Friday, August 21, 2009
Wednesday, August 19, 2009
Now, the greatness of “Kaminey” was not at all surprising. It came from two of the most dependable names in the Hindi film industry today: Vishal Bharadwaj and Ronnie Screwvala (of whom I have blogged previously here). Now, Vishal Bharadwaj comes with classics like Maqbool and Omkara behind him. Therefore, one cannot argue that the man knows his craft. So when he decides to make a movie named “Kaminey” the expectations are bound to be high. Ronnie Screwvala’s name is practically synonymous with the hatke mainstream cinema. While his films are commercially viable, he has the guts to make the movies unconventional at the same time. Add to that, lyrics by Gulzar, two mainstream stars (Priyanka and Shahid) and a host of character actors and you have one delectable combination that is hard to miss.
However, what is surprising is that Kaminey delivers on the expectations and how! It is one of the most engrossing fares in recent years. Now, a lot of ink, real and digital has been spilt on the plot, the performances etc. Therefore, I won’t go there. What I want to point out are only three points that I think set “Kaminey” apart from the usual fare.
First, with Kaminey, Vishal Bharadwaj steps into the territory of original story telling, an area which is particularly tricky when it comes to thrillers. Sure, he still draws inspiration in certain scenes from several sources but he definitely makes them his own. In fact, an outstanding feature of Bharadwaj’s work is that the brilliance with which he draws inspiration from both Indian and International cinema. It would be unfair to name just people like Tarantino as an influence. In Kaminey, he pays homage simultaneously to the retro era where movies like Jewel Thief, Teesri Manzil, The Great Gambler and others gave their audience an unforgettable thrill ride. This is a complete director’s movie and Vishal Bharadwaj executes it in a manner which is slick without losing its desi flavor. At the same time, he debunks the myth that commercial cinema cannot be artistic. His visuals are trippy and stylish. His execution in places is inspired and novel. The dialogues are devilish and bold. There is spontaneity to every scene which ensures the energy to be maintained throughout and doesn’t let the viewer lose interest for one second. All in all, this is a heady cocktail for any cinephile.
However, what perhaps is even more important with Kaminey is that it not only delivers a thrilling affair, but also conveys deep social and political understanding of a city which takes it to a whole new level. Kaminey surpasses even movies like Salaam Bombay and Slumdog Millionaire in the view of Bombay it has to offer. The latter was a fairytale; a gritty one, but a fable nonetheless. However, Kaminey keeps it more bad ass and real. It covers Bombay beyond the elite areas and Dharavi, to the nook and corners; the underbelly and the glitz. It provides authenticity to every aspect, from the locations to the language and clothing. Moreover, in its 140 minutes odd runtime, it references and encapsulates some of the most important, often forgotten events Bombay over the last 20 years: the nexus of narcotics, police, politics; the international links in the business of cocaine; the hypocrisy of politics on linguistic lines and much more. Bharadwaj doesn’t develop all these themes in detail, but he doesn’t need to. His mature understanding of the themes he is engaging with and his willingness to push boundaries and offend the politically correct is what makes Kaminey an intelligent thriller rather than merely an exercise in nihilistic violence.
Last, but certainly not least, Vishal Bharadwaj combines characters and actors with rare dexterity. In Omkara, he made an actor out of Saif Ali Khan. Here, he does the same with Shahid Kapur who plays the double role of a bad ass and a simple guy with an equal measure or flamboyance and restraint. With Priyanka, he redefines the heroine of Hindi cinema. She is dashing, dangerous, forward and yet caring, real and looks gorgeous without make up. But more importantly, he never lets his characters act inconsistently. They may act mad, instinctive, strange but never out of character. There is a rational explanation for every action of theirs. This makes a flaw difficult to spot. This also probably sets him apart considerably from Tarantino and the like, and in my opinion, for the better.
Of course, the film is not without its flaws. The end could have been slightly tighter. There are some scenes that may have been better done. However, these are minor and forgivable flaws in an otherwise outstanding motion picture, which is, without doubt, the best we have seen this year so far. Take a bow, Mr. Bharadwaj, take a bow.
Monday, August 3, 2009
“Ek Chhota Sa Lamha Hai Jo Khatm Nahin Hota
Main Laakh Jalata Hoon Ye Bhasm Nahin Hota
Ye Bhasm Nahin Hota”
I was recently going through some of the songs written by Gulzar and I came to realise how much lyrics have changed over the years. Every generation has had its pulp lyricists who churn out lyrics by the dozens each day for the masses to mouth and forget the very next day. Every generation has had its Sameers. Our generation has its spatter of such mainstream lyricists. There are of course the occasional gems that were given to us by Anand Bakshi and Javed Akhtar (the latter more so before he started producing standard template lyrics, yet there is still the occasional “Sapnon Se Bhare Naina”). But very rare have there been lyricists who have consistently delivered superb lyrics. One such person is Sampoorna Singh “Gulzar.”
In fact, it is very interesting to compare Gulzar and Javed Akhtar. Both wrote films before lyrics. The latter along with Salim Khan gave us some unforgettable entertainers like Sholay, Zanjeer, Seeta aur Geeta etc. But, like his lyrics, the areas where Gulzar scored over Javed Akhtar always were his depth and certainly his originality. Even when drawing inspiration from Shakespeare (“Angoor”) or classics like “Sound of Music” (“Parichay”), he brought a lot of originality into his work and made it his own rather than a mere imitation. Furthermore, unlike the large canvas of Javed Akhtar, Gulzar always told stories that were simple on the face of it but staggering in their complexities. Gulzar always showed a rare maturity when dealing with human emotion and created such real characters that it was impossible not to care for them. Be it the rocky relationship of Mahinder, Sudha and Maya, the love of Aarti Devi and J.K., the wisdom of Raghu, the greyness of Sanathan, or the chaos cooked up by Dr. Parimal Tripathi, Gulzar has never shied away from the complexities of seemingly simple stories and relationships. He has dealt with some explosive subject matter in movies like “Aandhi” and “Maachis” and has shown amazing restraint and insight. Many of his dialogues are classics. For example, take this one from Aandhi in the middle of “Tere Bina Zindagi” as the two characters reminisce about their relationship:
J.K.: Yeh jo chaand hai na, issye raat mein dekhna..
Yeh din mein nahi nikalta..
Aarti: Yeh to roz nikalta hai..
J.K.: Haan lekin beech mein Aamawas aa jaati hai...
Waise to Amaawas 15 din ki hoti hai..
Lekin is baar bahut lambi thi.
Aarti: Nau baras lambi thi na?
The same is true for his lyrics. Gulzar is perhaps the best lyricist that Hindi cinema has ever seen. I read somewhere that Gulzar’s lyrics are not for the common masses. They are too heavy to comprehend for most. However, barring a few exceptions, I would seriously disagree. In fact, very few lyricists captured the beauty of individual situations and relationships the way Gulzar did. His words are honest and extremely relatable for the most part. For example, take the situation in Ijaazat where “Mera Kuchh Samaan” plays. Mahinder is reading the letters of Maya who is reminiscing the memories they share and she asks him to return some of them. Some of my favourite lines from the song are as follows:
“Ek akeli chhataree main jab aadhe aadhe bheeg rahe the,
Aadhe sookhe, Aadhe geele, Sukha to main le aayi thi,
Geela man shayad bistar ke paas pada ho,
Woh bhijwa do, Mera woh samaan lauta do.”
This song is perhaps one of the best examples of Gulzar’s lyrical prowess. While most lyricists (if not all) are content with bringing out the ideas of love, friendship, anger, joy in the simplest ways, Gulzar showed a remarkable understanding of human experiences embodying these ideas and thus was able to evoke real emotions through his lyrics. Also, at the same time, another remarkable feature of his lyrics is that he writes them very specifically keeping his characters in mind. This understanding is rare among lyricists and partly associated with the fact that Gulzar also created many of these characters. It is easy today to take a Javed Akhtar song from one movie and put it in just about any other. That is not true of Gulzar though. In the above song, for example, he takes the simplest examples of the relationship two lovers share and uses them to write his song. At the same time, these examples are highly specific in the context of the characters. It is easy to see Maya’s boldness, longing and consequent frustration emanating from the words. It is difficult to place it in any other movie with any other character. The same can be said for “Tujhse Naraaz Nahi Zindagi” in relation to Shabana Azmi’s character in Masoom or “Dil Hum Hum Kare” in relation to Dimple’s in Rudaali.
Another rare distinction that Gulzar holds is the ability to do justice to a large number of themes in his songs. Be it songs for children (“Jungle Jungle Pata Chala Hai” and “Lakdi Ki Kaathi”), about melancholic loneliness, (“Paani Paani Re”) or life in general (“Filhaal”), the longing for a loved one (“Mere Yaar Milaade” from Saathiya) or the madness of gangsters (“Kallu Mamaa”). Most recently, he even wrote a song about AIDS and contraception for the upcoming “Kaminey” (“Fatak”). Truly, there is no situation of which he cannot write songs about. One of his finest songs about life include “Ae Zindagi Gale Laga Le” from Sadma:
“Ae zindagi gale laga le,
Ae zindagi gale laga le,
Hum ne bhi tere har ik gam ko,
Gale se lagaaya hai
Overall, Gulzar is the best lyricist and amongst the best writers of all time. Over the last four decades, he has put together a highly impressive body of work in both capacities. As a writer he has done dramas, comedies, political epics, romance and much much more. In an age where movies like Kambakht Ishq and Om Shanti Om rule the roost, one misses the sensitivity and the insight that Gulzar has to offer. As a lyricist as well, he has become increasingly reclusive and works with very select movie makers like Vishal Bharadwaj, Shaad Ali and some others. However, his contributions to the world of cinema are invaluable and his work is, and shall forever remain, unforgettable.