Bajrangi Bhaijaan: Humanism has no religion or nation!

The contrasts and the ironies are stark! The lead character in the film is played by Salman Khan who is a   Muslim. But in the film he is a hardcore Hanumaan bhakt (devotee). The farcical irony is that he has to bow whenever he sees a monkey. However, when raised a question if Lord Hanuman would be efficacious even in Pakistan, he is confused and fumbles for an answer.

Director: Kabir Khan

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Salman Khan has done a credit to himself and his immense talent by taking a break from his regular irrational masala potboilers and giving a veritable performance in Bajrangi Bhaijaan. The film is more than just another theme in Indo-Pak conflicts of identities. In and through a sincere and devout Hindu devotee of Lord Hanuman on a voyage to reach a mute Muslim girl to her parents in Pakistan, the director sends a strong message that humanism has no religion and nation.

In Bhajrangi Bhaijaan, in the final analysis everything falls in right place adding to the success of the film. The little Harshaali Malhotra as Munni (Shahida) is not just innocent looking, her expressions evoke tenderness and sympathy. The all-pervading humour and irony in most situations of struggles of people compromising hardcore religiosity with borrowed nationalism perhaps would help the audience to relate to their own struggles to find reconcile man-made structures with natural instincts to reach out to humanity. In the end, though, BB is a film about losing one’s structured identities and reaching out to people in dire need, letting love overpower hatred and egotism.

Well, certain elements in the film, especially dramatic developments typical of a Bollywood commercial, may look out of place in a well-crafted humanistic rendering. But, the film as a whole does work in conveying powerful messages. And patronising animosity is definitely not one of them! Nawazuddin Siddiqui, as always, adds weight to the film through his inimical performance. Full marks to Kabir Khan, the director. Not to forget, the music and situational songs elevate the theme. 

- Melwyn Pinto SJ

Also read: Article from EPW

Dangerous Beauty: Woman of power and pain!

At times many of us are products of our circumstances. Women are more likely to be one by virtue of their being constantly at the receiving end of men’s ‘mercy’! A well-made film on a medieval courtesan speaks immensely of both the power and the plight of a woman caught in a society high on moral and ethical codes, practicing none.

Director: Marshall Herskovitz

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Veronica Franco is a courtesan in Venice. A courtesan is similar to temple and court dancers found in the ancient royal kingdoms in India. Veronica becomes a courtesan not by choice but circumstances. The man she loves, a senator from a royal lineage, cannot marry her because of his class. By dint of her being a courtesan, she is loved and hated at the same time. But what no one can deny is the fact that Veronica is much more honest, devout, passionate and innocent of heart, even as she is learned and intelligent, than all those who claim to be the conscious keepers of society.

In the end, though, the cruel joke of Church Inquisition takes almost better of her, but for the one man she loves standing up for her. He not only wants to save her, but save the Church and the State from punishing an innocent woman and spare all those high cultured men who were her ‘accomplices in witchcraft’ for which she was supposed to be condemned.

Catherine McCormack as Veronica richly deserves accolades for donning a character into which she effortlessly immerses herself. Each of her expressions is so delicately constructed that you cannot but feel with a woman brutalised by a cruel society.

The film also gives a glimpse of what Inquisition was all about and how dangerous and ruthless the Church-State combination at one time was!!

- Melwyn Pinto SJ

The Story of the Weeping Camel: Life as it comes!

The Story of the Weeping Camel is a heart-warming docu-drama about a nomadic tribe in Mongolia and their association with and attachment to their domesticated animals, especially camels. Though the story narrates the plight of a new-born camel that is rejected by the mother, the free, happy un-baggaged life of the nomads comes alive in the process.

 Dirctor: Byambasuren Davaa

 Dirctor: Luigi Falorni

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What we come to know from the film is that this tribe lives life as it comes to it. They are happy with whatever they have and earn. They are not unduly concerned about amassing possessions for posterity. They travel with their animals from place to place in search of greener pastures and find life along the way.

Not that everything is hunky dory for the wandering tribe. They have their lows as well. Animals and their protection is their biggest concern. Here in the film, the calf is rejected by the mother as it had to suffer a great deal while giving birth. The tradition has it that the mother camel needs to be cajoled and nursed with singing and music to the accompaniment of a traditional violin into accepting the young one. The family in the film brings a musician from the town and then there is this moving scene of the mother coming to terms and shedding tears. The union of the mother and the calf is the ultimate climax that moves the audience as well. 

For an outsider the life of a nomadic might look primitive and short of all the novelty and excitement of the modern buzz; but none can dispute the excitement that they find in their daily joys of life, something that the stressed world would do well to cultivate.

The film is directed by Byambasuren Davaa and Luigi Falorni.

- Melwyn Pinto SJ

Where do we go now?: Dousing communal fire

In most cases, the cause for communal flair is invariably a flimsy reason. However, it takes a giant effort to douse the fire of hatred. Well, it is not that impossible to build a society on communal harmony, except that someone has to do some hard work and someone will have to ‘pay’. The Lebanese film Where do we go now tries to deal with such a sensitive theme.

Director: Nadine Labaki

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As expected, in any situation of communal disharmony, women are the ones who have to bear the brunt. And as the director rightly assesses, it is the women who unfortunately have to make great efforts to make reason work rather than emotion. In this film, their giant effort, of course, pays in the end. 

The story is about a village in Lebanon where Muslims and Christians have for years lived in harmony. However, the good times as they say are not to last forever. Skirmishes on communal lines give rise to violence and death, resulting in women losing their husbands and sons. While the women reason out that it is only by communal harmony that they can survive, the men are as unreasonable and blind as ever, being consumed by their ego.

It takes some bold, risky and, of course, creative efforts on the part of these tired women to bring about some sense and peace in the village. The film indeed is a brilliant portrayal of a society that thrives on ego clashes and religious fanaticism. The film lays threadbare the character of a society that cares less about human lives and more about religious bigotry. 

- Melwyn Pinto SJ

Dhag: The fire all around!

Here is yet another important film in Marathi that deals with a unique subject. The film won several national awards last year, including the best actress award for Usha Jadhav. The film deals with a caste related practice. Here is a family whose family trade is cremating the dead in the village. Ironically, it is in the death of someone that the family must find its living.

 

Director: Shivaji Lotan Patil

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The problem becomes acute when in a sudden turn of events, the man in the family dies of snake bite and the young son has problems continuing with this practice. Though the son wants to study and become someone in life as per his father’s wish, he realises how the eventuality has brought in several other problems to the family, including the lustful advances of men towards his mother. It is in this context that the son must make a decision of his life.

The young Hansraj Jagtap as Krishna adds life to a film which in parts turns melodramatic. The suffering that a caste related trade brings to a poor family can be seen and felt through the tender yet mature expressions of this young boy. The blaze (dhag) is not just that which emanates from the pyre, it is there even in his eyes. The film, of course, does not end pessimistically, which is its strength. There is hope even when the fire blazes all around you.

- Melwyn Pinto SJ

How Old Are You: Woman in the centre!

Women-centred films are not new in Malayalam. In fact, the new generation Malayalam films have strong women characters and there are several films in this genre that are centred on women. How old are you is yet another significant and praise-worthy addition to them.

Director: Rosshan Andrrews

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It is a film about women living their dreams. The message is straight forward: women are not to be confined only to the household, cooking and taking care of children. They can also strive to achieve their dreams, only if they are determined. And, no-one but themselves can be their guiding hand in this pursuit.

Nirupama is just like any other housewife, taking care of the household having internalised that her life is only that. However, things change dramatically for her, when she comes to know that she is derided for her naivety and less than confident attitude to life. Timely comes the help from her classmate, through whose words of support she defies logic to turn out to be a successful entrepreneur, gaining respect from her husband and her little daughter as well.

The film raises several pertinent issues: Why should a woman always sacrifice her dreams for the sake of her family? Why not help her also to go beyond the narrow confines of family and kitchen? We can also have as many women entrepreneurs as men, if not more, provided men do not feel insecure and threatened by them. And finally, when a woman blooms and flourishes in and through her dreams, not just an household but a society she engages with also blossoms, for the nurturing qualities of a woman will always come alive naturally in every decision she takes, and every change she brings in. At least that is the message of the film. Full marks to the director Rosshan Andrrews and the lead character Manju Warrier.

- Melwyn Pinto SJ