Rockstar

Rockstar (2011), like all stories about rock stars, is a story of self-discovery, an inevitable rise, and an inevitable fall. Although predictable, Rockstar has some moments of beauty and poses some questions worth exploring.

The story is fairly straightforward: Janardhan Jakhar, aka J.J., aka Jordan (Ranbir Kapoor), the titular rock star, is told that to become a real artist he needs to experience pain. As he had a happy childhood it will have to come in the form of a broken heart. After a friend, watching Heer (Nargis Fakhri) dance, comments that she is a ‘heart-breaking machine’, he decides to make a pass at her. He falls flat, but through persistence strikes up a friendship with her.

This in itself is problematic, as the message to men is clearly “no means try harder.” And, “when in doubt, try stalking.”

However unlikely, the effortlessly cool Heer and the inarticulate J.J. become friends. Heer is soon to be married, so she makes a list of the things to do before becoming a good Indian wife and mother- another problematic idea. Visiting a Delhi disco, drinking Desi liquor, and sneaking into a “blue film” together deepen their bond. At her wedding in Kashmir Heer realizes she is in love with J.J. Both make half-hearted remarks about running away together, but as neither can tell if the other is serious, Heer marries Aaman.

Heer is whisked away to Prague, leaving J.J., christened Jordan by Heer, heartbroken. Also homeless- he has stolen 500,000 rupee from his family to attend the wedding in Kashmir, and is kicked out of the house. Finally, some suffering! His musical career is due to take off any day now. Sure enough, he moves into a Sufi shrine (still places where the homeless can go for shelter and the hungry for food) and begins performing quwwali in the dargha. A famed musician notices Jordan at the shrine and eventually helps him secure a contract with a music producer. This in turn leads to a musical exchange to Prague, where Jordan and Heer are reunited. The affair ends in tears, Jordan’s deportation, and Heer collapsed in her driveway after a scene in front of the entire family-in-law. It transpires that Heer suffers from a fatal form of anemia, and with her marriage over she returns to India to die with her family and, inevitably, Jordan.

By the end Jordan, like the hero of A Farewell to Arms, is free to drink, fight, and drug himself to death, responsible to and for no one - a rockstar in the mold of his idol, Jim Morrison,  Heer predicted Jordan would never be able to live outside their shared world, and by the end it is evident that she was absolutely right. Heer’s role in the film is that of disposable muse, catalyst of Jordan’s life and career but in control of neither her own feelings nor her own fate.  Film audiences deserve better heroines than Heer. Unfortunately for the character, Fakhri is also pretty mediocre in this role, particularly in contrast to Kapoor, who is fantastic.  In the ‘plus’ column, A.R. Rahman’s music is incomparable as always. Above you can find the beautiful qawwali-inspired ‘Kum Fayakun’, my personal favorite. However, all the songs are solid and blend beautifully into the story. The choreography is passable. The cinematography is better than average, with some epic shots of Rome and Prague, as well as gorgeous shots of Kashmir. Kashmir not at war, but at a wedding, which is better. The story jumps across time via montages a few times over the course of the film, which also makes for engaging viewing.

embroidered kashmiri shawl

Chakravarty (1993) calls the Hindi film industry the site where, “the overriding official goal of Indian national unity is subject to the work of cultural elaboration,” where, “cinematic culture...can then be seen as a mediated form of national consciousness.”[1] If this is the case, what can we learn from Rockstar? Rockstar certainly aspires to a global cosmopolitanism. Jordan is adored by fans throughout the world, as evidenced by his popularity in Rome and Prague, as much as in Lucknow and Delhi. 

Moreover, by participating in both Hindu and Muslim celebrations, Jordan demonstrates his ability to embrace diversity within India. Unity through diversity! Jordan is western in his aspirations- he idolizes Jim Morrison rather than a playback singer in the Indian film industry or Ravi Shankar. Jordan also resists the expectations of his family and society more broadly- he rebels his way to international stardom, although he experiences intense suffering along the way. The ending of the film is ultimately ambiguous: what is the price of international fame? What is the price of art? Of love? The price is high- maybe too high- but can the rush toward the dreamed-of globalization be stopped? Is the journey more important than the sorrow-filled destination?  

As a finale note, Heer wears gorgeous Kashmiri shawls throughout the film.  I include a picture below of the Kashmiri shawl I bought in Lucknow for my mother for a heart-breaking $36 from a Kashmiri gentleman selling textiles door-to-door. This should give you, dear reader, a sense of the exquisite handiwork which set Kashmiri textiles apart. 

Writer/Director: Imtiaz Ali Country: India

Runtime: 159 minutes 

Languages: Hindi

Production Co.: Eros International Ltd., Shree Ashtavinayak Cine Vision Ltd.

[1] Sumita S. Chakravarty. National Identity in Indian Popular Cinema: 1947-1987. Austin: University of Texas Press, 1993, 7-8. 

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