Jodhaa Akbar

Jesuits at Akbar's Court
by Nar Singh, ca. 1605

Jodhaa Akbar (2008), imagined as a spiritual and chronological prequel to Mughal-e-Azim (1960) tells the story of the Emperor Jalal-ud-din Muhammad Akbar- known as Akbar the Great- (Hrithik Roshan), and his Hindu Rajput wife from Amer, who may or may not have been named Jodhaa Baai (Aishwarya Rai). The title of this woman has come down through the mists of history as Mariam-uz-Zamani (Mariam of the Age), as she was the mother of Jahangir, heir to the Mughal throne. She was also one of many wives, but why should history get in the way of a movie-ready myth. Interestingly, Mariam of the Age was an astute and aggressive businesswoman, but evidently her mind wasn't deemed interesting enough to warrant her own The Wolf of Wall Street (2013) style film.

Jodhaa Akbar is instead a sweeping romance of love across faiths, overcoming scheming interlopers, and hitting the arranged-marriage jackpot. The film doubles down on the religious tolerance for which Akbar's reign is rightfully famous. He opened the administration of his empire up to bureaucrats of any religion, and abolished faith-based pilgrim taxes. He pursued alliances across faiths and invited allied nobles to join his court. He joined his Hindu wives in worship and celebration. His ibadat khana (house of worship) in Fatehpur Sikri, his erstwhile capital, found Hindu, Roman Catholic, Zoroastrian, Jain, Islamic and atheist thinkers together discussing theology. Extremism was discouraged, as was sati, and under Akbar the Mughal Empire grew in size and influence.

The film does not double down on the intelligence of Jodhaa, who is lovely and "spirited" in the "she can do xyz as well as any man" way. But being proud is not the same thing as being interesting. It is definitely not the same thing as being smart. Aside from a political science 101 lecture, we never have any indication that Jodhaa is interested in anything besides Akbar. Unless you count that scene where she is playing with rabbits? And rabbits are really more a metaphor than an interest.

Sheesh Mahal, Palace in Rajasthan 

Hritik Roshan, one of the most famous (and famously handsome) Hindu actors in Bollywood was chosen to the play the role of Akbar, romantic Muslim hero who isnt a terrorist. Given that the Hindu-right loves to use the fear of the sexuality of Muslim men as a dog whistle (much like fears of the sexuality of men of color is used as a dog whistle in the U.S.), the casting choice was either brave of Roshan or cynical on the part of the filmmaker, who got to have it both ways. He's a hero but also really Hindu, its fine!

Roshan's casting as Akbar was excellent, regardless of motivation. His Urdu deserves special praise. His accent is delicious. The locations, costumes, and music are sumptuous proof that if money cant buy happiness, it can sure buy a whole lot else. Tanishq provided the jewelry for the film, which likely cost a king's ransom all on its own. The music, by A.R. Rehman, again draws on the variety of musical styles on the Subcontinent for inspiration, including dervishes and Hindu religious music, as well as the more contemporary "Jashn-e-Bahara".

Speaking of delicious, Jodhaa Akbar also caters to the female gaze in a way that continues to be highly unusual, as no one seems to have learned the lesson of "Jab Se Tere Naina". Hritik Roshan playing with his sword is another wonderfully understated metaphor, but it is also proof that this film knows its audience. The full scene is here.

Same, bitch.

The film lasts more than 3 hours, so I wont try to describe the plot. It is an epic film, so there is a lot of plot. It is loosely based on history, punctuated by some things that actually happened in a way that may have vaguely resembled the way they happened on screen. This film is about myth-making, and if the myth in question takes religious tolerance (albeit limited to Hindu/Muslim tolerance) as its jumping off point, that isn't the worst thing. Khuda knows there are far more dangerous myths. The disappointment comes from the fact that if the film was going to be mostly fiction anyway, it could have done a lot more.

Particularly since there were protests against the film throughout North India anyway. These were ostensibly about historical inaccuracy but unsecretly about the fact that the Rajput and Hindu right are Islamophobic- even thought the film isn't exactly groundbreaking in its political message. Some of these same groups were back at it last year protesting the release of historical epic Padmaavat (2018).

Now, are Jodhaa and Akbar in the running for "most awkward "first time" musical number"? Yes- and in Bollywood the competition is tragic. Is there some over-acting? Yes. Was Ashwaria Rai underutilized? Yes. Did the film need to include Akbar taming a wild elephant? Debatable- even if it is true. Its not like they needed to fill time. Is the film as good as Mughal-e-Azim? Surely you jest.

A surprisingly lovely collection of Mughal miniatures, including one featuring Akbar and some elephants, can be viewed for free at the Walters Art Museum in Baltimore!  

Film: Jodhaa Akbar (2008)
Director: Ashutosh Gowariker
Writers: K. P. Saxena, Haidar Ali, Ashutosh Gowariker
Runtime: 214 minutes
Language: Hindi, Urdu
Country: India

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Chameli

Chameli and Aman

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.

Mumbai Dance Bar

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

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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Om Shanti Om

Get Swept Away

A movie about the movies, Om Shanti Om combines smart parody with loving homage to classic Hindi cinema in an entertaining pastiche format. Pastiche! Director Farah Khan, who made her name as a choreographer, is one of several female directors who are making a splash in Bollywood, although women continue to be underrepresented as directors, writers, and producers in Bollywood and Hollywood.

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 Om was 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

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