Rangoon

Google Doodle India January 8, 2018

War films fall into two categories: thoughtful films about the ethics of taking human life, and nationalist rallying cries about why you shouldn't think about it too hard. Rangoon (2017) is the second sort of war film. Also a love triangle. That is also a metaphor for imperialism? Also a movie about the film industry. And probably some other things as well- there is a lot going on.

Rangoon is set during WWII, when the British Army (including large numbers of South Asian soldiers) are fighting both the Axis powers and the Axis-aligned pro-independence Indian National Army (INA), based out of South East Asia and led by Subhas Chandra Bose. There is not a Gandhian in sight, even though in the mid-1940s Gandhi was very much in the mix. Don't think about it too hard.

Rangoon stars the multi-talented Kangana Ranaut as Miss Julia, an action star of early Hindi cinema who was (according to the court case) not based on Mary Ann Evans, the Fearless Nadia of early Hindi cinema. They share more than a passing resemblance, but don't think about it too hard.

Miss Julia is involved with studio scion and former stuntman Rusi Billimoria (Saif Ali Khan). After being threatened with financial ruin by Major General David Harding (Richard McCabe) Rusi agrees to send Julia to the Indo-Burmese border to boost morale. Jemadar Nawab Malik (Shahid Kapoor) acts as Miss Julia's bodyguard during the trip, while simultaneously serving as a spy for the INA.

En route to Burma, Miss Julia's convoy is attacked by the Japanese, and she is thrown into the river and washed away, along with Jemadar Malik. They take a Japanese soldier (Satoru Kawaguchi) captive and begin the long slog together back to the nearest British camp. Over the course of the journey Miss Julia and Jemadar Malik fall in love and Shahid Kapoor fails to dance in the rain even though it rains and there is dancing. Because 2017 was a stupid year, so why not make everyone a little extra bummed out.

Their chemistry also isn't what it could be. Shrug. Nevertheless, Jemadar Malik is portrayed as the better romantic option because, unlike Rusi, he doesn't literally own her. He also lies to and uses her throughout, but don't think about it too hard.

Rangoon has a lot going for it, including a massive budget. Kangana Ranaut steals every scene and makes the most of a pretty hollow character. The scenery and cinematography is beautiful and the earliest songs are charming throw-backs to the winking, performative numbers the golden age of musicals is known for. They are tremendous fun. 

Ultimately, insomuch as Rangoon is a war film, it is a war film about the INA. And the realpolitik of the INA- "the enemy of my enemy is my friend"- is difficult to swallow when the friend in question is the world's most famous genocidal racist. It's a problem that the strident nationalism of Rangoon is unconcerned with exploring. British Major Harding is a caricature, Jemadar Malik is a hero, don't think about it too hard. Certainly critical thinking the last thing nationalist rulers want.    

When love knows no bounds. pic.twitter.com/uA8ZMxdyQy

— Angoor Stark 🍇🇮🇳 (@ladywithflaws) May 24, 2017

Emma Larkin's Finding George Orwell in Burma is a fascinating travel book about Orwell's formative years and the ways in which the mind is besieged under dictatorships. Perhaps more frightening is how quickly those of us living in democracies willingly embrace easy narratives. Rangoon is a perfectly acceptable film, and better than most- if you don't think about it too hard.

Film: Rangoon (2017)
Director: Vishal Bhardwaj
Writers: Matthew Robbins, Sabrina Dhawan, and Vishal Bhardwaj
Runtime: 154 minutes
Language: Hindi
Country: India

Raavan

Ragini at the opening of the film

Raavan (2010) is a modern re-telling of the epic Ramayana, a foundational text throughout South and Southeast Asia traditionally ascribed to Valmiki. A brief summary from the British Library is:

Rama, prince of Ayodhya, won the hand of the beautiful princess Sita, but was exiled with her and his brother Laksmana for 14 years through the plotting of his stepmother. In the forest Sita was abducted by Ravana, and Rama gathered an army of monkeys and bears to search for her. The allies attacked Lanka, killed Ravana, and rescued Sita. In order to prove her chastity, Sita entered fire, but was vindicated by the gods and restored to her husband. After the couple's triumphant return to Ayodhya, Rama's righteous rule (Ram-raj) inaugurated a golden age for all mankind.

Ragini after an escape attempt

This is a very brief synopsis of just one version- there are hundreds. Notably, the brief summary fails to mention that at the end of many versions of the story after Rama returns to his kingdom the populace doubt Sita's virtue and she is exiled along with her unborn sons.

Beeru/Ravana is re-imagined as a tribal leader running a parallel government, and is played by Abhishek Bachchan, real-life husband of the more talented Aishwarya Rai, who plays Ragini/Sita. Beeru abducts Ragini to take revenge on her husband, Policeman Dev Pratap Sharma/Rama (Vikram), who is committed to stamping out Beeru's gang. Govinda rounds out the cast as forest ranger Sanjeevani Kumar/Hanuman.  

Ragini in the Jungle

The resulting film is visually spectacular. The cinematographer makes the most of gorgeous locations, with long slow shots lingering on the tropical landscape. Athirappilly Falls looks particularly wonderful. I have never been to Kerala, but this film makes a compelling case for a visit.

Ragini and Beeru

The costume design is equally inspired. Ragini first appears dressed in saffron and orange, the colors of courage and sacrifice. While held captive by Beeru she wears bridal red, and at the end of the film, after returning to her husband, she wears the white of a widow. The telltale colors make for striking visuals in the deep greens and steely blacks of her surroundings. Beeru wears earth tones and disappears into the background, while Rama wears the khaki of his police uniform like an invader arriving from a foreign planet.

Ragini in the final scenes

This is one of those movies that I wanted to like. Raavan could have been a really interesting retelling of what happened to Sita during the 14 days and nights she was held captive by Ravana. The film had money and talent and gorgeous music by A.R. Rahman. And the film does have well-acted and well-written scenes- but not as many as there could be. As a retelling it lacks the courage to say much new. The film's greatest cowardice is its unwillingness to decide if Sita has agency, or Stockholm Syndrome, or if she was just being manipulated by Dev. Maybe less than returning to her husband she genuinely wanted to stay with Beeru of the Jungle and shoop- but we never really find out. If you like The New World (2005) the odds that you like this film are much higher- but to my mind, this film was a beautiful missed opportunity.

I have heard good things about the translation The Ramayana: A Modern Retelling of the Great Indian Epic by Ramesh Menon, but I would be lying if I said I had read it. I have, however, checked it out of the library twice. A beautiful visual retelling of the Ramayana by photographer Vasantha Yogananthan can be viewed on the BBC website.

Film: Raavan (2010) 

Director: Mani Ratnam
Writer: Vijay Krishna Acharya, Mani Ratnam
Runtime: 130 minutes
Country: India
Language: Hindi
Based on the Ramayana, ascribed to Valmiki

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