Category Archives: 1-By Laksh

All these articles are from Laksh’s desk

1-By Laksh, Movies

A tribute to Hrishida

Filmmaking is both an art and craft. The percentage of each of it in a film depends entirely on the filmmaker and what inspired him to begin with and continues to do throughout the film making process. While for some filmmakers the source of inspiration might be other media like books, theatre or Television, for others it might be films. With remakes doing the round and inspiration touching the zone of imitation, you could say some of the most successful filmmakers today take the second approach. They spend lot of time on indianizing/regionalizing the existing movie content and churn out new films. For most of them, designing a shot is more important than conceiving a scene. Infact, they seem to work backwards—shots to scene, scenes to screenplay, screenplay to a plot. If you do not mind the software lingo, it is like writing the code and then thinking of a design that fits:)

Well, this is not to take away any thing from their success or their mastery over the craft, but it is time to get nostalgic as we are going to talk about Hrishikesh Mukherjee (Hrishida), a filmmaker of the first approach. Our tribute to him probably lies in acknowledging the school he belonged to, how it came to fore through his films and his unobtrusive style that never made him greater than his films. While at it, let’s underscore certain points that are very relevant for even today’s filmmakers as well.

Hrishida always made films that had a script developed in the traditional process so to speak. It appears that his film making process is often kicked in by a novel idea/theme, which is then taken through the route of treatment-screenplay-dialogues-drafts-final version. The structure was not that important, as the emphasis was on the substance.  Infact, the substance is so good, that you could simply ‘conduct’ the script. And, interestingly, the script made choices for the important crafts like music, cinematography etc and not the filmmaker. Hence there are no ego trips or foreign jaunts.

Let’s look at two of his successful, contrasting, yet, his kind of films—Anand and Golmaal. Both of them are set in his typical middle class milieu with the protagonists struggling to survive—rather literally.

Anand is about a terminally ill patient and his last days in this world in the company of a doctor. The novelty factor sets in through the philosophy of the main character— ‘Death might seize my next moment, but this one is mine’. This philosophy becomes the central theme and it is carried through out the film. The story moves forward as Anand enjoys his moments with the people around him. All the characters that Anand interacts cannot believe that someone who can enjoy life so much is about to die shortly. Throughout the film, Hrishida never loses sight of this main theme and when finally Anand does leave the world, he leaves a lot of memories and his spirit is immortalized. This once again, reinforces the central theme—’when moments are lived in full, they become everlasting memories’.
 
When a storyteller stays so committed to his central idea, the film speaks for itself. Marketing of such a film becomes very easy, as the communication objective is made very clear from the word go. Now, if you look at the amount of money that is spent in marketing a movie today, it is primarily to tell the audience what the film is all about and how different it is from rest of the pack. Hrishida managed them at the script stage itself, thus precluding a lot of effort during the later stage.

If the movie Anand dealt with an unusual philosophy, Golmaal is a sweet nonsense kind of film. You could say, P.G. Wodehouse and his British humor inspired Golmaal, specially the characters of Jeeves and Uncle Dynamite.  Golmaal is essentially woven around a central theme of ‘surviving at any cost’ by legal means. The film takes a fairy tale route with the life a happy go lucky guy ending up in getting everything—job, girl and riches. All he had to do was to engage in a Golmaal, enact a double role and tame his would be father-in-law.

Once again, Hrishida succeeds in conveying the main theme throughout, right from the title song by R.D.Burman. Infact, the title song is a theme song of sorts and sets the mood of the film. And whenever the characters engage in Golmaa’, title song plays in the background. It is the script that calls the craft of music and the music that blends into the movie. If you were to go by the current trend of music videos popularizing the film, Golmaal title song had all ingredients to make it big, even though the film is several decades old.

So, here is the take away from Hrishida’s films and his filmmaking school. Let art drive the craft. If there is a something novel to say and if the script stays true to this idea, the idea takes the entire film making process forward. The novelty or the differentiation factor, which is so important these days when the film is marketed, is already there, by the time is ready for release. This is something worth pondering for today’s filmmakers, who are forced to spend exorbitant amounts on marketing their films, while their ideas and scripts are half cooked. 

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1-By Laksh, Books, Etc.

The Afghan:Frederick Forsyth

Before Frederick Forsyth stormed into the scene, assassins had only one passport. They confined themselves to a territory and stuck to a local game. When assigned a job, they would meet the client, pick up the cash and finish it in the next few days. In all probability, the choice might have been a close range bullet or a crude bomb operated with a fuse that ran couple of meters.

Mr. Forsyth changed all that. He created Jackal, an expert marksman, who planned every move well ahead over a period of time.

Jackal had a global footprint, who could blend among any nationality and slip like mercury through the international immigration gates. He had a dozen passports and access to the best of long-range telescopic rifles, with a few specially designed for him.  No one really saw him, and if anyone did, they saw only a carefully constructed phantom. And if they went beyond, they would simply die. Many people do die in Forsyth’s book ‘Day of the Jackal’ and Jackal nearly kills the head of the France.

In his new book ‘The Afghan’, Forsyth deals with global terrorism and the world famous terrorist Osama Bin Laden. The book traces the journey of a ‘mole’ in the Laden’s camp planted by the combined secret forces of West, to foil their latest terrorist act.
The book takes a quite a long to get to the main plot and just when you thought you were getting the hang of it, it ends with a whimper. Though the 3/4th of the book is well researched and takes a closer look at the world of terrorism, there is nothing you would probably not get from the internet or the dozens of available documentaries on 9/11. World, sure has changed for the readers, since the release of ‘The Day of the Jackal’, and internet has made it very easy for them to get an inside account of the men and machinery behind terrorism or for that matter, anti terrorism.

In addition, Forsyth dishes out the stereotype characters which includes the protagonist, Colonel Martin, an almost-retired-yet-forced-into-one-last-mission. Then you have the usual ‘managers’ from the secret world who only wake up in the middle of the night to take phone calls or engage themselves in long-drawn conversations on ‘what-would-happen’ scenarios, rather than letting their mole get to some action. And to top it all, the red herring before the climax, sure does make things pretty dull and reminiscent of the yester novels.

To his credit, Forsyth skillfully weaves the world of the real Afghan whose place eventually Martin would take and juxtaposes the progress of the two quite well. Though it does make a good reading and for some time you are lost in the world of sand and wind, you get impatient when things do not happen in this world. And you miss the drama and action, Forsyth’s novels are famous for.

However, if you are a die-hard Forsyth fan (like me), it is a worth a read once. But at the end of it,  you might feel it is time to get back to Forsyth’s old novels than risk his new ones.:)

1-By Laksh, ET, Etc., Movies

A kaleidoscope called ‘Bommarillu’

The kaleidoscope is a tube of mirrors containing loose coloured beads or pebbles, or other small coloured objects. The viewer looks in one end and light enters the other end, reflecting off the mirrors. Any arbitrary pattern of objects shows up as a beautiful symmetric pattern because of the reflections in the mirrors. A two-mirror model yields a pattern or patterns isolated against a solid black background, while a three-mirror (closed triangle) model yields a pattern that fills the entire field. Source: Wikipedia.

‘Bommarillu’ could be compared to a three mirrored, ‘designer’ kaleidoscope, with the story tracks forming the mirrors, and the heroine shining as the coloured jewel—the object of reflection. And, when the audience views this kaleidoscope through the eyes of the hero, the result is a delightful interlacing pattern on the big screen. The entire team of ‘Bommarillu’ deserves a big applause for having conceived and projected such a wonderful imagery on the big screen. Often we hear the word ‘teamwork’ in movie previews and reviews, but the word sure has lot of relevance to this movie output.

So, what are the three story tracks and what are they about? First track, forms the main theme-Father-son relationship. Second, impacts the main theme-Hero and Heroine. Third, the filler is a medley of sorts-Hero and his family, Heroine and his father, Hero and his friends, Hero and his fiancé. The center of attraction is of course the heroine, whose characterization has innocence and independence in the right measures, almost Mani Ratamesque.

The debutante director, Bhaskar, does a wonderful job in developing the two main tracks and pulls of the movie on the merit of these two, while retaining the standard structure of a love story-courtship, estrangment and return. Each scene conceived in these tracks takes them forward, ensuring there is no lag in the movie. Once he establishes the conflict in the hero, and the heroine enters the scene, he sways the hero between these two tracks. As and when, the matters are just about to get a little predictable he superimposes these two tracks to result in the necessary story twists.

If you could call them as aberrations, some of them appear in the third track where some characters seem to be waiting for sudden outbursts (like the hero’s brother or the hero’s fiancé). These under developed characters do not matter, as by that time the climax kicks in and the audience are all sucked too deep into the make believe world. Infact, it is on this immersion factor that the movie scores heavily and the audience is glued to their seats throughout. All the crafts of movie making—music, photography, art direction, editing—add to this factor.

‘Bommarillu’ is all about characters you fall in love with. And, casting is just about perfect.

It takes two high caliber actors for the lead roles that do not demand out-of-the-board histrionics but subtle and sensitive portrayal. Prakash Raj and Siddharth do just that. Siddharth is brilliant in his sway as the suffocated son in the presence of his father and relieved/enlivened person in the company of his lover. He guides the audience through the journey of his life showing up only when needed and holds you spellbound in his moment of reckoning with his father.

Prakash Raj brings the necessary dimensions to the role of a father who provides his son the best in the world.. best-as-he-wants-for-his-son but not as-his-son-desires. Yet again, he demonstrates his versatility as an actor and merges with a much younger Siddharth. Infact, the scenes between the two came out so well that one could take them to be a well-rehearsed jugalbandi. While Prakash Raj takes the role of the main singer in the first half of the movie, Siddharth starts crooning in the second half, and as their song reaches a crescendo, both are in perfect sync. As a great actor he has come to be known, Prakash Raj stays true to his character and delivers a measured performance that will be remembered for quite some time.

Genelia has an author-backed role and she doesn’t disappoint. She has a screen presence of her own, and she is pretty good in the combination scenes in the second half. The rest of the cast are adequate and do justice to their roles.

Mm.. a lot of it has already been said in the media about the novelty of this movie. So here is some stuff to mull about. The movie’s take off point is reminiscent of Bapu’s ‘Pellikoduku’ (a remake of his ‘Bangaru Picchuka’) that deals with the parent-son conflict and the aftermath after a girl’s entry. Bommarillu’s second half sure brings back memories of Hrishikesh Mukherjee’s evergreen classic ‘Khoobsurat’ in which heroine visiting her sister’s in laws, wins over everyone except her future mother-in-law. Now, just substitute the mother with the father in the both these movies. Well, if you consider these two a bit remote, the speaker phone scene in the second half is heavily inspired by a scene from Krishna Vamsi’s ‘Ninne Pelladata’.

Let’s make no mistake. In this era of remixes, these are little things and take nothing away from the movie or the talented crew. And, the runaway success of the movie proves this point beyond words. If he maintains such a streak, producer Dil Raju, might well be our answer to Karan Johars and Yash Chopras.

Speaking of the success, one of the biggest reasons one might attribute to such a good run at the box-office is that after a long time; audiences have flocked to this movie in ‘groups’. Not just the usual college or office gangs but a motley of them—kitty party, celebrities, grandparents with grandchildren, etc., chipping in their might and providing wild fire kind of mouth publicity.

If you doubt this ‘group’ factor for any reason, just walk into any nearby theater where ‘Bommarillu’ is playing and see it in action. A word of caution though! You might be so immersed in the kaleidoscope that you may not observe anything else. 😉

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Laksh on Bommarillu