Watched Sudhir Mishra’s Hazaron Khwahishein Aisi during the weekend. Over the years, I have come round to the view that one should divest oneself of the baggage of expectations before watching an Indian film. The Rising rose to deceive because it wilted under the baggage of 4 years that went into making it. And, of course, Aamir Khan’s reclusive ways, which always whet the media’s appetite. Why expect an epic before you enter the theatres? Chances are that you’ll come out disappointed. Enter the theatres with a blank mind, a tabula rasa, and the film will itself etch its glorious moments as well as its failings on the mind. I feel this is constructive film-watching.
Coming to Hazaron…, I didn’t have any expectations from the film. Watching it on a lazy Sunday afternoon, the film took me by surprise. At the outset, the director makes his intentions clear when he points out the horological mistake in Nehru’s freedom speech. How stupid to say: “At the stroke of midnight, when the world sleeps….” The nation began its tryst with destiny with a sub-editor’s worst nightmare coming true.
I do have some reservations about the first half, which veers tantalisingly towards the all-so-common college canteen dialectics on merits/demerits of extremist socialism. There’s a brief love-making scene (clumsy) and one of the protagonists, Sidharth, is out to a village in Bihar to join the “struggle”.
The second half gets absorbing when we have a compelling human drama played out against general political unrest. The character of Vikram is the most well-etched. He is upwardly mobile, a “fixer”, but nurtures feelings of love for the leading lady, Geeta. He is not bothered about politics, but utilises it to his own good. However, he is a total misfit in the outback. Glib talking will get him nowhere here. A place where villagers are harassed and implicated on false charges of murder. Where law begins and ends with the local police station.
While the protagonist is saved by his comrades, Vikram incurs the wrath of the police and is mercilessly beaten up. Mishra makes the scene poignant -- very raw and very Bihar.
Thankfully, the director has kept a keen eye on the nuances. You know the mise en scene is a Delhi college hostel or a police station in Bhojpur or a small town in Punjab by the accents and minor details. (Well, I would never have pointed out these taken-for-granted aspects while talking about good films. But even the basics seem to be lacking in most Indian films).
I have a small quibble though. The dialogues are mostly in English. If the film is meant for non-hindi speaking viewers, why not have translations? Better still, why not use the college campus language, instead of having the actors speak uncomfortably in English?
Coming to Hazaron…, I didn’t have any expectations from the film. Watching it on a lazy Sunday afternoon, the film took me by surprise. At the outset, the director makes his intentions clear when he points out the horological mistake in Nehru’s freedom speech. How stupid to say: “At the stroke of midnight, when the world sleeps….” The nation began its tryst with destiny with a sub-editor’s worst nightmare coming true.
I do have some reservations about the first half, which veers tantalisingly towards the all-so-common college canteen dialectics on merits/demerits of extremist socialism. There’s a brief love-making scene (clumsy) and one of the protagonists, Sidharth, is out to a village in Bihar to join the “struggle”.
The second half gets absorbing when we have a compelling human drama played out against general political unrest. The character of Vikram is the most well-etched. He is upwardly mobile, a “fixer”, but nurtures feelings of love for the leading lady, Geeta. He is not bothered about politics, but utilises it to his own good. However, he is a total misfit in the outback. Glib talking will get him nowhere here. A place where villagers are harassed and implicated on false charges of murder. Where law begins and ends with the local police station.
While the protagonist is saved by his comrades, Vikram incurs the wrath of the police and is mercilessly beaten up. Mishra makes the scene poignant -- very raw and very Bihar.
Thankfully, the director has kept a keen eye on the nuances. You know the mise en scene is a Delhi college hostel or a police station in Bhojpur or a small town in Punjab by the accents and minor details. (Well, I would never have pointed out these taken-for-granted aspects while talking about good films. But even the basics seem to be lacking in most Indian films).
I have a small quibble though. The dialogues are mostly in English. If the film is meant for non-hindi speaking viewers, why not have translations? Better still, why not use the college campus language, instead of having the actors speak uncomfortably in English?
Comments
Even so, The Rising disappoints because every now and then, one glimpses the potential for a good film ... slipping away.
J.A.P.
Thought, though: How could Salman Rushdie, so predictable in such matters, have missed this mistake in Midnight’s Children? Tell me, Fool on the Hill or One Time Big MC Fan, did Rushdie start losing his magic from then itself?
Hyacinth girl: Remember Padma in the novel? She must have distracted him then. Now it's the real Padma. But (and I still stand by it) Midnight's Children was pure magic.
The reader has the right to be entertained at any level of cerebration. And the power to reject if that right si not recognised.
Unfortunately, there are imperfections in the market. Most of the world consists of morons who will do what the media tells them to do. The Emperor's new clothes ...
J.A.P.
Marauder: I can almost see the dark storm clouds gathering over your head!
Well can we leave the film alone. I quite liked the film bcoz midday I could shackle myself from the weight of expectations.
As for whether its a hit or not these days its difficult to know. The media (who is this person called media.. a group of 5-6 people??) will never allow us to know that.
But how does it matter? Watching a film is a personal episode. More like religion. For me it doesnt matter what others say. You hear about film and decide based on your own perceptions whether you should see it or not. And you come back with you own interpretation of the experience.
Also, I think the language is pretty apt, goes with the characters and the background of the characters who are speaking...And did the "hill top fool" expect a more explicit love making scene!!!
Every character is so well-etched and also well-justified in their actions. When Geeta asks Vikram to go and look for Siddharth, you can see the pain on Vikram's face. He loves Geeta and wants her for himself but its the same love that makes him go to the village.
The songs are wonderful too. I saw this movie so late and that too on TV. Wish I had caught it while it was running in the theatres.
Can you just mail it to: vinod.rajagopal@cummins.com?
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