World Cinema – Bicycle theives

This is yet another attempt for the love of cinema.
Am heading a new column “Beyond Kollywood” in behindwoods and hope to feature path breaking movies from regional langauages and around the world.

The bike was his messiah, his ticket to a career and an escape from his impoverished lifestyle. If you thought I was talking about Pollathavan, the Dhanush starrer that catapulted Vetri Maaran to fame and fortune, you are wrong. This is the plot of Bicycle Thieves, an Italian blockbuster directed by Vittorio De Sica in 1948.

The story unfolds in the post world war II era when Rome is rife with unemployment and poverty. A father, brilliantly portrayed by Lamberto Maggiorani secures a job plastering posters of Rita Hayworth for which he has to have a bike. Unfortunately, he has just pawned it to get a few days worth of food. He returns home to his wife and children cursing his luck or the lack of it. The wife, as always, quickly decides to get rid of their linen in exchange for the bike. He reports to work bike in hand and is enrolled. On his first day, the cycle is stolen in broad daylight. He gives chase but the thieves are too quick for him. Dejected, he seeks help from a friend who reassures him and takes him to a black market. Unable to find his bike there, he manages to spot the thief on his own. Does he get his bike back from the thief or is it too late?

Even for a first time viewer it is easy to spot the parallels to our own Tamil cinema. There are battles waged in front of the water tap, couples arguing yet calmly pawning the sheets for money, child labor and people bickering to get on to a bus and black markets. Sica’s masterpiece captures the raw emotions of poverty and tragedy brilliantly that everything else plays second fiddle. Devoid of color, this black and white drama paints the isolation, frustration and the gray areas of life vividly. The movie does not bank on star power with the lead played by a factory worker and most of the cast being untrained actors. But what it relied on was a solid plot, seamless storytelling and brilliant screenplay.

Cinema is primarily a visual medium. This is asserted in the movie where dialogues flow only when required. People crowding in front of the employment exchange, the pawned sheets added to a mountain of other items, a husband’s love for his wife as he cycles with her on the handlebars, people queuing to see a seer and a young boy’s love for his bicycle are all conveyed without a word spoken.
The entire movie covers a couple of days in the life of the protagonist yet we manage to invest in his life effectively. The story flows organically right from the first shot to end credits. No scene is wasted and the screenplay is taut. We feel his joy when he gloats about extra pay, the frustration on losing his cycle and the shame when chased by a mob. It is a coming of age movie that weaves real life drama without exaggeration or item numbers.

The background score adds momentum to the visuals and manages to convey the mood effectively. The despair and anxiety the father faces as he struggles to quiet his conscience yet cannot break free of the temptation to steal is amplified by the music. Will he cross over from good to bad? Will he give in to his poverty or hold on to his principles? A million questions crowds his mind and the wretched day of his life ends with people telling him it is his lucky day.

The movie was a pioneering effort in Italian neorealism depicting the psyche and conditions of Italian people. The irony of life is captured poignantly. Bicycle thieves is an inspiring film and noted film makers quote it as a landmark in movie making. Satyajith Ray having watched this in London returned home with a determination to direct. Anurag Kashyap manned the lens after viewing this classic. Like music, movies also transcend barriers and break free from the clutches of language. All we need is an open mind and an eye for good cinema. Bicycle thieves is a lesson for every film maker to watch and learn.

Edited version can be found here.

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Flop Song!

I really did not want to write anything about Kolaveri di. Enough has been said, discussed, listened to and written about. There is one post about the marketing mantra behind Kolaveri di – Viral marketing claims IIM’s studs. Imagine a class full of MBA grads discussing the phenomena behind the soup song and I thought they would discuss about the tactics involved in marketing holiday gear to lure shoppers… Hilarious!

Although Dhanush claims that he did not had to delve into the nuances of the language and the lyrics were penned in a jiffy, we will not rest until we beat the issue to a pole. We will also not let it go that the lyrics are not in poetic Tamil but is a crass mix of English and Tamil. One of my favourite writers even dismisses the song as a Tamil one. Maybe if it was composed by ARR and been the track of a Kamal movie, these strong emotions would have piped down to a mild flutter and no feathers ruffled?

I like celebrities who don’t pretend. It is so rare that I have begun to appreciate this trait. So when Dhanush accepts that they did not expect the song to go viral, I want to pat the team on their back. When Javed Akhtar pooped on the lyrics, this team did not let it dampen their spirits, they even agreed with him. Because I like Kolaveri Di does not mean I do not like Vellai Pookal.

Kolaveri Di is all over the place. My niece and my father can’t resist taking a swing when this song plays. One talks gibberish and the other has given up on Tamil lyrics. The Kannadasan days are gone but music is music. I don’t care that the lyrics are in English or it makes little sense. It is an energetic, foot tapping and an extremely local song. One that anybody can enjoy. Music transcends language and when global audiences are talking about a Tamil song, I don’t want to delve into trivial issues. There is lot of talent in Tamil cinema and if the spotlight is manned by Dhanush, I’m not complaining. There are lyrical, elusive, haunting and mesmerizing numbers in Tamil but if Kolaveri Di is making people knock on our doors, I want to welcome them with open arms.

Yes Kolaveri Di is a Tamil song. One that has set records in an unprecedented yet peculiar way. I want to embrace this soup song and No I don’t want to get into any lofty discussions. Just let it be. Turn on the music.

Right Formula for this Deepavali

Making a movie is a lot of hard work. There are hundreds of technicians and thousands of crew members. Yet the collective synergies of all these people does not guarantee a box office bonanza. What is it that makes movies click? Do we have at least one winner in our Diwali releases that follows this formula? Read on…

http://www.behindwoods.com/tamil-movies-cinema-column/diwali-release-movies-19-11-11.html

India Chronicles – Part 3

  • Chennai’s Theater scene truly rocks – Margazhi Maha Utsavam, Washingtonil Thirumanam and Dirty Dancing… all in one city.
  • Sandwich shop outside Alsa Mall is chennai’s equivalent to Italy’s pizzerias. Divine.
  • Melt in your mouth bondas from Sangeethas – Priceless.
  • Shopping at Pondy Bazaar beats bargainning at Canal Street
  • Chennaites take the raving beauty of Elliots for granted. Time stands still when you are sitting in the beach lost in idle banter with a dear friend.
  • Perumal koil Puliyotharai … need i say more?
  • Public transport rocks but the auto anna will charge half an arm. Yaruku bun?