‘Slumdog Millionaire’ the film by Danny Boyle, is about the lives of an orphaned boy ‘Jamal Malik’, his older brother ‘Salim’ and their childhood companion ‘Latika’. Deven Patel, a first time film actor from England, who plays the protagonist’s role, is ably assisted by Frieda Pinto as ‘Latika’ and an amateur young man from the Mumbai slums playing ‘Salim’. It has veteran Hindi film stars like Anil Kapoor, Irrfan Khan and Saurabh Mishra in beautifully scripted, short but meaty roles.
The film is stark and holds a mirror to the reality of life in the slums. Its theme is provocatively violent though there is very little violence actually shown. It is full of police brutality, entrapment of slum kids for prostitution and organized beggary, roadside gambling, illicit liquor trade, communal flare-ups, hoodwinking of foreign tourists and various assorted petty crimes. It actually shows the filthy underbelly of Mumbai but it could well be any other big Indian city.
The multiplicity of experiences that Jamal goes through in life before he plots his way in to a game show as a participant prepare him well for winning a large sum in the game. However at the end of the day one when the show gets over, Jamal is ahead by ten million rupees but decides to ride his luck. Sensing that something is out-of-place, Anil Kapoor, playing the game show host gets Irrfan Khan and Saurabh Mishra, playing cops, to check him out. They resort to the usual brutal police methods to make him confess to cheating at the game. That is when he narrates the story of his life.
There may be nothing new in the story per se, but the treatment and the presentation are something one was totally unprepared for. Boyle has done well in taking unknown actors since any big star in the key roles would have glamorized and thus reduced the impact of ‘Slumdog’.
Amitabh Bachhan writing in his blog raised questions about the poor depiction of India in such films and about the morality and necessity of hawking poverty in Mumbai slums. While there may be some merit in what he says, one must not forget that film-making is essentially about story-telling. If you feel you have a good story that you think will provoke all right-thinking people in to action in some way, you should just go ahead and tell the story as you visualize it. Film is essentially a director’s medium.
Yes, it is true that the movie at times is too crass, like the 1973 scene where Amitabh Bachhan, the movie star’s helicopter is about to land and Jamal, who is an ardent devotee of the star, is locked inside a crude ramshackle toilet on the fringes of Mumbai airport. To escape from the imprisonment and to meet his idol, Jamal jumps out of the toilet, landing in a heap of sh*t. Then in that sh*t-laden condition he runs to greet the star and take his autograph. That scene should have been done a bit more aesthetically. Again that is my perception and I guess the director is free to present it as per the demands of the script or as he sees it.
However the highlight of the film would have to be the scene in which the older brother, Salim, who has become a gangster, forces Latika, whom Jamal, who has joined a call center as a chai-wallah (a tea boy), manages to locate after an extensive search, to sleep with him. It is an extremely touching scene where the sheer helplessness and rage of Jamal comes through as does his extreme affection for ‘Latika’. That he yearns to ‘protect’ her rather than ‘have’ her like ‘Salim’ is what distinguishes the two characters.
Danny Boyle has churned out an engrossing ‘masala hindi movie’ where the characters happen to speak in the English language. One only wishes the language was a little less profane, but such transgression is permissible, given that this is about the underbelly and no one from a Mumbai slum can be expected to have gone to a finishing school and speak the Queen's English.
Whether it deserves to win ten Oscar nominations is likely to be debated for long. It would, in all probability, end up winning three, may be four Oscars. The Bombay film industry ardently hopes that list would include an Oscar for our very own A.R.Rehman or at the very least Gulzar Sahib, for their excellent work in the song that comes at curtain call, ‘Jai Ho!’
That ‘Jamal’ ultimately manages to win twenty million rupees and gets his girl is what appeals to a large majority of the viewers. It is this fairy-tale ending that inspires euphoria.
The film is stark and holds a mirror to the reality of life in the slums. Its theme is provocatively violent though there is very little violence actually shown. It is full of police brutality, entrapment of slum kids for prostitution and organized beggary, roadside gambling, illicit liquor trade, communal flare-ups, hoodwinking of foreign tourists and various assorted petty crimes. It actually shows the filthy underbelly of Mumbai but it could well be any other big Indian city.
The multiplicity of experiences that Jamal goes through in life before he plots his way in to a game show as a participant prepare him well for winning a large sum in the game. However at the end of the day one when the show gets over, Jamal is ahead by ten million rupees but decides to ride his luck. Sensing that something is out-of-place, Anil Kapoor, playing the game show host gets Irrfan Khan and Saurabh Mishra, playing cops, to check him out. They resort to the usual brutal police methods to make him confess to cheating at the game. That is when he narrates the story of his life.
There may be nothing new in the story per se, but the treatment and the presentation are something one was totally unprepared for. Boyle has done well in taking unknown actors since any big star in the key roles would have glamorized and thus reduced the impact of ‘Slumdog’.
Amitabh Bachhan writing in his blog raised questions about the poor depiction of India in such films and about the morality and necessity of hawking poverty in Mumbai slums. While there may be some merit in what he says, one must not forget that film-making is essentially about story-telling. If you feel you have a good story that you think will provoke all right-thinking people in to action in some way, you should just go ahead and tell the story as you visualize it. Film is essentially a director’s medium.
Yes, it is true that the movie at times is too crass, like the 1973 scene where Amitabh Bachhan, the movie star’s helicopter is about to land and Jamal, who is an ardent devotee of the star, is locked inside a crude ramshackle toilet on the fringes of Mumbai airport. To escape from the imprisonment and to meet his idol, Jamal jumps out of the toilet, landing in a heap of sh*t. Then in that sh*t-laden condition he runs to greet the star and take his autograph. That scene should have been done a bit more aesthetically. Again that is my perception and I guess the director is free to present it as per the demands of the script or as he sees it.
However the highlight of the film would have to be the scene in which the older brother, Salim, who has become a gangster, forces Latika, whom Jamal, who has joined a call center as a chai-wallah (a tea boy), manages to locate after an extensive search, to sleep with him. It is an extremely touching scene where the sheer helplessness and rage of Jamal comes through as does his extreme affection for ‘Latika’. That he yearns to ‘protect’ her rather than ‘have’ her like ‘Salim’ is what distinguishes the two characters.
Danny Boyle has churned out an engrossing ‘masala hindi movie’ where the characters happen to speak in the English language. One only wishes the language was a little less profane, but such transgression is permissible, given that this is about the underbelly and no one from a Mumbai slum can be expected to have gone to a finishing school and speak the Queen's English.
Whether it deserves to win ten Oscar nominations is likely to be debated for long. It would, in all probability, end up winning three, may be four Oscars. The Bombay film industry ardently hopes that list would include an Oscar for our very own A.R.Rehman or at the very least Gulzar Sahib, for their excellent work in the song that comes at curtain call, ‘Jai Ho!’
That ‘Jamal’ ultimately manages to win twenty million rupees and gets his girl is what appeals to a large majority of the viewers. It is this fairy-tale ending that inspires euphoria.
image courtesy the producers of the movie
