#Bollywood film critique

[techsavvybox]

Dream Girl 2 Movie Analysis: Ayushmann Khurrana's Latest Offering Blends Romance and Comedy, But Does It Hit the Mark?"

Ayushmann Khurrana’s movie is a follow-up to his popular romantic comedy Dream Girl from 2019. He was depicted playing the part of a call girl, thus catfishing individuals into falling in love with his on-the-phone character Pooja. The film’s narrative was original and unexpected, yet it also addressed significant topics such as female everyday problems including loneliness and melancholy. Dream…

[pearlgisa]

qala and the style over substance argument

so, i watched qala (dir. by anvita dutt) immediately when it came out - a story that exposed the music industry and the position of women in it, especially focusing on the toxic nature of indian classical music? it was like they made the film for me (someone who's spent a good chunk of their life trained in hindustani classical music). however, i was sorely disappointed.

in essence, qala, along with other films that did commercially well that came out in bollywood last year, solidified my understanding that the audience of today's generation of movie-watchers genuinely puts style over substance and in fact, uses it as a way to defend their favourite movies from criticism. the recent resurgence of praise for om shanti om of all films, only strengthened this opinion.

my criticisms for qala are in plenty, yet i will choose to expand on the ones that strike out the most to me, all of which range from the lightest to the harshest criticism:

the choice of music

the acting

the direction + writing

the handling of the serious issues that are the main theme of the film

before you read ahead, please know that there are spoilers.

in indian classical music, there are two distinct forms: hindustani (or, north indian) and carnatic (or south indian) music. each have their differences and similarities and even someone who hasn't trained can tell them apart upon listening. within hindustani music - which is the genre of music that qala learns from her mother - you have many different styles of singing, ranging from shastriya sangeet (classical form of singing) to laghu sangeet (semi-classical and sometimes, light music). of course, this categorization also has its roots in religion and caste. shastriya sangeet has forms of singing like dhrupad (the oldest form and a strictly devotional medium), khyal (the most common one, telling tales or speaking of human emotions), bhajan (also a devotional medium), etc.

laghu sangeet has forms of classical music like the thumri, a form of singing popularized and invented by courtesans. the lyrics were sensual, romantic and more explicit. of course, owing to these, they were looked down upon. even the british had a huge role in diminishing the status of indian women performers. the "other woman" concept was specifically one that they propagated and the rise of the "perfect housewife" phenomena began since the seventeenth century. the extreme effect of that? the courtesans lost out on their patrons and were forced into prostitution.

hence, that was the primary history behind qala's mother, urmila, shaming her into never being a performer, i.e, in a more derogatory term, a "singing girl". a courtesan, essentially. which is accurate, considering the film is set in the 1940s. if a girl was too "out there in the world", i.e, her achievements being publicised in newspapers or her getting recognition for her academics, her future marital prospects were ruined. and the "shame" that befell the family if she was learning music or dance was worse. a significant number of the prominent female musicians that emerged from this era of pre-independence to post-independence were unmarried. or they had many patrons and salacious rumours regarding their love life were in plenty. the film pakeezah (1972) explores such themes quite well. and the many renditions and retellings of devdas also serve as a good example of the stature of performing women.

however, it's the music itself where it goes wrong for me. the choice of songs as well as qala's singing (of course, all of qala's songs are sung by the amazing sireesha bhagavatula), is in a style all too similar to laghu singing. the years of egregious training, no matter how much her mother dismissed her, would've developed a voice which would've sounded a lot more like what a lot of classical singers would sound like, unless they were singing a lighter form of singing. and it isn't a matter of pitch or using falsetto. qala's mom is referred to as a master of qawallis, which is a sufi form of devotional singing (and comes well under hindustani music too). even the lyrics of qala's songs, while full of very obvious foreshadowing, do not match the overall orthodox classical upbringing that the film portrays.

while bhagavatula has an amazing voice well versed in classical music (especially since she sings bhajans so often), considering the time that qala was set in, you would've expected a sound similar to something along the lines of noor jehan or even roshan ara begum. instead, it sounds a lot like a mix of semi-classical instrumental with a more pop-based voice. which is easier for our generation to digest and consume, however, it comes at the cost of a sound which is very typical of the 50s-70s era of bollywood.

one that qala does right are the costumes. they do their job well. not the sets as much, which i will get into later. at some points, they are well in line with the rest of the era of the film, other times it just sticks out like a sore thumb. here's where the "symbolism" comes in.

one of the most jarring examples is the song qala sings at the first performance, a very light classical song just by the sound of the vocals. even the song jagan sings is very contemporary at its core. despite the characters having an allegedly strict, traditional schooling of music (jagan's voice is devoid of the typical heavy accent or dialects that those who are from underprivileged backgrounds tends to have), the songs at hand present a very modern take on qawallis, despite bollywood being a flourishing ground for many iconic qawallis. therefore, the compositions sometimes falter at some points specifically because of the vocal choices. choosing to do away with alaaps, especially in qala's part, less aakar and more bariki, are all signficant details that feel jarring to someone who's lived in the world of classical music as long as qala. otherwise, there are some signature sounds retained from the era that the film is set in.

and while still on the topic of singing, a very important issue that i find least addressed is the acting of it. despite there being little vocal variations in the compositions, the actors don't show that they are singing. and in the film specifically revolving around music, that's an extremely important detail that i find amiss. hardly opening the mouth, the movement of the lips, the posture as well as the hand gestures (yes, a very important detail!), are all obvious flaws. a recent film that does that does those details well is the disciple (2020). the first scene of urmila teaching qala singing displays urmila wearing an elaborate piece of nose jewellery that covers half of her mouth, and that's when they're doing rehyaas (practice), not a performance. it's huge details like these that don't sell the film to me.

the acting is quite underwhelming and here is where disagreements with my opinions might enter. i find trupti dimri's rendition of qala extremely, for lack of politer words, exasperating. she tends to show the same expressions for all of her problems, i.e., there is no great difference between her feeling anger or feeling despair or feeling depressed or feeling cheated or just plain exhaustion. qala's character is a complex one and difficult to act, which is a concession i will give, however, the hype around her is a little unnerving when the audience is given such an unremarkable delivery of dialogues and emotion. it comes off as school-play acting at times. swastika mukherjee, who plays urmila, is quite two-note with her acting, which sometimes suits her character and sometimes just feels very low-effort. babil khan has his moments, yet there is such less versatility. you'd think the babil of qala's hallucinations and the one who existed in real life would have some distinct characteristics (which they do), but they never come off as that. it feels so half-hearted at times.

the whole point of symbolism is that it's subtle at heart and not on the face. qala has on-the-face symbolism, which is an irony in itself. the black swan scene, the frosty room in the beginning, the ghostly jagan, etc. almost made me bump my nose into a wall. it comes off as pretentious at best, as if the viewer is stupid. it is also very off-putting in some scenes. for example, the black swan scene - there is very little buildup and it feels very predictable in the sense that "it all goes downhill from here". however, there is one scene which i like, which is the gargoyle one (a very traumatic scene, for those who recall, it is the one right before ghodey pe sawaar gets recorded for the final time). i think that is the most effective filmmaking in the entire film. the best thing about symbolism is always the subtlety. it makes the viewer keep coming back to pick up on something they might have missed in the first watch, it helps them pick up the pieces along the way instead of being able to tell the twists thirty minutes before they are revealed.

and one of the most egregious crimes of the entire film is the direction. here is where we get a little more technical (but just briefly, do not worry). the way it cuts from one scene to the next is like watching a poorly edited reel put out by the team of an out-of-touch marketing firm. the editing could have been better at many places. the writing falls flat specifically when it comes to the characters. i'm pretty sure on paper, the script must've been a delight to read. the story has so much potential - considering that it's based on two books, where there might've been even more depth given to the characters - it isn't new in any way but it offers a different, feminist perspective of the indian music industry. yet, the characters are paper thin on screen - in their ambitions, psychology and sociology. hence, urmila suddenly turning a new leaf in the last ten minutes of the film is something that feels wrong, because all along, she has been portrayed as a heartless mother. qala's actions make sense because her character has nearly always been rooted in self pity and rage. jagan is nothing without music. there is very little dimension to them apart from me summarizing their characters in one sentence with less than thirty words each.

that is why, the film feels even more half-hearted when it speaks of the issues that it centers around. all of these elements add up and make for a tiring watch. i gave qala a second chance, to be fair and omitted some of my pettier criticisms, yet the more serious ones remain. to a certain extent, it does aestheticize depression, which i have a huge issue with. however, baby steps as always with bollywood. it's no dear zindagi considering it is set in a different period with a different ending. however, the writing of the characters could've been so much better. a little more exploration of urmila's intentions would've given her so much depth. a few more interactions between qala and jagan might've given qala the chance to befriend him and not just see him a rival, thus intensifying the decision she took. the characters do not feel human, they are strictly white or black and qala being the anti-hero feels very off since it requires better writing and a stronger plot. and of course, much better acting.

however, qala re-opened up discussion of a nearly-always forgotten discourse - that of the position of women in music. and for achieving that bare minimum, i give it full credit. however, when there have been films with much better writing, characterization and cinematography in bollywood itself, with a similar theme, qala needs to be seen for what it contains than what it displays. just because it glitters, doesn't mean it's gold.

[theomenmedia]

The Internet Reacts To The Trailer Of Akshay Kumar's Sky Force!

The Sky Force Trailer has taken flight! Check out the explosive reactions from critics, fans, and media on Akshay Kumar's latest aerial adventure. Will it be a blockbuster?

Read the full article right here: https://www.theomenmedia.com/post/sky-force-trailer-reactions-critics-fans-and-publications-weigh-in-on-akshay-kumar-s-patriotic-bl

[artistcard]

Pushpa 2: The Rule - Movie Review: A Larger-Than-Life Sequel with Moments of Brilliance and Flaws That Hold It Back

Director Sukumar’s Pushpa 2: The Rule had monumental expectations following the cult success of Pushpa: The Rise. With Allu Arjun reprising his iconic role as Pushpa Raj, the film aims to raise the stakes, exploring the protagonist’s evolution from a smuggling underdog to a ruler in a world fraught with chaos and treachery. Released on December 5, 2024, the sequel delivers spectacular sequences,…

[lokeshbhandarimovies233]

Welcome to Lokesh Bhandari Review, your ultimate entertainment hub for insightful reviews! Dive into in-depth Web Series Reviews that spotlight the latest streaming hits, explore our curated OTT Movie Reviews for must-watch films, and enjoy expert Movie Reviews of recent blockbusters. Uncover hidden gems with our Under-Rated Reviews**, discover fresh content in Other OTTs, and relish nostalgic insights with our Retro Reviews of classic films. Stay informed and entertain

[nicolos]

rocky aur rani thoughts

it wasn't at all what i expected actually? like I'm not sure what I expected but it wasn't that

rani chatterjee let me raid your wardrobe

they really just promoted tum kya mile and jhumka because there were like no other really memorable songs--

I sound a bit mean but I had a blast, I laughed a lot, did tear up at least once, and didn't want to pull up 2048 at any time during the film

(spoilers under the cut)

the film had some real 2011 style feminism moments mixed in with more genuine things? the interview at the start made me want to die but there were some almost - ALMOST - coherent points in there

bollywood is not the place to make statements about fat shaming etc etc but there was almost smth valid in seeing any jokes about what whatshername ate clearly coming from ...people were not supposed to like?

rocky and rani were actually quite sweet, despite the ...extraness

i think the film kind of rolled over this as rocky was supposed to be wealthy, but there's a great deal of elitism in the sort of attitude Rani and her family have towards Rocky. It makes me wonder what this film would be if he didn't ... colour coordinate his cars to his clothes and live in a replica whitehouse. like on one hand it's arguably his wealth that makes him able to be the way he is, but on the other hand, the traditional/modern divide that they were showing is typically also a class divide. there's no reason for rockys english to not be good as he is now - and nothing apart from personal taste and "traditionalism" for them to critique, even though rocky isn't actually that traditional in comparison to his family, and even if he was, they - esp at the start - didn't know that

on the other hand I don't know a lot of Bengali people or a lot of Punjabi people so it may just be like a culture shock thing they're going for. idk. i understand it, i just think it's a little bit of a miss for a genuine criticism on their laughing at him

the grandparents element was funny lmao. like what's going on THERE. but it was almost kind of sweet, too, the way they just ...liked spending time together I guess

keh diya na... bas keh diya

^ half the cinema actually echoed this line with her. icons only

the film did pretty often pit men against men and women against women. this worked! when alia or her mom were yelling at men... this worked a little bit less? idk. i think sometimes it ends up feeling a bit mouthpiecey, and some of it was weirdly phrased and ...strongly delivered, to say the least. i understand that they're both from an environment in which they feel safe voicing their opinion, but I was nonetheless going - would someone actually say that? so openly? so maybe that's on me

everything about the alias dad storyline was just chefs kiss

i do think rockys relationship w his mom and sister needed a bit of work for the big fight scene to work. it sounds weird to say since so much of the film was abt the randhawas but ranveers mom's dynamics w everyone were a bit underdone

the guy playing young granddad was so hot. hotter than the real actor actually was back then tbh

all I could think during the ranveer dance routine was how much time did it take him to learn that dbdndndjdjf but that was excellent

idk. i think in some senses the scale of the movie interfered with its effectiveness, but I don't want it to be any smaller in the ayushmann khurana sense, if that...makes sense? idk. it did feel very kjo production, and I like that about it

tum kya mileeeee,,,, tum kya mileeeee,,,, hum na rahe hummmmm,,,, tum kya mileeeeee

ranis "i am speaking" was hot though the whole of that non-confrontation made me want to yell, though maybe because it was happening in public

SPEAKING OF when she crashes her car into his in the middle of a four lane road and then they just fucking stand there and talk and kiss for 10 minutes and all the other cars just go around....lmaoooooooo

still think the more obvious solution was for them both to move out of their family homes but ok

[artiegenius]

The Aesthetics and Appreciation of Indian Parallel Cinema

Indian Parallel Cinema, often referred to as the New Wave or Art Cinema, emerged as a distinct movement in Indian filmmaking during the late 1940s and 1950s. Unlike mainstream Bollywood, which is characterized by its song-and-dance routines, melodrama, and formulaic narratives, Parallel Cinema aims to portray realistic stories with a focus on social and political issues. It draws heavily on the traditions of Italian Neorealism, French New Wave, and Japanese Cinema.

Historical Context

The origins of Indian Parallel Cinema can be traced back to the works of pioneering filmmakers like Satyajit Ray, Ritwik Ghatak, and Mrinal Sen. Satyajit Ray's "Pather Panchali" (1955) is often credited with setting the tone for this movement. The film's emphasis on realism, its nuanced portrayal of rural Bengal, and its departure from the escapist fare of Bollywood, marked a significant shift in Indian cinema.

Aesthetics of Indian Parallel Cinema

Realism

At the heart of Parallel Cinema is a commitment to realism. This is reflected in various aspects:

Narrative Style: The narratives are often straightforward and slow-paced, allowing the audience to engage deeply with the characters and their environments.

Character Development: Characters are complex and multi-dimensional, often grappling with socio-economic issues, personal dilemmas, and moral conflicts.

Setting: Films are frequently shot on location, capturing the authentic atmosphere of rural villages, urban slums, or middle-class households.

Visual Style

Parallel Cinema employs a distinctive visual style that enhances its realistic portrayal:

Natural Lighting: Filmmakers often use natural light to achieve a more organic and less polished look.

Minimalistic Art Direction: Sets and costumes are kept simple and true to the setting of the story.

*Cinematography: There is an emphasis on long takes, handheld camera work, and static shots, which contribute to the immersive experience.

Themes

The themes explored in Parallel Cinema are typically more serious and socially relevant compared to mainstream films:

Social Inequality: Many films address issues of poverty, caste discrimination, and gender inequality.

Political Issues: Films often critique governmental policies and societal structures.

Human Relationships: The complexities of human emotions and relationships are a central focus.

Key Films and Directors

Satyajit Ray

Pather Panchali (1955): A poignant depiction of a poor family's struggle in rural Bengal.

Charulata (1964): A sensitive portrayal of a lonely housewife and her emotional journey.

Ritwik Ghatak

Meghe Dhaka Tara (1960): A powerful narrative about the partition of Bengal and its impact on a refugee family.

Subarnarekha (1962): Addresses the issues of displacement and survival post-Partition.

Mrinal Sen

Bhuvan Shome (1969): A satire on the Indian bureaucracy, marking the arrival of the New Wave.

Ek Din Achanak (1989): Explores the mystery and turmoil following a man's sudden disappearance.

Shyam Benegal

Ankur (1974): Highlights the class struggle in rural India.

Nishant (1975): A grim tale of feudal oppression and the fight for justice.

Appreciation of Indian Parallel Cinema

Critical Acclaim

Parallel Cinema has garnered significant critical acclaim both nationally and internationally. It has been recognized at major film festivals like Cannes, Berlin, and Venice, helping to elevate Indian cinema on the global stage.

Influence

The movement has influenced a generation of filmmakers who continue to draw inspiration from its aesthetics and thematic concerns. Directors like Mani Kaul, Kumar Shahani, and more recently, Anurag Kashyap and Dibakar Banerjee, owe a debt to the legacy of Parallel Cinema.

Cultural Impact

Parallel Cinema has played a crucial role in shaping the discourse on social and political issues in India. It has provided a platform for marginalized voices and brought attention to the struggles of everyday life.

Conclusion

Indian Parallel Cinema remains a vital and influential part of the country's cinematic landscape. Its commitment to realism, its exploration of pertinent social issues, and its unique aesthetic continue to inspire filmmakers and captivate audiences. As we look towards the future, the legacy of Parallel Cinema will undoubtedly endure, reminding us of the power of film to reflect and shape society.The Aesthetics and Appreciation of Indian Parallel Cinema

[imagitory]

With Disney's Wish, one thing I think that might have mildly improved the film might have been to change or rather narrow in on the aesthetics for it. The film wanted to go for a "Mediterranean" vibe , but I feel there is another Mediterranean historical area that might have fitted better for a story about the power of dreams and wishes- a place that was once known as "The City of the World's Desire"- Constantinople. While it might not help the movie, it may have helped its identity a bit more.

It does feel like the culture of the Mediterranean/Spain-esque setting for Rosas was really not taken advantage of, either in the look of the film or in its music. It's a critique I likewise have for Raya and the Last Dragon and (to a lesser extent) Brave, that the film really didn't have to be set where it was, since the story wasn't tied to any traditional folklore, environments, history, or even cultural values from the region it was set in. And considering that we've seen Disney embrace the culture of a region in their films' stories well in the past with projects like Lilo and Stitch, Coco, Encanto, and even Moana, that does seem like a real missed opportunity.

I would frankly love to see a Disney animated film set in Constantinople/Istanbul, though! There's so much beauty in Turkey and the rest of the Middle-East, both in its stories and its architecture, and I'd love to see some real representation for those cultures in Disney's animated work, especially including cast and crew from the culture they choose to depict. Even India I feel has been tragically passed over by Disney -- the closest the company's really gotten was the Disney/Pixar short Sanjay's Super Team (which was awesome) and half-assing some Bollywood influences in their live-action Aladdin remake that's still supposedly set in Arabia (which, I'm sorry, is kind of pathetic). And then yeah, it'd be cool to really feature Spain as a location for a Disney film too.

[mariacallous]

In 2010, Indian actor Shah Rukh Khan starred in a film called My Name Is Khan that served as a critique of Islamophobia in the United States in the post-9/11 era. In the movie, Khan goes on a journey to the United States to meet the American president and tell him that having an Islamic last name doesn’t make him a terrorist. In real life, however, his name has made him a target at home.

A year after Narendra Modi became India’s prime minister in 2014, Khan said there was a climate of intolerance in the country that “will take us to the dark ages.” Two days later, a senior leader of the governing Bharatiya Janata Party (BJP) and an acolyte of Modi, Yogi Adityanath, said Khan spoke the language of terrorists and equated him to the mastermind of the 2008 Mumbai terrorism attacks. Adityanath threatened Khan, saying he would be out of business if a “huge mass” of Indians, implying Hindus, boycotted his films. Since then, fringe political outfits linked to the BJP—and even some BJP leaders—have repeatedly attacked Khan.

The latest attack began when the trailer of Khan’s latest film, Pathaan, was released last month. Hindu nationalists of the BJP and those linked to the party expressed three major objections. First, that actress Deepika Padukone should not have worn a saffron-hued bikini in a song titled “Besharam Rang” because saffron is a sacred color in Hinduism. Second, the bikini was a few centimeters too revealing to be approved by the far right’s cultural police. And third, and more tellingly perhaps, they slandered Khan for his fitness, questioning whether the 57-year-old’s chiseled “six-pack” abdomen could possibly be real.

The charges were ludicrous. Bollywood actresses have worn saffron in sensuous songs before, but it’s never been so controversial. Moreover, Padukone wore a green skirt and several other colors in the song. The attack didn’t make sense, but it was nonetheless vicious. One protester on air, who was later revealed to be an actor himself, dared Khan to dress his daughter in a green bikini instead of Padukone, a Hindu actress. Green is a sacred color in Islam, and Khan’s wife is also Hindu.

“Had Deepika worn a saffron bikini opposite a Hindu actor, there would have been no controversy,” Hartosh Singh Bal, political editor of the Caravan, told Foreign Policy from Delhi in a phone interview. “It is all because [Khan] is a Muslim.” Several male Indian actors have flaunted abs before, and rare have they met with such ridicule.

Many people believe that the insidious campaign to discredit Khan emerges out of Hindu nationalists’ broader effort to humiliate minorities into accepting their secondary status in a country they want to claim for themselves. There have been frequent calls by the BJP to turn India into a theocratic state—a Hindu rashtra or a country predominantly of and for Hindus. As part of that bid, they hope to control Bollywood itself, the country’s biggest cultural force and its most effective messenger.

After #BoycottPathaan trended on Twitter, #BoycottBollywood soon followed. There were several well-crafted tweets, as if coordinated with one another, calling on directors to change their scripts and fall in line—or risk a total boycott. But this was not the first time Bollywood came under attack. Scholars who studied the trend between August 1 and September 12 discovered thousands of ghost accounts created over these months that solely tweeted with the hashtag #BoycottBollywood. More than 300 accounts each tweeted over 1,000 tweets on Bollywood over that nearly month and a half, “suggesting organized behavior,” said Joyojeet Pal, an assistant professor at the University of Michigan who conducted the study. Junior politicians of the BJP and of its affiliates were also discovered to be pushing the content.

Outrage on social media was to a large extent manufactured, but it is hard to say how many Indians genuinely approved of the sentiment. An investigation by news website the Wire revealed that many of the news stories that defamed Khan and called for Pathaan’s boycott reflected the views of political partisans rather than genuine protesters. Meanwhile, Pathaan has enjoyed enormous ticket sales, a resounding rejection of the calls to boycott Khan’s movies and Bollywood more generally.

Fans thronged cinemas in cities across India and at screenings abroad to see Khan return to the screen after a four-year hiatus. The controversies instigated around him—including outright falsehoods about how he had supposedly donated millions of dollars to Pakistan and was caught spitting at the funeral of Indian singer Lata Mangeshkar—did little to dampen public enthusiasm for his movie.

As Khan hopped between buildings, dived off planes, and walked on the facade of a skyscraper, all to save India from a terrorist attack, Indians across faiths seemed proud that Bollywood could also produce its own version of Mission Impossible and were eager to applaud Khan’s reinvention from romantic heartthrob to action hero. Even Indians abroad, who are arguably among the biggest believers in Hindu nationalism, rushed to screenings in the United Arab Emirates, the United States, the United Kingdom, and Germany. The movie has reportedly smashed box office records in India, and in the first 16 days since its release, it earned nearly $10 million.

Meera Rizvi, a professional scriptwriter whose maternal ancestors were ethnic Pashtuns like Khan’s, said she had little interest in watching the movie but attended a screening as an act of resistance to bullying from Hindu nationalists. “Bullies have been empowered by the right-wing government, and they think they can do whatever they want,” Rizvi said. “I went to see the movie to stand up against the bullying Khan has been subjected to.” Many others said they believed it was all a useless controversy. Anju Dhawan, an interior designer, said she didn’t understand why there was controversy at all. “Shah Rukh is an actor. Hindu, Muslim has nothing to do with it,” she told Foreign Policy from Karnal, India.

The crowds, however, did not indicate a rejection of political polarization. At least two highly educated professionals FP spoke to believe in Hindu nationalist propaganda, making unsubstantiated allegations against Khan. Political analysts told FP that Pathaan’s success did not indicate a change of mood in a nation still in thrall of Modi and the BJP’s broader political agenda. “It showed that Hindu nationalists still do not have the ability to wipe out the appeal of a celebrity who is a Muslim, just like Indians would cheer a Muslim cricketer,” Bal said. “It didn’t mean the mood of the country has gone a certain way.”

Last week, Indian press reported that Modi called on his ministers to refrain from making unnecessary comments that overshadow the government’s developmental work. But that message has come far too late to rein in the mob, said filmmaker Anurag Kashyap. “It was about controlling their own people. Things have gone out of hand now,” Kashyap said. “When you stay silent, you empower prejudice and you empower hatred. It has now got so much empowered that it is a power in itself. The mob is out of control now.”

[marimayscarlett]

If you’re still answering the movie asks… numbers 36 and 39 ☺️

36. which movie star would you want to meet?

If I had to answer this in an honest way, I'd say "none!", because due to being the hopeless fangirl that I am, encounters like these would be embarrassing and uncomfortable for all parties involved 🤠

But if I had to choose, I of course would show my best and most calm side and would love to meet these two (I know, again two, but I just don't want to choose):

Shah Rukh Khan, since he's the childhood/teen crush and hero for me. I inhaled his Bollywood movies back then and still am so attatched to him in a nostalgic way 🤗 Would most likely just want to tell him how much joy his movies brought me, how much the music of this movies shaped me and how much he was a part of my growing up process.

And of course, no surprises here, the fine gentleman that is Hugo Weaving 🤲🏼 He also was a big part of my teen years since he was part of my favourite movie, and later now became such a hyperfixation :') Would probably love to talk with him about his work on australian movies and theatre pieces as well as just... would beg him to read audiobooks because I need his voice in my life more.

39. in your opinion what is the most underrated movie?

(Maybe not underrated but just not known enough/not talked about enough anymore):

Going absolutely full blown German mode here and say every movie made by the German movie director Rainer Werner Fassbinder. He was known for his provocative and often controversial films that explored themes of alienation, sexuality, and social critique, and really shaped the New German cinema movement in the 1960s and 1970s. Fassbinder's works often depicted the struggles of people (oftentimes marginalized groups) in post-war Germany; very heavy and sad movies without being overly dramatic.

I recommend especially 'Ali: Fear eats the soul' ('Angst essen Seele auf'; so. SO. good), 'Martha' and 'The marriage of Maria Braun' ('Die Ehe der Maria Braun').

[digitalmedia-by-tejas]

The Polymorphic Approach to Representation; A case study on social hierarchal representation in Bheed

10.1 Abstract

Bheed is a 2023 social drama Bollywood movie, directed and produced by Anubhav Sinha. It's an ambitious film that aims to reconstruct and explore the trauma experienced by the socially backward section of Indian society caused by the lockdowns during covid 19. Set in the dark reality of India's deeply divided society, this film uses a roadblock (figuratively and literally), to show the systematic inequality faced by millions even to this day. This makes it a perfect case study on the critiques of social representation in modern media.

10.2 Introduction

The movie Bheed is very close to me personally, as I was one of the people working in this movie. I was a CG artist and was even invited to the official premiere of this film along with the lead crew and cast. And what stuck with me from this movie is how honest and cruel it gets when it comes to portraying the dark reality of the marginalized groups in Indian society.

Fig; Bheed movie poster. Available at: https://m.media-amazon.com/images/M/MV5BODJmNTJlZDUtZmVmNy00Y2I5LThiOTEtNDM4MDA2OTBjOThmXkEyXkFqcGc@._V1_.jpg [Accessed 23 Dec. 2024].

10.3 The Visual motive and juxtaposition of characters

Bheed uses representation as a tool to highlight the effects of what is otherwise considered a "national emergency for the betterment of the people" on the marginalized and overlooked sections of society. The film uses a black-and-white style of cinematography as a deliberate choice. The reason behind that decision is to evoke a documentary-like realism in the minds of its audiences. And this aligns with Nichols' (1991) theory of "Discourse of Soberity," where he observes that "documentary speaks with a voice of soberity and purpose. Its power lies on rhetoric and its representation" (Nichols' 1991, p. 3), which roughly translates to the fact that realism in documentary filmmaking often takes away from the gravity of the subject matter. The absence of color can be interpreted as the starkness of inequalities that the COVID-19 pandemic exacerbated.

Fig; A scene from the movie showing the black and white color choice from the director to invoke documentary-like realism in the minds of its audiences. Available at: https://m.media-amazon.com/images/M/MV5BODJmNTJlZDUtZmVmNy00Y2I5LThiOTEtNDM4MDA2OTBjOThmXkEyXkFqcGc@._V1_.jpg [Accessed 23 Dec. 2024].

Surya Kumar Singh Tikas, played by the lead actor Rajkumar Rao is at the center of this narrative. He is a lower-caste policeman who is tasked with enforcing lockdown measures. This juxtaposition acts as a perfect picture of helplessness while being in power. The choices faced by Surya, being a policeman yet remaining powerless in front of the system and not being able to implement meaningful change within his act, make people think about their stance while watching this movie, and his character aligns perfectly with Spivak's description of "subaltern's" inability to speak within hegemonic structures one of her key arguments in her essay "Can the Subaltern Speak?" she argues that, Subaltern's voices are systematically silenced within existing means of representation— platforms from which one’s views and demands are taken seriously" (Riach, 2017, p. 38).

10.4 Intersectionality

The film uses layered structure to tell narratives, effectively employing Kimberlé Crenshaw's intersectionality, which argues that "individual identities such as gender, race, sexuality, and others, overlap and intersect and reflect macro-level forms of oppression and privilege, such as sexism, racism, and heteronormativity" (Kelly et al., 2021). It uses intersectionality to highlight how in particular the caste, class, and gender intersected during the pandemic and worked like a catalyst to exploit the pre-existing vulnerabilities of the otherwise overlooked sections of the society. The best example of intersectionality from the movie would be the character of Renu Sharma played by Kritika Kamra.

Renu is portrayed as a single mother who is also a healthcare worker. One would think that being an essential worker, Renu would be respected within the society and especially in her workplace, the reality is in starl contrast to that. The film highlights the lack of institutional support provided to them, and how her peofessional role doesnot shield her from social prejudices as she is constatnly shown as been overlooked by those in power and treated with disrespect. Her identity as a single mother adds another layer of complexities to her struggles. The burden of caregiving and earning puts her in a rather complex situation, where her personal sacrifices are often overlooked by those around her, and this aligns with various studies that were conducted on the affect of covid pandemic on women including the one titled "The impact of COVID-19 on women’s empowerment: A global perspective" by Dempere and Grassa (2023), which concluded that " the pandemic adversely affects several metrics of women’s empowerment at the community level." The potrayal of Renu being often subjected to increased rates of disrespect and moral policing by the people in the movie while totally discrediting her authority as the only nurse in that area is a direct example of this.

10.4 A critique

Anubhav Sinha's Bheed although seeks to put caste as a major factor in determining the power and vulnerability of individuals during covid lockdown. While the film offers a platform to discuss inequality, there's also a risk of simplifying the and homogenizing the dalit experience in these narratives, the use of black and white cinematography is a perfect example of that. This aligns with the term "New Casteist media" coined by Ali Saha, In their study they basically state that "There is an increasing Dalit inclusion in media, but they continue to be negatively framed" (Saha and Gunawardana, 2022). Which aligns the portyal of Dalits as "helpless" and "naive". Surya staying passive within the larger political spectrum in the film is a perfect example for that. This critical flaw reflects the broader media trend of acknowledging Dalit victimhood without fully exploring or elevating the agency and activism that Dalits have historically employed to challenge caste-based oppression.

10.5 Conclusion

Bheed is a perfect example of how movies can serve as a mirror to the society. At the end, I couldn’t help but think of my own role in how we represent marginalized voices in media. Having worked on this film, I have realized how crucial it is for us—both as storytellers and as consumers of media—to approach stories like these with both empathy and action. And this realization has refelcted throughout the blogsphere for my sources and significance classes. Over the semester, I meticulously tried to explore, analyse and find ways to implement and advocate for more inclusion within the different aspects of modern media in our society.

This class has given me the tools to critically engage and effectively deny the patriarchal and discriminatory norms instilled in me that were a direct result of growing up as a privileged male within the society. As I move forward in both my academic and professional career, I am more committed than ever to finding ways to not only represent the diverse tapestry of human experiences but to also elevate and amplify those voices that have often been silenced.

10.6 References

Dempere, J. and Grassa, R., 2023. The impact of COVID-19 on women's empowerment: A global perspective. Journal of Global Health, 13, p. 06021. Available at: https://doi.org/10.7189/jogh.13.06021 [Accessed 23 December 2024].

Kelly, C., Kasperavicius, D., Duncan, D. et al., 2021. ‘Doing’ or ‘using’ intersectionality? Opportunities and challenges in incorporating intersectionality into knowledge translation theory and practice. International Journal for Equity in Health, 20, p. 187. Available at: https://doi.org/10.1186/s12939-021-01509-z [Accessed 23 December 2024].

Nichols, B. (1991). Representing Reality: Issues and Concepts in Documentary. Indiana University Press

Riach, G., 2017. An Analysis of Gayatri Chakravorty Spivak's Can the Subaltern Speak? Macat International Limited. Available at: https://ebookcentral.proquest.com/lib/herts/reader.action?docID=4906584&ppg=39 [Accessed 23 December 2024].

Saha, A. and Gunawardana, S., 2022. Paradoxical inclusion of India’s ex-untouchables in New Casteist media. Media, Culture & Society, 44(5), pp. 863–881. Available at: https://doi.org/10.1177/01634437221096773 [Accessed 23 December 2024].

[jedaos]

one of the sexiest things an action film can do is have restraint. and that's something that bollywood will never understand. like take animal for example i'm not even talking about the violence or misogyny or the plot (all of which i think more than enough people who are smarter than me have critiqued) but from a technical aspect it's just. bad. lots of talk about lord bobby's aura, one of the film's only saving graces, but not enough people have called out how well this movie undermines bobby's performance. it's so funny i could cry. that famous wedding scene is mostly alright but the jarring atmospheric twist of bobby stabbing a man in the neck is ruined by the cheap cuts. we never get to sit there and truly absorb this character. any tension that scene built is ruined when he jumps on his wife in a way that is so crass and heavy-handed. and i don't even mean this in a prudish way like "oh how dare you portray coercion/domestic violence" but in like a. this is bad cinematography way. not once in that sequence do i actually feel the discomfort the women standing around that room watching him jump on his wife feel. not once does the camera force you to feel the weight of his actions. the fight choreography looks lazy and bad sound effects and cheap, choppy cuts don't help. the music is blasting with in-your-face lyrics because you, the audience, are too dumb to identify the theme this film has been hitting you over the head with for the past 3 hours. like this movie feels like a parody of every good and artistic thing the action genre has ever given us. the end credit scene where ranbir's just hacking a body is just. lol. lmao, even, because when you overdose a film with gore and violence without giving it even the SMALLEST amount of weight or consequence what you get is a scene that reads like ranbir having a funny little toddler tantrum than me taking him seriously as a Scary Intimidating Antagonist.

this film was made by someone who watched i saw the devil (a film that people actually appreciate while also acknowledging its treatment of women) and went ah yes this works *because* it's gory. if i just put fucked up shit on camera with no actual analysis to how the fucked up shit is presented—and why it is stylistically important to present it so—the audience will eat it up. and unfortunately, they did!

[desicinema2]

The Soul of Desi Cinema: How South Asian Films Celebrate Culture, Identity, and Social Change

Introduction Desi cinemas, in all their vibrant forms, have always been more than just entertainment. They are cultural reflections, social commentaries, and emotional journeys that resonate with audiences worldwide. From the melodious songs of Bollywood to the raw realism of independent South Asian films, Desi cinemas often explore complex themes of identity, tradition, and change.

Cultural Identity in Desi Cinema One of the most prominent features of desicinema is its deep connection to cultural identity. For decades, Indian films, in particular, have portrayed stories that revolve around family, community, tradition, and societal values. Whether it’s a heartwarming tale of family bonds or an intense exploration of love and sacrifice, these films often center on the complexities of maintaining cultural roots in an ever-changing world.

Films like Dil Chahta Hai and Zindagi Na Milegi Dobara showcase the evolution of urban Indian identity, where young people seek to break free from traditional constraints while grappling with their heritage. These films appeal to both Indian audiences and those in the diaspora, where questions of identity and belonging are ever-relevant.

Regional cinema also offers unique perspectives on cultural identity. Tamil cinema, for instance, often portrays the pride and struggles of Tamil-speaking people, while Bengali films highlight the intellectual and cultural legacy of Bengal. These films delve into the everyday lives of characters, showcasing the diverse range of experiences that define South Asian culture.

Desi Cinema and Social Change As South Asian societies undergo rapid transformation, Desi cinemas have emerged as powerful tools for social commentary. They address pressing issues such as gender inequality, class divides, corruption, and the changing dynamics of family life.

Take Piku, for example, a film that blends humor and poignancy to address generational issues, caregiving, and the complexities of familial duty. On the other hand, films like Article 15 and Pink tackle social justice issues head-on, raising awareness about caste discrimination and women’s rights in contemporary India. These films spark conversation and often lead to tangible discussions about societal reform.

Beyond India, Pakistani desicinemas has also used film as a medium for social commentary. Movies like Bol and Khuda Kay Liye critique religious extremism, gender inequality, and the tensions between tradition and modernity in a rapidly changing society.

The Impact of Desi Cinema on Gender Representation Another transformative aspect of Desi cinema is its evolving portrayal of gender. Traditional roles, where women are often seen as supporting characters or bound by restrictive norms, have given way to more empowered and nuanced representations. In films like Queen and Tumhari Sulu, women break free from societal constraints and take charge of their lives in ways that were once unimaginable. These films resonate not just with women but with a global audience that is advocating for greater gender equality and representation.

Male characters in Desi cinema have also experienced shifts in their portrayal. Films like Masaan and Barfi! offer complex, multi-dimensional male leads who are vulnerable, sensitive, and introspective, challenging traditional masculine stereotypes.

The Future of Desi Cinema: Innovation and Representation Looking forward, Desi cinema seems poised to continue its evolution. The younger generation of filmmakers is pushing the boundaries of storytelling, experimenting with genres and aesthetics, and incorporating global cinematic trends while staying true to their roots. Directors like Anurag Kashyap, Zoya Akhtar, and Sriram Raghavan are redefining the cinematic language with films that are both globally relevant and deeply rooted in Indian culture.

Moreover, Desi cinema is becoming more inclusive, representing a broader spectrum of South Asian experiences, from LGBTQ+ stories to narratives highlighting the lives of marginalized communities. With platforms like Netflix, Amazon Prime, and even YouTube, South Asian films now have a wider audienc.

Conclusion Desi cinemas have long been at the heart of South Asian culture, reflecting its complexities, joys, and struggles. As they continue to evolve, these films are helping to shape not only regional narratives but also global conversations on identity, gender, and social change. From Bollywood’s exuberance to the nuanced, real-world depictions of smaller film industries, Desi cinema remains a powerful force in world culture, offering rich and diverse perspectives that transcend borders and unite us all in the power of storytelling.

[theomenmedia]

"The Sabarmati Report" Divides Netizens

"The Sabarmati Report" - A film that dares to question, but does it answer? Vikrant Massey delivers yet again, but can the film's truth survive the controversy?

[lokeshbhandarimovies233]

Bollywood has a long-standing tradition of adapting novels into films, bringing stories from the pages to the silver screen. While books offer depth, introspection, and a more personal experience, there have been instances where Bollywood movies outshined their literary counterparts. One such remarkable example is *3 Idiots*. This blog delves into such movies, exploring how Bollywood occasionally enhances or reimagines a story in ways that captivate audiences more effectively than the original books.

                                                 When Bollywood Outshines the Book

 1. 3 Idiots (2009) - Adapted from Five Point Someone 

The Book: Chetan Bhagat's *Five Point Someone: What Not to Do at IIT* delves into the lives of three friends struggling to cope with the pressures of the Indian education system. The book, while insightful, focuses on the day-to-day challenges faced by the characters. 

 Rajkumar Hirani’s *3 Idiots* takes the core narrative of the book but elevates it with humor, drama, and a powerful message about following one's passion. The film expands the characters, particularly turning Rancho (Aamir Khan) into a philosophical and inspiring figure. The movie's emotional depth and its critique of the rote-learning education system struck a chord with millions, making it a cultural phenomenon. 

 Reasons To Watch

·       A more engaging and inspiring narrative. 

·       Universally relatable themes and emotional connect. 

·       Iconic dialogues and memorable performances.

                                                           When Bollywood Outshines the Book

 2. Devdas (2002) - Adapted from Devdas 

  Saratchandra Chattopadhyay’s classic Bengali novel *Devdas* tells a tragic tale of love and loss. The story, while iconic, has a restrained narrative style. 

The Movie 

Sanjay Leela Bhansali’s *Devdas* is a larger-than-life cinematic spectacle. Featuring opulent sets, stunning costumes, and powerful performances by Shah Rukh Khan, Aishwarya Rai, and Madhuri Dixit, the film redefined the story for modern audiences. 

Reasons To Watch   

·       A visually grand interpretation of a classic tale.

·       Bhansali’s artistic direction and emotional gravitas.

·       Music and choreography that amplified the story’s emotional core. 

When Bollywood Outshines the Book

 3. Guide (1965) - Adapted from The Guide   

R.K. Narayan’s *The Guide* is a nuanced tale about a tour guide’s journey from a conman to a spiritual leader. The novel is introspective and subtle in its storytelling. 

 The Movie

Vijay Anand’s cinematic adaptation starring Dev Anand and Waheeda Rehman gave the story a more dramatic and romantic twist. The film added a layer of complexity by exploring themes of love, redemption, and spirituality, along with unforgettable songs like *"Aaj Phir Jeene Ki Tamanna Hai."* 

Reasons To Watch

      A compelling transformation of the protagonist. 

       Memorable music and emotionally charged sequences. 

       The dual-language (Hindi and English) release broadened its appeal. 

                                           When Bollywood Outshines the Book

 4. Omkara (2006)  Adapted from Othello 

William Shakespeare’s *Othello* is a timeless tragedy of love, jealousy, and betrayal. While it’s a masterpiece of English literature, its Elizabethan setting may feel distant to contemporary audiences. 

The Movie 

Vishal Bhardwaj’s *Omkara* reimagines the story in a rural Indian setting, infusing it with raw intensity. The stellar performances by Ajay Devgn, Saif Ali Khan, and Kareena Kapoor brought Shakespeare's characters to life in a way that resonated deeply with Indian viewers. 

Reasons To Watch 

      Localization of Shakespeare’s themes for Indian audiences. 

       Powerful dialogues and a rustic aesthetic. 

       Saif Ali Khan’s portrayal of Langda Tyagi redefined the role of an antagonist.  Read More

[desicinema20]

Discovering Desi Cinema: A Celebration of Culture, Creativity, and Craf

In the vast world of cinema, there's a rising platform that's carving its own niche—DeciCinema. As its name suggests, the blog offers a distinct and dynamic look into South Asian film culture, with an emphasis on Bollywood, regional cinema, and diasporic filmmaking. For those seeking thoughtful commentary, deep dives, and fresh perspectives, DeciCinema provides a much-needed space for discussions that celebrate both the mainstream and indie sides of the cinematic spectrum.

DeciCinema

DeciCinema is a blog dedicated to the exploration and celebration of South Asian cinema in all its forms. It's a place where readers can find critical analysis, recommendations, and nuanced critiques of films spanning across India, Pakistan, Bangladesh, Sri Lanka, and beyond. But it doesn't just stop there. The blog extends its lens to South Asian cinema's international presence, shining a light on diasporic films, independent projects, and the global impact of the region's storytelling traditions. The blog's content is rich and diverse, reflecting the complexity of South Asian cinema itself. Whether it's reviewing the latest Bollywood blockbuster, analyzing the craft of a lesser-known indie filmmaker, or examining the cultural and political undercurrents in a regional film, desicinema is committed to fostering a deeper understanding of this ever-evolving medium.

A Hub for Diverse Perspectives

One of DeciCinema's standout features is its ability to capture the diversity of South Asian cinema. South Asian films are as varied as the region itself, and DeciCinema does an excellent job of reflecting this broad spectrum. From the glitz and glamour of Bollywood to the more grounded, socially aware films coming out of South India's film industries, the blog highlights everything that makes the subcontinent’s cinema scene exciting and unique. In addition to its focus on mainstream and popular films, DeciCinema also brings attention to indie cinema—often overlooked by bigger platforms. Indie filmmakers in the South Asian space have been gaining traction globally, and DeciCinema showcases these emerging talents, helping them find an audience beyond their home countries.

Thematic Depth and Cultural Insight

What sets DeciCinema apart from other film blogs is its thematic depth. Each post isn't just a review or a superficial commentary on a movie. Instead, the blog often delves into the socio-political, cultural, and historical context of the films it covers. It understands that cinema is not created in a vacuum; it is a reflection of society, politics, and the times in which it is made. For example, a review of a Bollywood film like *Gully Boy* might not only focus on the performances and direction, but also on how the film reflects the rise of rap culture in India, the economic struggles of the youth, and the larger narrative of class divides in urban spaces. Similarly, when covering a regional film like *The Lunchbox*, DeciCinema might explore the intricacies of urban loneliness, the role of food in connecting people, and the subtle social commentary woven into the film’s narrative.

The Power of Diasporic Filmmaking

The South Asian diaspora plays an integral role in DeciCinema's content. With a large portion of the South Asian population living outside the subcontinent, the blog is keen to highlight films created by filmmakers of South Asian origin living abroad. These films often blend cultural heritage with the challenges of living in a foreign land, creating unique narratives that are both deeply personal and universally relatable. Films like *Bend It Like Beckham* or *The Namesake* might be well-known to many, but desicinemas also gives space to smaller, indie films that explore the complexities of identity, migration, and the clash of cultures from a South Asian perspective. This focus on diaspora films is essential in understanding how South Asian culture is represented and re-imagined in a globalized world.

1. In-Depth Reviews and Thoughtful Criticism:

DeciCinema doesn’t shy away from offering thoughtful critiques of both popular and niche films. Whether it’s analyzing character development or deconstructing a film's visual style, the blog provides a deeper understanding of the medium.

2. A Platform for Diverse Voices:

South Asian cinema is not one monolithic entity. The blog embraces the diverse voices that shape this world—from Bollywood to regional cinema, and from indie filmmakers to diaspora voices, DeciCinema paints a comprehensive picture of South Asian cinema today.

3. Cultural and Social Commentary:

Many of the films featured on DeciCinema touch on themes of gender, class, identity, and politics. Through these stories, the blog fosters an understanding of how cinema reflects and influences society, giving readers a lens to interpret the world through the eyes of South Asian filmmakers.

4. Highlighting Emerging Talent:

Beyond the heavyweights of Bollywood or the big-screen blockbusters, desi cinemas shines a light on emerging filmmakers who might not yet have global recognition but are telling important, fresh stories. It’s a great resource for film enthusiasts looking to discover hidden gems.

Final Thoughts

DeciCinema is more than just a film blog—it’s a celebration of South Asian cinema’s rich history, dynamic present, and exciting future. With its thoughtful writing, cultural insight, and dedication to uncovering diverse voices, DeciCinema has become an invaluable resource for anyone interested in exploring the nuances of South Asian film culture. Whether you’re a die-hard Bollywood fan, a lover of regional films, or someone looking to broaden your cinematic horizons, DeciCinema has something for everyone. So, grab your popcorn, dive into the blog, and let DeciCinema be your guide through the vibrant and ever-evolving world of South Asian cinema.