Before we begin, I am going to throw up a disclaimer: I am willing to bet exactly zero sex workers consulted on this film, so we are not going to make any more assumptions about the nature of sex work in contemporary Mumbai based on this film than we would use Oliver Twist's Nancy as the last word on life in Victorian London. Chameli(2003) is just one more in a long line of films, from Umrao Jaan (1981) to Pakeeza (1972) and Dev-D(2009)to Born into Brothels(2004) (not to mention Pretty Woman (1990)) to tell stories about hookers with hearts of gold which function as fairy tales rather than facsimiles of life.
Haseena and Aman
Putting reservations aside, I really like this film. The structure of the first forty minutes resembles Waiting for Godot if Godot moonlighted as a mechanic;Chameli (Kareena Kapoor) and Aman (Rahul Bose), trapped under awning by the rain, converse while Chameli avoids her pimp's and his customers' thugs and Aman tries to find someone to repair his water-logged car. Various characters from the city's marginalized communities pass through, including a chai-seller, Haseena, a hijra and her lover, Haseena's lover's political father, and corrupt police officers; political criticisms are made with straight-forward sympathy for India's poor. The criticisms are made with about as much subtlety as Oliver Twist, but hey, it worked for Dickens, and when is the last time you saw a film with a hijra who wasn't just an amusing cultural trope? (Hum Aapke Hain Kaun...!, I am looking at you.) The theatricality of the first half is highly unusual, and makes for engaging viewing.
The other advantage of the structure of the first half is the ease with which a language-learner can follow the dialogue. Two people, speaking slowly and clearly about relatively simple things is the dream of every cinephilic language-learner; Chameli was the first Hindi-language film I watched sans subtitles, and for that alone this film will always have a special place in my heart.
The second half of the film is less engaging. Chameli and Aman chase around the city trying to tie up loose ends and keep Chameli out of the clutches of the violent and diseased man from whom her pimp has taken an advance. Money changes hands, Aman's eyes are opened, and an unlikely bond forms. Aman cant seem to let Chameli go, even though she tells him more than once she can take care of herself. We believe her, although everyone acknowledges that Aman's money and connections are handy things. When I re-watch this film, I often skip most of the second half and jump right to the end.
The music and choreography, especially of "Bhaage Re Mann" is pretty inane. Dancing in the rain is a popular trope, but not even Gene Kelly would have willingly danced in standing water in the middle of Mumbai. Like all fans of musicals, I am willing to suspend a lot of disbelief, but for a practical woman, Chameli makes impossibly dumb choreographic choices. Kareena Kapoor also sings, in her own voice, earlier in the film, and then there is the voice of a playback singer 20 minutes later.
Marine Drive
If there is one final argument in favor of Chameli it is this: the film openly acknowledges violence against women. Granted, it acknowledges violence against women in the context of sex work, but remember- Devdas, Pakeeza, Umrao Jaan- they all tell the stories of tawaiif from a deeply masculine perspective, full of poetry, mirrors, brocades and virtuous doomed love. Chameli is not interested in telling the title character's doomed love story, and while Chameli appropriates the voice of sex workers, at least it has something to say that cuts a bit closer to the bone of women's lives than Pyaasa(1957).
Chameli puts it out there: violence against women and girls is very real, and the question presented to Aman, and by extension the audience, is "Why are you still pretending to be surprised?". Aman helps Chameli out of a bind- but whether or not he can or will change her life, and if she will really want the kind of help he offers, is left open. But regardless, it seems very likely Chameli will continue drinking, smoking, and swearing for as long as she has fight left in her. Nevertheless, she persists.
Film: Chameli(2003)
Directors: Anant Balani and Sudhir Mishra
Writers: Anant Balani, Shivkumar Subramaniam, Sudhir Mishra, and Swanand Kirkire
Runtime: 108 minutes
Language: Hindi
Country: India
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- "theenemy 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.
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
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.
Director: Mani Ratnam
Writer: Vijay Krishna Acharya, Mani Ratnam
Runtime: 130 minutes
Country: India
Language: Hindi
Based on the Ramayana, ascribed to Valmiki
Much like Khan's choreography, Om Shanti Om is opulent, clever, and crowd-pleasing. Evidently the story is borrowed from reincarnation-themed Karz(1980) which is sampled in the opening sequence. I have never seen Karz, and odds are, I wont bother- the story is tangential to the film, and pretty mediocre. Boy (SRK) meets girl (the bad-ass Deepika Padukone) and off we go. This film is at its best when the story is only the means to link together songs, dance numbers, tropes, cameos, and Bollywood in-jokes for the audience to enjoy, so whatever you do, dont try too hard to follow the convoluted story-line.
Several references to Mughal-e-Azim (1960) and Sholay(1975), as well as the vampy Asha Bhosle musical reference when Om was confronted with an amorous older actress, were spot-on. Om rescuing Shantipriya from an out-of control fire on set a la Nargis and Sunil Dutt on the set of Mother India (1957) is perfectly apropos. Another highlight is the send-up of the Filmfare Awards, the Hindi-language film industry's glamorous Oscar equivalent. The scene took shots at most of SRK’s fellow male superstars and Filmfare Award competitors (including Abhishek Bachchan and Hrithik Roshan) and at the female stars and starlets who reported that they and star Om were "just good friends". The scene also poked fun at the Kuch Kuch Hota Hai (1998) musical phrase which functions as SRK and Kajol's, musical signature in a number of their hit films. The tongue-in-cheek "Dard-e-Disco" combines a parody of an item number with a knowledge of what the audience wants: SRK wet and shirtless in an item number. Other comic
moments remind the viewer that SRK is a star for good reason and keep the
film clipping along at a mostly light-hearted and joy-filled trot. Kiron Kher and Shreyas Talpade also deliver solid performances as Om’s mother and Om’s best friend Pappu respectively.
The key to enjoying Om Shanti Om is a more-than-passing familiarity with Hindi-language film. I have viewed a lot of Hindi-language films, and can sing my Hindi film music, and I know I missed things. My recommendation to Hindi-film novices is to hold off and wait until you have the context to get the most out of it.
Unsurprisingly, the music is gorgeous. Om Shanti Om was released the year before I first stepped off a plane in Delhi, and hit songs "Main Agar Kahoon" and "Ajab Si"-
some of the most beautiful to come out of Mumbai in recent years- were in the air for the duration of our adventure. The lyrics string together Hindi, Urdu,
and Persian like beads on a necklace; they are refreshingly old-fashioned and unapologetically romantic. When I hear “dil ko bana de jo patang sans tere vo havaie hai” (loosely: my heart has been made a kite that soars as you exhale) I am transported to Naukuchiyatal and remember climbing the Himalayan foothills in my red and saffron sari and hiking boots, on my way
to drink chai with friends on rooftops. Om Shanti Omwas my film-music gateway drug.
Which is why I was so dismayed to turn on the subtitles for the songs of Om Shanti Om on Netflix and to find abysmal translations. Please find my supplemental translation below- its not perfect, but its not as lazy as what Netflix provided.
میں اگر کھوں
تم کو پایا ہے تو جیسے کوی ہوں؟
کھنا چاہو ں بھی تو تم سے کیا کھوں؟
تم کو پایا
ہے تو جیسے کوی ہوں؟
کھنا چاہو ں بھی تو تم سے کیا کھوں؟
کسی ذباں میں بھی، وہ لفظ ہی نہین
کہ جں ميں تم ہو کیا تمھیں بتا سکوں
میں اگر کھوں، تم سا حسیں
قنات میں نہیں ہے کہیں
تعریف یہ بھی تو
سچھ ہے کچھ بھی نہیں۔
تم کو پایا ہے تو جیسے کوی ہوں؟
شو قیہ میں ڈوبی یہ ادائ
چہرے سے خھلکی ہوئ ہے
زلف کی گھنی گھنی گٹائيں
شن سی ڈھلکی حوی ہے
لہراتا آنچل
ہر جیسے بادل
باہوں میں بری ہے جیسے چھاندنی
روپ کی چھاندنی
میں اگر کہوں یہ دلکشی
ہے نہیں کہیں نہ ہوگی کبھی
تعریف یہ بھی تو
سچھ ہے کچھ بھی نہیں
تم کو پایا ہے تو جیسے کوی ہوں؟
تم ہوے مھربا، تو ہے یہ داستان
تم ہوے مھربا، تو ہے یہ داستان
اب تمہارا میرا ایک ہے کاراوں
تم جہاں میں وہاں
میں اگر کھوں ہمسفر میری
اپسرا ہو تم یہ کوی پری
تعریف یہ بھی تو
سچھ ہے کچھ بھی نہیں
تم کو پایا ہے تو جیسے کوی ہوں؟
کسی ذباں میں بھی، وہ لفظ ہی نہین
کہ جں ميں تم ہو کیا تمھیں بتا سکوں
> میں اگر کھوں، تم سا حسیں
قنات میں نہیں ہے کہیں
تعریف یہ بھی تو
سچھ ہے کچھ بھی نہیں۔
“If I Say”
I have found you but who am I?
I want to tell you but what can I say?
I have found you but who am I?
I want to tell you but what can I say?
In no language are there words
That I could use to tell you
What I want to tell you
If I tell you there is no one so beautiful as you
Nowhere on creation, not anywhere
This in praise, but in truth nothing compares
I have found you but who am I?
You grace is submerged in joyfulness
It is shining through in your face
Your tresses are rolling down in splendor like clouds and shadow
Your sari flutters in every cloud
In your arms is beauty like moonlight
The beauty of the moonlight
If I say this fascination has never been anywhere and never will be
This in praise, but in truth nothing compares
I have found you but who am I?
You are kindness so here is this epic story
You are kindness so here is this epic story
Now you and I share one caravan
Where you are, there I am
If I say you are my soulmate
If you are a nymph or some fairly
This is praise, but in truth nothing compares
I have found you but who am I?
I want to tell you but what can I say?
I have found you but who am I?
I want to tell you but what can I say?
If I tell you there is no one so beautiful as you
Nowhere on creation, not anywhere
This in praise, but in truth nothing compares
Film: Om Shanti Om (2007)
Director: Farah Khan
Writers: Farah Khan, Mushtaq Shiekh
Runtime: 167 minutes
Country: India
Language: Hindi
