialogues of a total, singular Indian identity with the rest of the world. We are so involved in our pasts that we have developed an ingenious system of filtering, which selects which history is non-offensive to a certain national character we are supposed to accept and be proud of. The event which has had the highest impact on the modern Indian nation is not liberalization as the World-Indian-Citizens would like one to believe, but the Emergency. And still, it is reduced to a paragraph with three lines in it, mentioning the start of it, the end date and what its constitutional position is. Nobody is willing to tackle the emergency in its own terms. Once we are willing to assume a purpose and a position, there is nothing that we are not willing to compromise to achieve it. Education is always the first victim to this sense of purpose. So has it been the case in a place like TIPA.
The students are selected, almost at random, when they are as young as seven or eight years of age. They are isolated and trained in an academy which also gives them a regular school education. However, the question of choice is totally eliminated. This might have produced great actors in the past where children are simply hypothecated to performance groups. It does not, however, work in a world where they have been displaced from what was once their home. They are not just performers but are loaded with the double responsibility of representing their nation-in-exile as well as being artistes. This is where we realize that a specific system of education has hurt them enough for many students to not want to pursue the course they are supposed to follow. It is tragic, particularly when a form which could be a protest in its sheer performance, becomes an archaic, out-dated and inaccessible element in the minds of the people who are supposed to take it forward.
What could be done? For all the good work TIPA has done in the past years, it has also secluded itself from the rest of the town and townsfolk. To re-integrate itself with its people is the only way to allay any hostility towards “the tourist-like attitude of the people from TIPA”. Any sense of resistance must first come from within. For this very reason, the Lhamo needs to not only find new tales to tell but also find new music and expression to give life to those new tales. The double consciousness of being an individual as well as a refugee must not be compromised in following a system of art. In essence, a shift from an eclectic towards the popular will create new avenues for this otherwise captivating art form.
And from this, a form will spring forth, which can reach its audience while demonstrating contemporary concerns. Children would learn from songs, about the past and their futures for statistics can explain only so much. For not just what we learn, but the way we learn it has a role to play in what we retain and what we let go.
09 January 2010
Art as Intervention
I have laughed my ass off when I watched that episode in How I Met Your Mother about Intervention. Intervention. It's funny because it is ridiculous. But its not fun and games all the time. Sometimes, instead of doing something about the world we are in, we are happy commenting about. Like I am doing right now. I choose to comment about the lack of intervention rather than doing something about it. However, the fact that I am sitting a good thousand miles away from the location of the incident, washes my hands off some blood, at least immediate blood. When a cop, a man who has pledged to put the rest of the world ahead of himself is cut up in the middle of the road and pleading for help, two ministers are holed up in their cars and the cop handling their security detail explains that they had to protect the ministers and take all necessary precautions possible. Sounds ridiculous, and I would have laughed, trust me, if not for the sickening thought of the man lying there, dying there. They did not intervene. They did not do anything besides staying put, calling 108 (that's our ambulance code in TamilNadu; one of the few states that proudly claim the possession of an ambulance hotline), and then putting the cop on a convoy car, rushing him to a hospital... albeit, minutes late... Precious minutes, that could have saved his life.
They did not intervene. The ministers did not. And life comes a full circle when NDTV reporters, or any other TV channel's reporters, the name does not mean a thing, it's all the same, stood there, recording and transmitting information, manufacturing news about how the ministers could have intervened and refused to, instead of intervening themselves. Unlike my commentary on their Godot-ic inaction, theirs actually cost the man his life. Oh, of course, we have stunning footage of a cop crying for his life in a moment more dramatic than any nailbiting action sequence of a movie; but we lost a cop. Oh yes, the TV news channels have managed to show how heartless these politicos are; but we lost a cop. And most significantly, the charioteers of the news-driven nation have fed the right amount of anguish to a people who really don't need a reason to be angry against the khadi-clad mafia; by making a lesson out of a life they could have saved. J'accuse. The inaction on part of the newspeople is much more condemnable than that of the politicians. At least the latter do not have any qualms in acting like they are above the law. What the fuck was the cameraperson doing, shooting video footage, when (s)he could have done something better?
This is where I draw the line. If art is going to pretend that it has no other role but to merely record reality, then it serves no function and such an art should cease to exist. Enough is enough; as Samuel L Jackson says, I have had it with these motherfucking snakes on this motherfucking plane. I am tired of the media constantly pointing out issues about what somebody did not do, when they have behaved in no better a fashion. We are not shooting an episode of South Park here. It is a time for change. Change starts now and here. Intervention is the new mantra of art. If Art does not adapt, it shall perish, like so many other things in this continuum of the world.
They did not intervene. The ministers did not. And life comes a full circle when NDTV reporters, or any other TV channel's reporters, the name does not mean a thing, it's all the same, stood there, recording and transmitting information, manufacturing news about how the ministers could have intervened and refused to, instead of intervening themselves. Unlike my commentary on their Godot-ic inaction, theirs actually cost the man his life. Oh, of course, we have stunning footage of a cop crying for his life in a moment more dramatic than any nailbiting action sequence of a movie; but we lost a cop. Oh yes, the TV news channels have managed to show how heartless these politicos are; but we lost a cop. And most significantly, the charioteers of the news-driven nation have fed the right amount of anguish to a people who really don't need a reason to be angry against the khadi-clad mafia; by making a lesson out of a life they could have saved. J'accuse. The inaction on part of the newspeople is much more condemnable than that of the politicians. At least the latter do not have any qualms in acting like they are above the law. What the fuck was the cameraperson doing, shooting video footage, when (s)he could have done something better?
This is where I draw the line. If art is going to pretend that it has no other role but to merely record reality, then it serves no function and such an art should cease to exist. Enough is enough; as Samuel L Jackson says, I have had it with these motherfucking snakes on this motherfucking plane. I am tired of the media constantly pointing out issues about what somebody did not do, when they have behaved in no better a fashion. We are not shooting an episode of South Park here. It is a time for change. Change starts now and here. Intervention is the new mantra of art. If Art does not adapt, it shall perish, like so many other things in this continuum of the world.
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