Dreams in the cans- A Filmmaker's worst nightmare

A few days ago I was having a conversation over coffee with one of my friends who works in the industry and had just attended the first screenwriting workshop organized by Kamal Haasan’s Rajkmal Films in a tie-up with IIT-Madras. While my friend was sharing his insights about the workshop, he mentioned that apart from the various films screened as part of the course, they were also shown the teaser of ‘Marudhanayagam’, Kamal’s magnum opus which got stalled after the shooting started with a bang. Since I had seen the trailer myself, both of us went on an overdrive, discussing the merits and demerits of the project (as it appealed to us). I still remember the way the muhurat function was held. The chief guest for the event was none other than Queen Elizabeth who was in India at that point of time.

The trailer shows a glimpse of what the movie could have been. It in all probability could have certainly been India’s answer to movies like Braveheart as it falls in that genre and was deemed to be an extravagant affair. Unfortunately all that is left of the movie is around 30 mins of canned film and a dream that’s still not forgotten by Kamal Haasan for sure. Around the time when the shooting had to be stopped, the budget seemed to be something that Indian cinema would have found it hard to support. Now with bigger projects like Endhiran and Blue getting made, there’s still some light at the end of the tunnel in terms of getting some funding for Marudhanayagam. But the question to be asked is will that day be too late?

The reason for that is that Marudhanayagam in the present form requires extremely high levels of fitness and agility from Kamal Haasan and with every year that’s passing by, this is only going to get tougher and tougher for him. Some time last year Kamal even tried to come up with another mega project, again a period movie called Marmayogi. Pyramid Saimira who were initially picking up a lot of projects to produce and/or distribute had decided to produce Marmayogi and then had to back off after their losses suffered due to Kuselan. So now only time will tell whether Kamal Haasan would be able to fulfill his long pending dream of completing Marudhanayagam or whether it remains as just another incomplete dream in the cans.

This discussion made me realize that no matter whatever technical advancements that Cinema is witnessing, some things just don’t change. For one there’s still no safe formula for a successful film. Fortunes are still made and lost on Fridays. And yes luck is a crucial element in this business. That being the case isn’t it extremely heart wrenching for a film maker to see his/her movie getting stalled or lying in the cans unsold? Time and again we have seen so many film makers facing this predicament. This is a phenomena witnessed by both established and new filmmakers.

By now everyone (on PFC at least) knows the kind of struggle that Anurag Kashyap has had to face for Paanch ( still unreleased ) or what Pankaj Advani has had to face for Urf Professor ( again unreleased as of now ). These are just 2 popular examples that I have mentioned to explain a very common phenomena. That people like Anurag Kashyap and Pankaj Advani have a lot of conviction is evident as Anurag has gone on to make movies like Black Friday,No Smoking, Dev D, Gulaal etc and Pankaj Advani is right now gearing up for the release of his ‘ Sankat City’. But not every other filmmaker can carry within themselves so much of conviction, especially if it’s a new comer.

At the moment while I’m writing this my heart goes out to 2 other filmmakers, who share something in common with each other- their first film as a director was well recognized and fairly successful too. On one hand you have Sagar Ballary who made the popular Bheja Fry and whose second film Kachcha Limbu was completed quite some time ago. On the other hand you have Vasantha Balan who made the acclaimed Tamil movie- Veyyil and whose 2nd movie- Angadi Theru is also ready. So what else is common between these 2 directors apart from their first film being noticed? Well simple enough, both their 2nd movies are ready but still unsure of their release.

While Kachcha Limbu is a Sahara production, Angadi Theru is an Ayangaran production. Till recently both Sahara and Ayangaran were fairy serious players in production of Hindi/Tamil movies, but with the recession setting in, both these production houses have been affected to some extent. Sahara already has asked Sagar Ballary to try and find another entity to buy the movie from Sahara and then release it. While in case of Ayangaran as of now the release is still likely though a bit delayed. I just hope for the sake of Sagar and Vasanth that they manage to get their respective films released at the earliest and focus themselves on their other projects.
When my fellow PFC author Shivajee Chandrabhushan’s first film Frozen finally got released in India last month after doing the rounds of 30 odd festivals and winning 20 awards internationally, Shivajee was a much relieved man. And why not, for finally his dream was not in the cans anymore and was there for the whole world to see. And yes the wait can be sweet if it does not go beyond a point and the movie still gets the same reception that it was expected to receive. But if the waiting period goes beyond a point, then sometimes things can certainly go out of hand too.

A classic case in point is the Tamil movie- Kutrapathirikai directed by R.K.Selvamani. The movie was highly controversial for being based on former Prime Minister Rajeev Gandhi’s assassination. It was banned by the censors in 1992/1993 and after a prolonged court battle, the movie finally released in early 2007. For old times sake I did go and watch the movie but was thoroughly disappointed for 2 reasons- first of all the movie did not have anything objectionable for getting banned and secondly after nearly 15 years, the movie looked so out of place in terms of technique and sensibility that it was not surprisingly a big flop.

For the sake of all filmmakers and wannabe filmmakers I would certainly hope that as far as possible celluloid dreams lying in the cans should not go on to become a cause of concern. The celluloid dreams deserve to hit the silver screen and not lie around in the cans, unseen. Let the audience then deserve the fate of the movie, at least the filmmaker would have received his/her realistic chance of seeing his/her dream come true.

P.S- Originally published in PFC- check it out here- http://passionforcinema.com/dreams-in-the-cans-a-filmmaker%e2%80%99s-worst-nightmare/

Stereotyping in Indian Films- How long will it continue?

By now its common knowledge that RGV and Vivek Oberoi are re-uniting for Rakta Charitra, a biopic on Paritala Ravi, the dreaded factionalist leader of A.P who was shot down a few years ago. But what is making me look forward to the project is to see if RGV is able to carry off the transition of factional A.P politics and associated violence conveniently into a mainstream Hindi movie. After all it’s not easy to make a transition of this sort without avoiding the typical stereotypes seen in Indian cinema. And no the stereotyping is not a prerogative of Bollywood or any particular regional language cinema; it can be seen usually across Indian cinema. India is growing, developing, changing for the better as a country so why should we still allow the kind of stereotyping that has existed in Indian cinema for ages?
To drive across my point I would definitely look at some of the more common stereotypes seen in Indian cinema with some relevant examples wherever possible.

1.Most South Indian characters are just ‘Madrasis’ who keep saying ‘ayyayyo ayyayyo’- Well right from Mehmood in Padosan to Satish Kaushik in Saajan Chale Sasural or Shreyas Talpade in Golmaal Returns, South Indian characters are mainly shown as caricatures who speak pathetic Hindi and there is very poor detailing done by the director/writer. When Rohit Shetty, a South Indian himself cannot differentiate between a Tamilian & a Telugu personality, what more should I say? In case you do not understand what I say- just watch Golmaal Returns. Shreyas Talpade and Celina Jaitley play Tamilian characters in the movie, but whenever Shreyas is excited- he starts singing- ‘Aa Ante Amalapuram’ a popular song from the Telugu hit movie-Arya, now why would you show it this way, unless you don’t have an eye for detailing?
2.Most North Indian characters have to be a ‘sethji’ in a typical South Indian movie and the character is supposed to directly/indirectly elicit laughter from the audience. You can check out countless Tamil movies in particular for the same. Why can’t a North Indian be shown in a regular capacity instead of being shown as a caricature.
3.It’s ok to show the female lead as a North Indian but not the male lead in South Indian movies. Sure it’s fine to show a typical hero falling sometimes in love with the heroine who happens to be from the North, but the reverse hardly happens. I was very happy to see a recent Tamil movie- Abhiyum Naanum (Akasamantha-Telugu) where Trisha the heroine falls in love with a sardar (Ganesh Venkatraman), at least someone is trying to change things being depicted on screen.
4.Regionalism taking precedence over authenticity- In a recent Tamil movie- Arasangam, the protagonist, Vijaykanth speaks in Tamil to all & sundry in places like Assam & even Canada. Since when did everyone start speaking Tamil all over? Or take a recent Telugu movie- Shouryam- a major part of the movie is shot in Kolkata but no body is seen speaking in Bengali or even Hindi for that matter. It looks like everybody speaks in Telugu in Kolkata. Now can’t this be avoided?
5.Shooting abroad- is it necessary every time for every movie? What started off as an attempt to offer something new to the Indian audiences by shooting mainly songs abroad in exotic locations, later gave way to even the whole movie being shot abroad. But now I think the phenomenon has become a joke & in a lot of cases you actually wonder as to why was the movie shot abroad. Some recent examples of the same include- Yuvvraj and Tasveer 8*10.Did the story in these movies actually have anything compelling for the makers to shoot it overseas instead of basing it in India & shooting it here?

The above given stereotypes are just some of the more commonly seen ones. But the list is definitely not exhaustive. I feel that the issue of stereotyping is avoided as far as possible by people who believe in detailing to the best extent possible. Here I’m referring to people like a Manirathnam,Vishal Bharadwaj,Cheran,Anurag Kashyap etc.These are the people who can by way of getting into detailing take care and avoid stereotypes to the best extent possible.On a parting note let me remind you all about one of one of my favorite scenes from Indian cinema which shows how detailing can really heighten a scene and virtually avoid any type of stereotyping.

The scene is from Roja (Tamil) after Arvind Swamy has been captured by the militants and he finds himself face to face with their leader, Pankaj Kapur. When Pankaj Kapur questions Arvind in Tamil, he is very much intrigued and wants to know how Pankaj knows Tamil. To this Pankaj Kapur calmly replies that he studied (B.SC) Agriculture from Tamilnadu Agricultural University,Coimbatore and learnt Tamil during those days in college. A great scene conceived and developed by a master story teller/director.
So when do we get to see more and more of the stereotypes being given a farewell in Indian cinema?

Note- My attempt here has been to generally look at stereotyping in Indian films & comment on why we cannot bid goodbye to them. It’s not an attempt to talk about any particular movie or personality over here. Feel free to write on some of the other stereotypes that you feel exist in Indian cinema, after all the list is rather long.

Originally published in PFC- check it out here- http://passionforcinema.com/stereotyping-in-indian-films-how-long-will-it-continue/

Kudos to Raaz-2, Slumdog Crorepati & Dev D

The 1st Qr of 2009 is over and while the good news is that there was a lot of variety in the kind of Bollywood movies released, in terms of success there were only 3 movies which can be actually called successful in the true sense. The range of movies varied from mainstream biggies like CC2C, Jai Veeru, Aa dekhen Zara etc, small movies like Firaaq,Barah Aana,The Stoneman Murders etc and movies which fall in between the mainstream biggies and the small movies in terms of budget and the number of release centre’s like Dev D,Gulaal,Luck By Chance etc. In all there were some 30 odd regular releases in the quarter (taking only the straight listed films in consideration and avoiding the so called unlisted movies and the various soft porn and dubbed movies the actual count is 31) and the actual successful films are just 3-Raaz-The Mystery Continues ( Raaz-TMC hereon), Slumdog Crorepati(hereon referred to as SDC ) and Dev D.
No this post is not a review of any of these 3 movies. We have already discussed the merits and demerits of these 3 movies in length. But yes considering these movies represent the successful 10 % (of the entire lot that released in Q 1’09), we need to not only appreciate these movies for their success but also briefly look at how & why they have been successful. Lets first talk about Raaz-2. Well we all now the kind of films Vishesh Films has been making – typically small/medium budget kind of movies with good music. This movie again did not prove to be an exception in this respect. Director Mohit Suri had already shot into prominence with movies like Zeher, Kalyug, Woh Lamhe & Awarapan and the movie had the trusted Emran Hashmi along with Kangna Ranaut ( of course it also had Adhyayan Suman ). Right from the beginning the promos showed that the movie had great music ( Raju Singh,Gaurav Dasgupta, Toshi,Sharib Sabri) and the catchy title reminded people of the highly successful Raaz.
So the people went at large and had a good time watching Raaz-TMC. Of course not many people felt it was really scary and many even felt that the climax was tame. But all said and done the solid promotion worked and Vishesh Films had a hit in their hands. On the day that Raaz-TMC released, there was another movie that got released- SDC. The Hindi version of SDM which released alongside across the country did quite well initially as the movie already had got noticed due to its popularity abroad and the series of awards it had started to sweep everywhere. But the actual success of the movie got noticed only much later i.e. after SDM swept away the Oscar Awards. In fact not only did shows of the movie get increased in most centre’s, in a lot of places where the movie had completed its initial run it was re-released and made even more money.
And then we finally come to Dev D, a movie which had a lot of fan following among the youth but was not considered to be all that powerful to make a strong impact at the box office. But surprisingly the movie not only managed to attract the youth, but it also managed to gain in popularity as days passed on. The results are there to see. It’s become a multiplex hit and as I write this post, the movie has crossed 50 days and is still playing in select multiplexes across the country. Considering that these days most of the movies make the maximum money in the first week of its release and that its tough for even a mainstream blockbuster to survive more than a few weeks, the success of Dev D is all the more commendable.
So these 3 movies had their audience and were helped by the kind of promotion it had. Be it a catchy title and a hit song like ‘Mahi Mahi’ or the Oscar Awards or ‘Emotional Atyachar’, each of these movies had something in them which helped the target audience identify with the movie and enable the movie’s success at the box office. That brings to the question- were all the other 28 releases bad? Well certainly not, some of them were definitely good and even critically appreciated but where they failed was in connecting to the audience. All said and done a 10 % success ratio is very scary indeed for the industry. We must need more and more successes both in the form of big & small/medium movies. After all a big movie’s success enables the production banner to fund many more small/medium movies. With the producer’s vs multiplexes strike supposedly starting from April 4th, there aren’t too many releases scheduled in April. Let’s hope the forthcoming releases in May and June turn out to be good and most of them manage to connect to their target audience and become successful.
Note- I have considered SDC as a Hindi version of SDM & not a dubbed movie as otherwise the success % falls even below 10 %.Moreover this post is only about box office success and not about how good or bad a film is.

Originally published in PFC- check it out here- http://passionforcinema.com/kudos-to-raaz-2-slumdog-crorepati-dev-d/