RAAVAN IS IMMERSIVE, INTENSE AND DELIVERS A POWERFUL PUNCH

Raavan is a film that takes you on a journey through different facets of the human mind. The latest offering by masterful director Mani Ratnam, offers a feast for the eyes and soul in a modern day loose translation of a tale taken from the classic Hindu text Ramayana.

Just as in the text, Raavan (Beera in the film) is portrayed as a villain who kidnaps Rama’s wife Sita in an act of vengeance but as his character is open to interpretation the film delves deep into some of the many perceptions of this intriguing enigma.

The film opens with Beera (Abhishek Bachchan) diving off a huge ravine and into a river which embraces and carries him. A few scenes later he attacks a small boat and kidnaps a police inspector’s wife Ragini (Aishwarya Rai Bachchan) and as her boat capsizes, she too is baptised in the same waters as the Raavan while he watches. The symbolism is no accident, Mani Ratnam has paid immense detail to small nuances that build up clues as to the three main protagonists and the world they occupy.

This begins the story. An vengeful incident leads to the journey of two minds. Worlds collide as Beera does what he believes to be right, doling out his own brand of justice to wrongdoers within his village and to the local cops who attempt to instil their own brand of law and order to the area. The captive Ragini shows contempt and hatred for her captors, not allowing them to demean or have any power over her as she is pushed to her limits, struggling to survive every day on her terms. Her refusal to play by her kidnappers rules leads to brazen disciplining but never with malice.

As the story unravels we learn that not only is Beera a leader to his people, but the police inspector Dev Pratap Sharma (the Rama figure portrayed by Vikram Kennedy) is as traditional as a hero figure gets, to a human fault. His brand of justice sees only black and white and is colour-blind to the grey-area coloured fence Beera sits on.

Beera becomes more intrigued with Ragini, the woman he can’t kill because she doesn’t fear death and chooses to hold her captive longer. Beera in the meanwhile takes pleasure in leaving clues and traps for Dev, making the hunt a game while trying to understand his intriguing prisoner and her view of the world. She sees multiple sides of his personality in brilliant sequences that provide an alternate take on the traditional texts’ description of Raavan being ten-headed.

The narrative couples with the direction and cinematography perfectly, with clues and red herrings in almost every frame. References to the classical text are spread throughout in character traits, scenery and shot set-ups. The overall idea that Raavan’s ten-heads refers to him having the knowledge of ten scholars and not being in complete control whereas Rama has mastered control to the point of it being a weakness, is hinted at but not explored. The film cleverly sets up many interpretations and allows the audience to decide.

The remainder of the film investigates how the captor and captive learn about each other and accept different viewpoints, leading to a stunning climax which intelligently blurs the lines between good and evil. Raavan is traditionally thought to have possessed the nectar of immortality and this big screen depiction plays on this with references to Beera’s immortality within the film, be it when he is described by those he fights with, for and by those he represents.

Abhishek Bachchan breathes life into Beera creating one of Indian cinema’s most engaging characters. His screen presence is a marvel, and as an audience it was difficult to not be allured by this enigma whose life is overshadowed by a higher purpose. Raavan not only marks Abhishek’s last film before he completes a decade in Indian cinema but also the beginning of a new phase as he sets the bar high for the next ten years, exploding through all expectations and delivering an award-worthy performance. His attention to body language, dialogue delivery and intense emotion all make the character leap off the screen and pull you into his world. In a complex role, Abhishek succeeds in not only engaging and holding the audience’s attention throughout but also displays incredible physical prowess in a film that is almost completely shot on rough terrain.

Aishwarya Rai Bachchan uses every scene to take us deeper into her character. Sparks of fury are balanced with memories of love. In portions of the film where she’s required to switch from a vulnerable captive praying for salvation to a confident spitfire with no fear in her eyes within split seconds, she excels in drawing the audience into her mindset and character. Ragini has a reason for everything she thinks and does, displaying strength running on reserves. Every time she refuses to succumb to being a disempowered slave, she packs an emotional punch which results in a spectacular chemistry of crackling tension between Ragini and Beera. Off screen, Aishwarya is an icon of inspiration and it is apt that she has brought the same resilience to her role in Raavan, empowering Ragini with such force it resonates from the screen. Both actors are a tour de force and this is a stand off between stalwarts whenever they share screen space.

Vikram Kennedy as the Rama-figure Dev is enticing. His powerful frame and commanding performance fit the mould of Inspector Dev Pratap perfectly. He excels particularly in the few scenes where he faces off with Beera, especially in the climactic scenes where a true tug-of-war of power ensues.

Direction by Mani Ratnam is first rate. The creator who has brought his magic touch to many modern day classics of Indian cinema such as Roja, Bombay and Guru exceeds expectations by drawing out excellent performances from his cast, stunning cinematography courtesy of wizards Santosh Sivan and Manikandan and tells a story that reveals more every time you recount it. The touches he has added in terms of sound, substance and style elevate the film to a new level of cinema that takes you into the deepest depths of the characters’ world. Film fans will be delighted to see the nuances he has placed throughout when showing symbolism via the elements, framing and even costumes, referring not only to theories from the sacred texts but also foretelling the events on screen.

Overall Raavan is an intense and immersive experience that successfully presents the best of Indian cinema delivered with a powerful punch. Mani Ratnam and his team have made a film that enriches on each viewing. Alongside stellar performances by the cast as well as the creation of a cult character in Beera thanks to Abhishek Bachchan’s mesmerising performance, Raavan offers film fans an experience that delivers on every level.

Raavan opens for general release today.

Fuad Omar

Last Day: Previous Posts Being Deleted.

Today I am deleting many of the supplementary material for students and blog posts which pre-date today. There will be new material in the year ahead but I will not be lecturing this November due to other commitments.

Thank you for your patience.

Many have been asking me for my opinion on the much written-about Unforgettable Tour which featured Amitabh Bachchan, Abhishek Bachchan, Aishwarya Rai Bachchan, Preity Zinta, Riteish Deshmukh and Vishal-Shekhar. The UK leg of the tour also featured Shilpa Shetty.

I'll reprint my review of the tour once it is in print as this is one of the conditions to which I'm bound but what I will say is that it was a truly unique experience. Mr Bachchan was, as always, as legendary in person as he is on screen. To watch him on stage is truly a memorable experience. It was also Abhishek's first world tour although from his confidence, charisma and energy you'd never guess it. He was phenomenal and delivered a stage debut that is by far one of the best ever. Aishwarya had a different setlist from previous tours with the focus being on more upbeat and funky tracks as opposed to the previous heartstring-tugging songs of sorrow which have now become fan favourites. This new segment which included her descending from the heavens on a star and performing some killer moves to the tunes of Dhoom Machale and Crazy Kiya Re were nothing short of what you'd expect from someone dubbed as the 'ultimate live performer'.

Vishal and Shekhar were fantastic. They got the crowd going and proved to truly be masters of their domain. Riteish Deshmukh was also a welcome presence and Preity Zinta entertained the crowd as she has previously. Shilpa Shetty's performance at the UK show had a real highlight when she matched steps with ace choreographer Shiamak Davar in a segment which flowed like poetry in motion.

The truly unforgettable aspect of the show was the crowd participation. Gone are the days when people come to watch shows, the audience got wholeheartedly involved and in the spirit of the show. Dancing, jumping up and down and screaming their lungs out, it made for a great experience for everyone present, including the performers who obviously received a high-octane rush from the energy being dissipated by their well wishers.

Watch for the full coverage soon, and reprints/scans as soon as is permissible.

The Last Lear Set to Release Sept 12

The below was written in October 2007 after The Last Lear was screened at the London Film Festival. I believe the film is finally releasing on September 12 2008. A brilliant and timeless tale of obsession, film and acting, The Last Lear is a film to cherish and soak up.

Here's hoping it gets the success and accolades it deserves.

"THE LAST LEAR WOOS THE LAND OF SHAKESPEARE

Fuad Omar

Rituparno Ghosh's The Last Lear received a rapturous response at the London Film Festival where it was playing alongside the best of world cinema and was showcased to some of the movers and shakers from Hollywood, British and European cinema.

Amitabh Bachchan mesmerises as an aged thespian that spends his life looking back on his stage career and trying to better his last performance. His portrayed execution of Harish, an actor smothered by his own confidence and self-worth to the extreme that his greatest competition is himself, has drawn rave reviews from critics and fans alike. He has been compared with and referenced in the same breath as British Shakespearean stalwarts such as Sir Ian Mckellen and Patrick Stewart, both of which are currently in London's Theatreland portraying King Lear and Macbeth respectively to excellent reviews. A feat previously unheard of and one that has left an indelible mark on the heart of London's West End causing a stir among actors and directors alike. Running to packed gala screenings, The Last Lear has garnered much praise as a "contemporary example of Indian cinema at its finest" with most of the accolades falling on Amitabh Bachchan's performance and the chemistry between his character and that of Siddarth, essayed by Arjun Rampal, in a role that only further cements his acting credentials and scoffs at critics who have previously dismissed his talent.
As an obsessed film director driven by perfection, Rampal underplays his role perfectly, becoming the Yin to Bachchan's Yang creating the balance that makes The Last Lear an enjoyable and educational film experience. Even the first shot of Rampal bathed in the lights of his rushes with the white of his eyes flickering and fading in sync with the reflection of his creation is sheer stylised brilliance. The cinematography, direction and dialogues have all been commended with the only criticism coming from a largely European audience who found the subtitles distracting as the words spoken were clear and had a large impact. Shefali Shah also enjoyed lavish praise as did the presentation of the film. With a thought-provoking glimpse into the narcissist world of acting, the obsessive compulsive side of filmmaking and the all important emphasis on an artiste's previous performance, The Last Lear has all the markings of a cult film that will remain etched in the land of Shakespeare's mind forever.

The film goes on general release in December. "

The Immortal Impact of Subhash Nagre

There are characters presented on film that are destined to live forever. Depictions that leap out at you from the screen, grab you by the throat and shake your very being. These characters have succeeded in enhancing their story through exceeding the narrative, the presentation and structure of the medium of film and becoming the 'it' factor that resonates with you for a long while after their story has reached its end. Simply put, they intrigue you and leave you longing for more.

Subhash Nagre is one such character. His calm, collected and graceful demeanour in Ram Gopal Varma's Sarkar carried with it a petrifying aura that froze the hardest of criminals in their tracks. His on-screen debut was bathed in fear. Not his own, but others. His story unfolded on screen not through an origin but through a glimpse into his life as he lived it. As a figure that is both revered and revolted, Subhash Nagre epitomized the notion that there is nothing to fear, but fear itself.

With Sarkar, in an escalating climate of tension, as each reel of film completed a revolution it created a flicker on the screen that stained like splatters of blood. Subhash and Shankar Nagre's tale of power in ironically, a position devoid of any given power, left you feeling like a plastic bag had been held firmly pressed against your face, slowly drawing out your last breath and then a sudden puncture allowed you to gasp for more air. When the film ended, Shankar's story had just begun.

The viewer was left wanting to know more about the Nagres, having experienced their world, and Sarkar Raj fulfils this desire leaving bullet-holes as proof.

The Nagres carve their names on celluloid residue in a grittier, edgier compendium of terror, firmly establishing themselves as one of Indian cinema's most important mafia-like creations. Operating above the law and outside the system, their power lies in people's faith in them to right the wrongs being done to them. Sarkar Raj sees Shankar now a full fledged participant in taking care of his people with blind faith instilled in him by his father, heading the organization that seeks to do what is best for everyman. His body language is more confident, his stance more prudent and he now walks like a man who the world stops for. Captured in low-angle shots, Shankar is seen as larger than life due to his drunkenness on power as a character who has risen from the ground up. This is in stark contrast to the way Subhash Nagre is now presented, more in the background like a shadow, emerging only to the forefront in the final act of the film. He is presented with many overhead shots as the overseer of all things in his land and business. The emotional arrogance of Shankar is paralleled with the respectful yet commanding presence of Subhash who understands the ideal is greater than the man. Both have a raging fire intensifying their eyes. One of experience, the other of youth.
The film's colour adds to the narrative with earthy tones setting the pace for its gritty action sequences and lighter shades shining through with the elements in more somber subtle scenes such as when Subhash Nagre is bathed in rain, cloaked in white from an open sky. The story reminds us that if you choose to walk a path that is a tightrope of razorblades, you will get your feet cut.

Performance wise, Amitabh Bachchan excels the depiction he delivered in the first chapter of the Nagre family's rule, which in itself is a difficult task given he executed the patriarchal role to perfection. This time, the highest intensity is from Abhishek Bachchan who delivers a power-packed punch of a performance that heightens the film's premise with every scene he is in. Creating a young and emotional version of Subhash Nagre, Abhishek breathes life into Shankar Nagre with the impact of an explosion. He views everything with a vendetta, not able to overcome the death of his brother and rushing headfirst into pursing what he believes is right. He sees any opposition as an obstacle and swiftly removes it. Abhishek delivers a coming-of-age performance that snatches you out of your seat with his every nuance. This is by far, the performance of his career to date. Aishwarya Rai as Anita Raj brings a sharp twist in the tale, as a pawn in the powerplay. Representing progress, the good and an angel of death, her character's journey unfolds on screen coming full circle only at the end. It is a shame her character is left underdeveloped given the integral role she plays in the life of the Nagres.

Overall Sarkar Raj is bigger, better and louder than the original essay on the power of power. It takes things further and is a study in the lure, seduction and destructiveness of power. The characters have undergone a natural evolution as a result of the occurrences of the first film ensuring Sarkar Raj is a worthy descendant of its predecessor.

With the ongoing story of Subhash Nagre's rule, it seems what America created in the Corleones and what Britain found in the Krays, Ram Gopal Varma's mafia-like saga has given birth to in Indian cinema, with the first of its kind immortal protagonists, in power but not by any given power, that will be studied for decades to come as representative of some of our most turbulent times and the best of cinema.

Sarkar Raj is released worldwide by Eros International on June 6.

"Bollywood: An Insider's Guide" Available Now

My new book, Bollywood An Insider's Guide is now available at bookstores and online retailers. It has exclusive interviews, reviews, behind the scenes articles and features some of Bollywood's biggest names. It is published by the good people at Mayhem Publishing and retails for $19.99. Enjoy!

Bollywood Basics

Bollywood. The term itself conjures up a variety of images. Be it yesteryears actors/actresses or today’s heroes and heroines, the song and dance routines or three hour opuses which are fast giving Hollywood a run for its money, you cannot escape it. Being one of the world’s largest film industries, Bollywood has proved its importance in its growth over time and is making its mark on international cinema slowly but surely. What is it about this industry that encourages film magazines sales to rocket and box office returns to cause even Steven Spielberg to frown? Be it in India, the rest of Asia or in the UK, Indian cinema is huge. So why exactly is Bollywood so popular?

With the growing number of Asians who now make up an integral part of British society, being born raised and working here it’s surprising they’ve latched onto this cultural phenomenon which is from a country they probably haven’t visited regularly, some may not even be too confident with the language, but they still flock in their droves to cinemas to see the latest blockbuster. In India, the literate level is not among the highest in the common man, yet he’ll still buy the glossies to keep pictures of his favourite celluloid idol – that’s how passionate Indian cinegoers are.

Indian cinema in its home country is its main cinema, and form of entertainment, with a few new films being released every Friday, and on average each movie having four showings a day. Analysts say it is a form of escapism, where the man on the street can forget his worries and be whisked away for three hours on a journey full of colour and vibrancy, song and dance all courtesy of the peacock screen, while others insist their cinema is so good it breeds a fan following because of its slick entertainment, despite its Hollywood counterpart being shown in the very theatres (except to half full audiences).

If this medium is a form of escapism, what is India escaping from? Poverty surrounds the common man and wherever you work you cannot escape what’s going on around you, the children begging on the streets and the men and women living in self-constructed shanty-towns that barely hold together during the monsoon season. Is this what Indians are looking to escape from, and that too by watching a three hour musical? Or is it their working lives which have long hours and allow them to afford precious little, leaving many to lead a hand to mouth existence? Indian cinema for many is less a way out, somewhat of a distraction but more simply a way to be entertained and relax. It gives them heroes that have values, villains that you can spot a mile away and heroines who look sensual and need to be romanced to be yours. It represents a fantasy land which stems from fairytales and stories parents tell children, and infuses it with modern society to come up with tales of the subconsciously expected. That’s one idea from one section of Indian society.

Another is that because they are divided by class, not all Indians seek cheap thrills and entertainment that distracts from everyday goings on. You have two sides of a spectrum where one is deemed the ‘masses’ and the other the ‘classes’. The curve begins at the ‘front benchers’ who run stalls or drive rickshas and want to sit close to the screen because it’s cheaper and they can shout at what they like and boo at what they don’t, often throwing coins at dance sequences and songs that they know will be playing in their mini taxis or at their stalls for days to come. Then there is the average common man, who will probably sit with his family in the balcony seats, so he can watch the movie and be entertained. And then you have the higher class breed of yuppies who cruise down Marine Drive in their convertibles and attend the high class colleges or work in the most luxurious of offices. These people wouldn’t dare admit Indian cinema is ‘escapism’ for them, as that would be like confessing they have problems or that they need to be distracted. For them cinema is an art form. They readily say Indian cinema caters to the masses and gives them light relief, but where they themselves are concerned they’re there to find out what will be the next fashion and to see if an actor is worthy of discussion the next week and so they can dissect and comment on what the papers say about these ‘so called demi-gods’. What is entertainment for some is fuel for gossip and discussion for others, while some even become ‘closet watchers’ who won’t admit to where they disappear to every Friday night between nine and twelve.

The films provide an extended fantasy realm, and present characters who borrow from reality. The character on screen is larger than life and invincible, gets the girl and wins against all odds. More recently you have the addition of films that present anti-heroes and protagonists that have shades of grey to them, such as in Darr, Kasoor and Champion which bring out the audiences to a genre of film that is usually unpredictable as almost anyone is expendable. Then the emergence of family dramas with Hum Aapke Hain Koun and Hum Saath Saath Hain, proved that you don’t even need a villain any longer to entertain for three hours. What are emerging are different experimental styles of cinema which use the tried and tested formulae but deviate just a little. The traditional hero-heroine-villain-love story-parental opposition story still exists, but now there are alternatives.

This has helped the crossover to the Western audiences whereas Indian films were watched mostly by the elder generation as they reminisced about how good life was and how today’s youth have lost their identity, along came a spate of films which redefined the rules of Indian cinema, scooped up a new younger audience and crossed over to the West. British Asians now make watching Indian films a regular pastime, because they have something to offer them too in terms of songs, good looking Asian characters and something that caters to their inherent Asian culture, without betraying the Western environment upbringing they have been nurtured on. The films of late such as Dilwale Dulhania Le Jayenge, Kuch Kuch Hota Hai and Kaho Naa Pyaar Hai continue what began in the late 80s, which was a transition of the MTV generasian onto the big screen. Sooraj Barjatya’s Maine Pyar Kiya began the trend in 1989 when he made an Indian film, but with strong subtle Western undertones. In the Indian context, the films that do well are those that address Asian traditions and customs (however subtly) because one scene which shows a puja or a mandir, a rasm or a marriage, immediately creates an identifiable aspect for the viewer to latch onto reassuring them this is something that could happen. We may wear DKNY jeans and sport Nike shoes, but we also end up making it to our yearly pilgrimage or still follow the same wedding traditions that are instilled in our culture. Despite the changes and wherever in the world we are, Asians at heart have remained the same.

The identifiable aspect, a new variety in the genre of film and now technically brilliant movies such as Mission Kashmir, Lagaan and Black make Indian cinema and the industry termed ‘Bollywood’ a force to be reckoned with. So we turn up in our groups to watch the latest blockbuster and the ones we like end up in the UK top ten surpassing Hollywood’s big budget offerings and bringing more attention to a cinema that is gaining more recognition by the day. Welcome to the world of Bollywood.

Fuad Omar.

Bollywood - An Insider's Guide

Bollywood is gaining popularity by the day. This blog is being set up to host some supplementary material for the lecture I'm giving on Wednesday 15 November in St. Paul's, London. I'm basically looking to carry as few items to the talk as possible and so am going to direct students to this blog rather than hand out notes. Let's hope the Bollywood Blogs catch on...