'Rang de Basanti'
I watched this much-awaited and much-commented-upon film yesterday with the gang at Novelty theatre, Aliganj. Although much of the story was known to me thanks to a front-page story in the Times of India, I found the film to convey something more than can be captured in a telling of the story. Directed by Rakeysh Omprakash Mehra (who belongs to, what I have termed, the 'YACS Club' - Yet Another Curious Spelling, that is thriving in the entertainment industry these days), it conveys effectively the indecision in the minds of youth today, who, despite realizing that there is a need to do something to combat India's current problems, are not really sure of how to go about the task. This essence of the film is described well in this review by one of my batchmates.
Some of the more prominent issues in India today are lined up in the film - the moral police, communal hatred and distrust, politician-industrialist nexus, the irresponsible and callous politician, police atrocities. Urban youth, as represented by Aamir Khan (D.J. or Daljeet) and his gang, are shown to be cynical in their assessment of this country's prospects. That is, until a Britisher, ironically, inspires in them a sense of the value of the freedom that India got. Alice Patten (Sue) comes to India to shoot a documentary on Chandrashekhar Azad and other revolutionaries and casts this unruly group of friends in her film.
The device used to show the gradual transformation of the group into serious, thinking individuals is this: their actions, following an incident which brings them face to face with harsh reality, mirror those of their characters in the film. The path they choose to come to terms with the reality and to 'set things right' is one of violence, though the ending of the film is such as to preclude the conclusion that this is the only means left to solve our problems. It is this non-preachy nature of the film that actually makes it more effective by urging the viewer to think for himself/herself.
The performances are all very good, including that of Alice Patten (who does indeed speak nice Hindi). Aamir Khan, though not quite successful at looking young, infuses energy into his character of DJ, totally carefree initially and the angry young man later. Kunal Kapoor's performance as Aslam and Atul Kulkarni's as Laxman Pandey are essayed well. I am beginning to really like Atul Kulkarni's performances. Even Soha Ali Khan Pataudi (who resembles Tiger quite a lot, in some shots) impresses in the role of an optimistic young woman. Waheeda Rehman, as Madhavan's mother, does not have a major role, but carries it off with the dignity of an armed-forces-wife and mother.
A. R. Rahman's music is in keeping with the nature of the main characters and with the situations, and must be one of his most varied scores, though it is not really my favourite. Adman Prasoon Joshi's lyrics are quite remarkable, and it is clearly an inspired effort. A good description and review of the music can be found on J. Ramanand's blog here.
Some of the more prominent issues in India today are lined up in the film - the moral police, communal hatred and distrust, politician-industrialist nexus, the irresponsible and callous politician, police atrocities. Urban youth, as represented by Aamir Khan (D.J. or Daljeet) and his gang, are shown to be cynical in their assessment of this country's prospects. That is, until a Britisher, ironically, inspires in them a sense of the value of the freedom that India got. Alice Patten (Sue) comes to India to shoot a documentary on Chandrashekhar Azad and other revolutionaries and casts this unruly group of friends in her film.
The device used to show the gradual transformation of the group into serious, thinking individuals is this: their actions, following an incident which brings them face to face with harsh reality, mirror those of their characters in the film. The path they choose to come to terms with the reality and to 'set things right' is one of violence, though the ending of the film is such as to preclude the conclusion that this is the only means left to solve our problems. It is this non-preachy nature of the film that actually makes it more effective by urging the viewer to think for himself/herself.
The performances are all very good, including that of Alice Patten (who does indeed speak nice Hindi). Aamir Khan, though not quite successful at looking young, infuses energy into his character of DJ, totally carefree initially and the angry young man later. Kunal Kapoor's performance as Aslam and Atul Kulkarni's as Laxman Pandey are essayed well. I am beginning to really like Atul Kulkarni's performances. Even Soha Ali Khan Pataudi (who resembles Tiger quite a lot, in some shots) impresses in the role of an optimistic young woman. Waheeda Rehman, as Madhavan's mother, does not have a major role, but carries it off with the dignity of an armed-forces-wife and mother.
A. R. Rahman's music is in keeping with the nature of the main characters and with the situations, and must be one of his most varied scores, though it is not really my favourite. Adman Prasoon Joshi's lyrics are quite remarkable, and it is clearly an inspired effort. A good description and review of the music can be found on J. Ramanand's blog here.
