Aainaism

Exuberant. Energetic. Full of life. Awakening. Memorable. These are few of the many words that come to mind when one thinks about Rakeysh Omprakash Mehra’s Rang De Basanti. Before the film was released, the promos aired on TV were ordinary, not revealing much about the plot of the movie. This was probably good for the film for two reasons. Rang de Basanti was already a much anticipated film because of Aamir Khan’s presence in it. If the promos revealed even a little bit of the storyline, the movie would have been over-hyped hence lowering expectations of the viewers. Secondly, there are many issues handled in the film and if all these issues were depicted in the promos, the audience might have been confused.

With a tagline ‘A Generation Awakens,’ one would think that Rang De Basanti is a patriotic film, which it is. But there is a lot more than just patriotism in the film. Moreover, patriotism is presented in a very different way. It’s away from all the naara bazi, excessive killing, unrealistic situations. It’s more on the tracks of what could really happen if there was a group of six college students waking up to realize that something needs to be done.

The story starts with Sue (Alice Patten), a London based filmmaker, who decides to make a documentary in India. The inspiration for making this documentary comes from Sue’s grandfather’s diary, which describes the days of the freedom struggle in India. Sue sets off for India where she meets Sonia (Soha Ali Khan Pataudi) and her friends, DJ (Aamir Khan), Sukhi (Sharman Joshi), Aslam (Kunal Kapoor) and Karan (Siddharth). Soon after Sue meets them, she realizes that they would be perfect for the roles of the patriotic heroes in her film. But being the carefree college students that they are, they don’t care much about patriotism. They take Sue’s ideas, documentary and dialogues as a joke. But as the movie progresses, they agree to work in Sue’s film and later on, a new member is added to the cast, Laxman (Atul Kulkarni).

As the shooting for Sue’s film starts, there are switchovers from present to past in significant scenes. As the shooting goes on, they find out that Sonia’s fiancé, Ajay (R Madhavan) has been killed in an air crash. This is when a spark of awakening ignites in their hearts.

It would be safe to say that there are a number of issues handled simultaneously in the film. Most of the times, a multiple issue doesn’t work as there is some sort of confusion involved, but that’s not true for Rang De Basanti. The movie shows a pinch of past, a dash of present and a taste of future.

For one, there is the documentary issue. Sue’s documentary shows the viewers a lot of what has happened in the past and what that has done for the country. Secondly, the MIG issue. Showing how the ministers are corrupt in sending the pilots into the face of death just to make more money for themselves. There’s also an issue of sparking an awakening in the hearts today’s youngsters. All these issues have been handled very well. Despite there being multiple subjects, nothing in the film seems to be confusing. Rather, everything ties together and connects well leading to the climax.

Another trait that is applaudable in the film is the humor. Natural and vivacious. There is something or the other in almost every scene (barring the more serious scenes) that will make you laugh.

The performances are simply mind blowing. There is the perfectionist Khan who has proven, yet again, that he is better than the best. He gives a strong performance throughout the film, be it in a comic scene or in a revolutionary scene. Sharman Joshi surprises the viewers with a stunning performance with his unusual comic style and the noticeable Haryanvi accent. Kunal Kapoor seems to be at ease on the screen. He’s comfortable and confident about what he’s doing and that shows in his remarkable performance. Atul Kulkarni is as powerful as ever, giving the right expressions, blending in with the ‘youngsters’. Siddharth is admirable for his splendid performance. Soha Ali Khan Pataudi’s performance was exceptional especially in the second half of the film. Alice Patten’s hard work shows through her acting and Hindi speaking skills. Apart from the main cast, Kirron Kher, Waheeda Rehman, Om Puri and Anupam Kher leave a mark with impressive performances. R Madhavan is charming.

Some memorable parts:

· In the beginning when Sue arrives in India a guy asks her, “Which country, Madam?” She replies, “India, I hope.” Got many laughs.

· When Sue says, “Pai Laagoo Maaji” to Kirron Kher, DJ’s expressions were priceless.

· When all the friends are eating together and discussing the serious issue of ‘Indian corruption,’ DJ says, “Ye Hindi bolti hai, yaar…”

· Sue’s reaction after the fight between DJ and Laxman.

· DJ’s dialogue delivery practice with chotu.

· The climax when DJ and Karan are in the room.

Not-so-good things:

· Sue says to Sonia that she doesn’t have the money to make a film in India, as she doesn’t have any producers or finances with her. Then how does she afford all the costumes and materials?

·Aamir’s accent was a little shaky.

Binod Pradhan has done a superb job in the cinematography. The camera angles are awesome. A. R. Rahman’s music is also impressive and adds to the feel of the story.

On a whole, Rang De Basanti is a memorable movie. Once you watch it, you want to watch it again and again until you get each and every detail of the movie right. It leaves a mark on your heart and forces you to think about the issues it raises. It’s a perfect package of humor, patriotism, excellent performances and the best of all, entertainment.

I found this article on Hindustan Times and I wanted to add my opinion to it. So, let me just ‘analyze’ this article by breaking it down (I love doing this!).

In a television interview, Shah Rukh said “it is better to rule in hell than to serve in heaven, even if that (Hollywood) is considered heaven. I think they also make films as we do. I think I don’t pertain to that. I would rather make a good film here than to go to Hollywood.”

The big shots of the Indian Film Industry Amitabh Bachchan, Shahrukh Khan, Madhuri Dixit Nene, Aamir Khan, Kajol Devgan, Salman Khan, etc. have established their names and have achieved fame in and through India. From making movies to endorsing products to giving numerous interviews on TV or for newspapers, their whole image is based in India. These stars are ruling and have ruled the Indian Film Industry for a number of years then why would they want to go to Hollywood and “serve” or act in small roles? I agree with Shahrukh on this. But I do have problems with this part, ‘even if that (Hollywood) is considered heaven.’ Who ‘considers’ Hollywood heaven? Where does it say that Hollywood is heaven? Nonetheless, brilliant Indian stars should continue to make films here in India and forget about going to Hollywood. And for those who already have, ouch!

“To a question about Indian films failing to win awards like Oscar and Golden Globe, Shah Rukh said it is due to the mindset of the jury. “The Jury there has a mindset and we need to understand that mindset if we want to win awards. It is high time we win awards there.”

Wait a minute. What mindset is he talking about? If going to Hollywood doesn’t matter to Shahrukh, then why does winning awards in Hollywood matter? I don’t think we need to understand their mindset. And I also don’t think that we should want to win Oscars or Golden Globe. Do we ever see Jim Carrey crying over winning a Filmfare award? No. Then why do we need to win their awards?

“Like we get foreign coaches to train Indian players, we should get some consultants who can share their thoughts on what kind of movies can win awards,” he said.

Again, I don’t agree with this statement. I do not feel that we should get consultants to determine the status of our movies. Whatever kinds of movies we make, we experiment and learn from the mistakes. So, where’s the need for a foreign consultant?

The Baadshah of Bollywood feels he has matured and mellowed down over the years.
Observing that there is a lot of talent in the Industry, he said even better stars will follow “once we decide to take a back sea. But honestly speaking, there is a little chance. “If I try to work for so long as Amitabh Bachchan has done then how will these new kids get a chance to take centre-stage,” says the star.

Uh-oh. Did I just read what I think I read? Shahrukh Khan bashing Amitabh Bachchan. I agree and disagree with his statement on Big B’s work. Agree, because if Bachchan is hogging all the limelight every year with ten movies out of which four are hits, then what will happen to the careers of the ‘new kids?’ But, on the other hand, if Big B is capable of doing more films, wants to work more and if he’s getting more work (that too, good work!), then why wouldn’t he do it?

Frankly speaking, there isn’t much respect in my heart for celebrities who have shifted their focus from Bollywood to Hollywood. I consider those celebrities as being traitors to the country that gave them their fame. But you know what? Nothing lasts forever, fame included.

Goodbye 2005, welcome 2006. New year, new films, new hits, new flops and not to forget, new awards. Year after year, we watch different award functions to see which movie or actor will win and most of the times, the answers are predictable. This isn’t because a certain movie or performance was so mind blowing that it deserves a certain award but because some notable producer and/or director has made that movie or a veteran actor has given that performance. Whatever happened to keeping it fair?

If there is a movie by one of the leading makers of the Indian Film Industry, then the award, without a thought, goes to that movie and not just for the best movie but also for the best director, best actor, best actress, best supporting actor, best supporting actress, best villain, best comedian, best pet (if there is a pet in the film). Whatever happened to recognizing actual talent?

Almost every year, there are categories that are invented in these award functions. If there is just one ‘big’ film of the year, great, but if there are more than one ‘big’ films by ‘big’ directors/producers, then there is a need for creating award titles that have never existed before. They might as well have a category to please every ‘big’ name. And ‘the award for the film that had the most number of guest appearances’ goes to… or the award for ‘the most experienced producer whose films aren’t doing very well at the box office these days’ goes to…. Adding and taking away categories makes the award shows unreliable, thus lessening the credibility. On the other hand, if these shows had a standard list of categories that were followed strictly every year, it would make them more realistic and believable. Whatever happened to awarding the deserving candidate?

Best Film
Black

Best Director
Sanjay Leela Bhansali (Black)

Best Actor
Abhishek Bachchan (Bunty Aur Babli)

Best Actress
Rani Mukherjee (Black)

Best Actor in a supporting role
Abhishek Bachchan (Sarkar)

Best Actress in a supporting role
Ayesha Kapoor (Black)

Best Actor in comic role
Javed Jaffery (Salaam Namaste)

Best Actor in negative role
Ajay Devgan (Kaal)

Best Music
Himesh Reshammiya (Aashiq Banaya Apne)

Best Lyrics
Asim Raza - Jiya Dhadak Dhadak Jaaye (Kalyug)

Best Male Playback Singer
Himesh Reshammiya (Aashiq Banaya Apne)

Best Female Playback Singer
Alisha Chinai (Kajra Re - Bunty aur Babli)

Best Screenplay
Bluffmaster

Best Choreography
Farah Khan – Right Here Right Now (Bluffmaster)

Best Story
Manoj Tyagi (Page 3)

Best Dialogues
Shridhar Raghavan and Rajat Arora (Bluffmaster)

Best Editing
Bela Segal (Black)

Best Art Direction
Keshto Mondal, Tanushree Sarkar, Pradeep Sarkar (Parineeta)

Best Special Effects
V. G. Samant (Hanuman)

Best Sound Recording
Robert Taylor (Mangal Pandey- The Rising)

Best Cinematography
Abhik Mukhopadhyay (Bunty Aur Babli)

Best Costume Design
Lovleen Bains (Mangal Pandey - The Rising)