Bhawana Somaaya

Hindi cinema is going through a wonderful phase. In the same month we have a costume drama- Veer, a rural raunchy love story- Ishqiya, a patriotic Road to Sangam, a historical – Raja Harishchandra chi Factory and Rann – an expose on the media. While Veer has attracted the single screens, Ishqiya and Rann have favoured the multiplexes. Road to Sangam has traveled all the festivals and Harishchandra… is on Dadasaheb Phalke and India’s entry to the Oscars this year.

Some of these got into controversies. Ram Gopal Varma particularly has a penchant for courting trouble. Ten days before the release of Rann, a freelance journalist dragged the filmmaker to the Bombay High Court alleging that the film was based on her script Break Ke Baad. Instead of jeopardizing the release the producers saw wisdom in settling the copyright infringement dispute but Verma is not happy with the decision. He feels that these days, writers think it is fashionable to defame filmmakers to popularize their books.

After Chetan Bhagat fighting over his credit for 3 Idiots this is another case of a writer suing a filmmaker. Anil Sharma, director of Veer, agrees with Verma because he along with producer Vijay Galani and actor-writer Salman Khan have been sued for a dialogue apparently borrowed from a book by a Gurgaon-based writer. Pavan Chaudhary has filed a case in Delhi High Court claiming that a line in the film describing India is lifted from his book Safalta ki Triveni: Chanakya ka Rajnitik Gyan. If Chetan Bhagat was paid Rs 10 lakhs as bonus for the success of 3 Idiots and Sonal Mehta has been paid a hefty sum to keep her mouth shut by producer of Rann, Chaudhary has claimed Rs 20 lakh in damages from the producer of Veer. Anjum Rajabali who has been crusading writers battles with filmmakers states that it is time to define transparency in contracts.

Sometimes technology is a curse and director Sudhir Mishra realised this recently. His forthcoming film Tera Kya Hoga Johnny is yet to be released but a rough cut of the movie has been leaked on video sharing website You Tube. The film starring Neil Nitin Mukesh & Soha Ali Khan was premiered at the London International Film Festival in October last year and slated to release mid 2010. Manu Kumaran, CEO Medient Corp has filed a complaint with the cyber crime cell and also at Juhu police station.

Some how tempers have been rising all over particularly in Jodhpur. The Bishnoi community and wildlife activists are agitated over the Padma Shri conferred on actor Saif Ali Khan, an accused, along with Salman Khan, in the killing of a black buck. Terming it as an insult to the award, activists of Community for Wildlife and Rural Development and Bishnoi Tiger Vanyajeev Evam Paryavaran Sansthan said they would protest to the President and the PM against the decision.

History has a way of repeating itself. A few years ago three filmmakers were working on Bhagat Singh and this time the greatest hero of the Chittagong Uprising, Surjya Sen better known as Masterda, is the subject of two forthcoming films. Ashutosh Gowariker is making Khelein Hum Jee Jaan Sey with Abhishek Bachchan and Shonali Bose has signed Manoj Bajpai to essay the role of the revolutionary. While Gowariker is shooting in Goa, Bose is shooting in Northern West Bengal. Let us hope that unlike Bhagat Singh’s Surjya Sen’s do not get into media battles and controversies.

South star Khushboo must have never imagined that an interview on pre-marital sex and virginity given to a magazine would turn into her worst nightmare. It is four years since she made the over publicized comment that “No educated people will insist that their bride be a virgin” but the statement continues to hound her. She came under adverse light in the Supreme Court when the translated version of the interview in a Tamil newspaper created furore and 23 cases were filed against the actress all over the country. Every time the old files open up, the festered wounds resurface. Grapevine has it that Khushboo’s husband plans to make a film on the episode and reveal their side of the story.

Most of the time, films imitate reality but sometimes reality imitates films as well. In Chak de, a charismatic mentor helps the Indian female hockey players to overcome the adversities and accomplish the World Championship. In a case of real life imitating reel and without the presence of a Shah Rukh – female hockey players have come together to make their case public. The women players have decided to openly fight the gender prejudices against the association and opened a joint bank account in Bhopal seeking monetary contributions from the public to help players in distress. Shah Rukh Khan are you reading this? If you are, then you should be sending the first cheque.

Bhawana Somaaya
blog.bhawanasomaaya.com

In 1990 Amitabh Bachchan for the first time changed his voice for Agneepath. It was a performance he was proud of but the audience rejected the experiment. Trade pundits summarized that his fans found it difficult to associate their favourite actor without his baritone.

Result, Bachchan was coerced to dub the film all over again in his original voice but he was not happy with the decision. He said it was an artistic compromise and went against his conviction as an actor. He was not wrong.

In weeks to come where ever Bachchan traveled, for his films and his stage shows, the audience urged him to address them in his Agneepath voice. Their response revealed that they had not rejected his experiment but were unprepared for the surprise and therefore stumped.

There is a possibility that had Bachchan shared this information in the promotion of Agneepath, the audience would have applauded his efforts the way they have supported his prosthetic makeup for Paa. Today, technology facilitates communication and Bachchan comprehends that. Paa is an intelligently marketed film and leaves no room for surprises. The audience is well prepared for the subject and the message of the film.

It is an important film for Amitabh Bachchan as an actor as well as a producer all out to re-establish his banner AB Corp.

Not surprising that it was the most dazzling premier at Imax theatre with full attendance from the film fraternity. The long driveway to the cinema hall blossomed like a bride with lollipop lights. At the entrance Bachchan senior, junior, Vidya Balan and all the children starring in the film stood to receive the guests personally. Everybody wore a special badge which read- I love Paa. The invitees were divided among four screens renamed for the special day as Classroom I, II, III and IV.

For four decades we have seen Bachchan sparkle on the big screen in different roles and characters. He has played angry, romantic, comic and negative hero and we are convinced we are familiar with his every nuance, expression and gesture but Paa is a deconstruction of the superstar. Director Balki carefully and intentionally demolishes all his well known attributes- height, voice, power and presence- and introduces you to the most lovable twelve-year-old of Hindi cinema, Auro.

Auro suffers from Progeria but is far from sad or defeated and that is the beauty of the film. He is confident, witty, spirited, stubborn and mature beyond years. What makes the film special is that Balki refrains from melodrama and sermons. He treats Auro as a well adjusted individual accepted by his peer group. Of course there is anguish and turbulence and it is reflected in the mother-son relationship but there is no wallowing. Auro is self respecting and his mother Vidya, a courageous single mother and that’s what lends dignity to the film.

Paa sensitizes you to the problem of Progeria. It is a big leap from yesteryear films like Dosti and Kunwara Baap where society makes a mockery of the handicap. Not anymore, films like Black and Taare Zameen Par alter perceptions of mental and physical disabilities and present the protagonist without stigma.

There are innumerable magical moments in the film- The time Auro first time speaks to the MP and preens like a peacock…The time he visits Delhi with his biological father… The time spent together in the under ground train and on the flight journey…The time Auro goes shopping with his grand mom…Watch out for the way Auro wobbles his head slightly unsteady and hands awkwardly held together. He dons thick glasses but the sunken weak eyes reveal a story of rare spirit and faith. For a young boy fighting so many oppositions, he is self assured in his relationships.

There are many layers and many insights. Infact Paa is more about Auro’s inter personal relationships than his illness. It is a celebration of ensemble performances- Paresh Rawal, Arundatti Nag, Abhishek live up to their roles. Vidya Balan transforms from a passionate beloved to a courageous mother ready to take on society and medical world. And finally Amitabh Bachchan as Auro breaks your heart. He is mesmerizing, completely spellbinding.
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