Tag Archives: Movie

Still from the short film, Bobby.

Bay Area Filmmakers Attempt to Help South Asians Contextualize Autism

Fact: Suicide rates are THREE times higher for people with Autism than the general public. 

Fact: 40% of Autistic adults experience depression. 

Fact: Fewer than half of autistic adults are employed, many of whom only do part-time jobs or are doing work for which they are overqualified. 

I am ashamed to admit that for the longest time I did not know much about these things – not until they became sort of personal. That happened when I became close to a family that has an individual on the spectrum. 

When I first met this young man, I was fortunate enough to have been given some guidance on how to engage by an expert. It was still somewhat difficult for me to try and connect with him because, like with many who are Autistic, there was some social awkwardness in our initial interaction. Over time I realized that patience, genuine empathy, and a willingness to adapt were key to a meaningful relationship. 

I realized that his purity of thought was unsullied by the trappings of what we often mistake for etiquette and expected social behavior – a refreshing outlook and gave me a reason for introspection. 

Those who have suffered because society is not ready to accept them as they are, know that we must change minds and win hearts, one at a time. This young man could have become a statistic like the ones mentioned above. Fortunately, he didn’t. What’s more, he and his family want to share his story – a story of pain and patience, a story of struggle and reconciliation, a story of love, and ultimately of success. This is special for me because I have witnessed some of this journey myself. 

To underscore the narratives of families with individuals on the Autism spectrum during this Autism Awareness Month, I helped curate a short film, Bobby.

Still from the short film, Bobby.
Still from the short film, Bobby.

Bobby is a fictional story based on key real-life events and experiences. The young man in the film, Bobby, is played by actor, Amogh Karwar. His mother’s role is essayed by Bay Area stage and screen actor, Sareeka Malhotra, and the father is played by yours truly. Produced by Prana Pictures, this short film has assembled a diverse cast and was bravely filmed facing the challenges of the coronavirus pandemic by observing strict safety protocols. Leading the efforts of an immensely dedicated team of cast and crew was Amir Jaffer, a prolific filmmaker in the Bay Area. The film is expected to be released later this year.

My personal journey with Bobby and the process of bringing this short film to life has helped me be more appreciative of the abundance of talent that so many on the spectrum have to offer. If we all took the time to understand Autism a little better, we are certain to create the conditions conducive for so many more success stories.

For the STEM-obsessed Indian American community, especially in the Bay Area, I’d like to remind folks that Albert Einstein is believed to have been Autistic…

Puneet is an actor based in the San Francisco Bay Area. He has performed in several theatre productions as well as in a number of films and series. He is currently excited about bringing forth a film about autism. You can find his work on Amazon Prime, Disney+ Hotstar, and YouTube. You may connect with him on Facebook, Instagram, and Twitter – @thespianpuneet.

 

'Looking For A Lady With Fangs and A Moustache' Film Poster.

Searching For a Dakini on a Motorcycle in the Himalayas 

Looking For a Lady With Fangs and a Moustache, released on April 9, 2021, was directed & written by Khyentse Norbu and produced by Max Dipesh Khatri and Olivia Harrison.  

This is the story of Tenzin (Tsering Tashi Gyalthang), a forward-thinking Tibetan young man who has a dream of creating Kathmandu’s best coffee shop. It would be lovely to sip a chai and bite into a croissant on the mall road overlooking the Himalayas.

But there’s a proverbial fly in the ointment. Tenzin is afflicted by a recurring prescient nightmare. He has a modern mindset and is not superstitious like some of his townsfolk. However, the recurrent dream of his incumbent death drives him to seek out ancient Buddhist monks for guidance. The monk gives him a black thread with six knots and a cryptic message to seek out a dakini and ask her for a life-saving boon. Now starts an incomprehensible and somewhat shady trek of the protagonist. Armed with a red ladies slipper, he follows many young women down the hills, on busy streets, in long skirts, ankle bells, and kohled eyes. On his own personal quest, Tenzin also tries to help his friend in his romantic aspirations to woo a Tibetan singer. His journey takes the viewer on a motorcycle ride from dawn to dusk, through winding roads, misty mountains, elaborately carved ancient temples, and waterfalls. This part is quite picturesque and effortlessly crafted by the executive cinematographer, Mark Lee Ping-bing.

 The film has English subtitles, and snippets of Hindi prayers, chants, and also lines of a popular Bollywood song…Kabhi kabhi mere dil mein. But most of the conversations are in the local dialect.

The end was a bit jarring considering that the narrative was about mystical feminine spirits – dakinis. We were in search of these mythical tantric beings possessing supernatural powers on the human destiny that are rooted in the Himalayan Buddhist tradition but I failed to experience a climactic moment where the protagonist comes face to face with the mysterious feminine energy. And yet, everyone seems content in the parting celebration.

The initial angst is replaced by warmth and camaraderie. Perhaps pigeons randomly crossing paths or a flock of flying birds in the sky are symbolic of resolution. This film explores the esoteric belief of Tibetans in mystical life forms in a sort of “ show” and not “tell” genre and I was somewhat underwhelmed. I was intrigued and left with more questions. Perhaps that was intended? Regardless, I made a mental note to go and check out the cafes in Kathmandu! 

Monita Soni, MD has one foot in Huntsville, Alabama, the other in her birth home India, and a heart steeped in humanity. Monita has published many poems, essays, and two books, My Light Reflections and Flow Through My Heart. You can hear her commentaries on Sundial Writers Corner WLRH 89.3FM.

 

Agni Whips You Into the Environmental Crisis Overtaking Bay Area Landscapes

The world premiere of Bay Area Based Chitresh Das Institute’s (CDI) short Kathak film, “Agni” is on Earth Day, April 22, 2021, at 7:30 pm PDT. The video premiere will be followed by a Q&A panel discussion moderated by India Currents.

The short film is directed and voiced by Filmmaker – Alka Raghuram, choreographed by CDI’s Artistic Director – Charlotte Moraga, composed by musician – Alam Khan, and shot by cinematographer – Anjali Sundaram.

To purchase tickets for the event, head on over to ODC Dance website:

Tickets are $10 before the day of the event

https://t.co/Yw2IfPqjYH?amp=1

Be sure not to miss the event this Thursday!

Here are some sneak peeks about the film when we spoke to the director and producer, Alka Raghuram. 

What was the inspiration to make this film?

Before getting into that, I want to give some context of my association with Chitresh Das Institute. I had worked with Pandit Chitresh Das for his last performance for a live Kathak Flamenco production named “Yatra,” where I was doing the audiovisual element part of it. Initially, Charlotte wanted to create a live show called “Mantram” based on Panchabhoota, five basic elements of cosmic creation. Due to pandemics, live performances are not happening.

We tried to bring out a collaborative effort for “Agni,” the element that brings out the fire’s force or ferocity. Fire is a destructive force but also creates fertile ground for rejuvenation. This film was very much a response to the wildfire burning in California and the social and political wildfires of social injustice in the spring and summer of 2020. Earth’s perspective on fire and what our role is to play in it. It is a collaborative effort to tell the story through different mediums. Charlotte tells the story through dance, and me through film, poem, paintings, and Alam through music. It is the plant’s seed, i.e., the actual live show coming up in the near future. We are going to do a series of short films like this in each of the elements. 

How is watching this film different from a live dance show (watching from the front)?

Projecting a painting is usually static. Watching a show as an audience is a different experience altogether but watching a movie is dynamic. I filmed the dancers from various angles so that they are dancing in other ways. That helps viewers to witness as an insider. Even the side wings of the auditorium stage have the same three-dimensional visual effects. We took a creative decision to make this film distinct that way from watching a show from the front. 

Can you tell us about the poem used in the film?

I wrote the poem to highlight the environmental aspect of the story. The artistic process is iterative by nature. Your vision evolves and gets refined as the work progresses. The first cut of the film was eye-catching and beautiful but we were missing the allusion to the wildfires of the last couple of years. Which led us to experiment with text that would complement the visuals and bring out that dimension without sensationalizing it in any way. We wanted the whole piece to be cut from the same cloth

The poem in the film is complimenting what is already there rather than underlying it. The poem is also another culpable way here to ask whose fault it is. Dance and visuals say whose fault is this, and the verse is also saying that through words. It is giving a hint to the audience about what is going to come. I recited it as well. 

Music is one of the critical elements of this production. We noticed no particular raaga or taala associated with it, like traditional Indian Classical performances. Can you give some background about the creation of this unique music?

Alam Khan created the music piece, and Charlotte made the bols and rhythmic composition. The taal is a complex five and half-beat taal. Charlotte Moraga notes that it’s like fire, it is quick, exciting, and unpredictable! Alam adds that the music is not based on any particular raga. The music is a continuation of Alam’s contemporary approach in blending Indian classical instruments with other instrument types. He has been doing this for many years now and feels his style in this vein continues to grow. We wanted to do something musically out of the box for Kathak and push the limits of what we are accustomed to. 

Can you tell us about the artwork and paintings used in the film? it is an integral part of this film. Is it digital? Can you tell us a little more background of it?

Those are hand-painted, and I used ink. I am a painter too, and the idea was to use those paintings projected in the auditorium during the performance. In the film, the backdrop is not so much focused. I painted blue woods and redwoods and took pictures of tree barks and fire. I needed to rearrange, superimpose, and layered all of these during editing in such a three-dimensional way, telling a dynamic cinematic story altogether. Paintings are also done in a way to interpret it globally, not so region-specific. I used a blue color tone in paintings overall. Blue represents the hottest and the most intense part of the fire’s flames. Blue is also the calm part of it before the fire starts. 

What is the concluding message of this production from the environmental aspect? Can you tell our audience about it a little more? 

The film communicates from the perspective of the Earth and speaks about who is culpable for it. It asks the question and includes everyone. Towards the end, the dancers stare at viewers and say whose fault it is. Then there is smoke, and the Earth’s mouth is filled with ash. Earth speaks with grief. Then there is ash in the landscape, and birds are disappearing. It is like Earth’s lament through the poem, dancer’s expressions, and visuals – Why is this happening? Who is to blame? Our deeds are recorded in the time ledger how we acted so far caused us to come to this point. Agni is raging and destroying. It brought us to think brink for our deeds. This film visually takes us on the journey from sparks to the raging fire. 

Piyali Biswas De is an accomplished Bharatnatyam and Non-classical dance exponent, guru, and well-known choreographer in the Greater Seattle region. When she is not dancing, Piyali works as an IT professional in Seattle and spends time with two beautiful daughters who seem eager to follow in her footsteps. 

 

New York to Kerala, American Actress India Jarvis Makes a Malayalam Film Debut

The first time Director, Jeo Baby mentioned her name, I thought I had heard him wrong. It was prior to the release of his film, Kilometers and Kilometers. Requesting him to repeat the actress’s name, I heard him say India Jarvis again. Now I was convinced of my hearing. 

Actress, India Jarvis

India Jarvis might be an unusual name for this New York-raised American actress. And, clearly, her mother had no inkling while christening her daughter India, that one day her little girl would cross the shores to work in the eponymous country. 

Jarvis traveled in 2019 to India on her first visit for the filming of the Malayalam film, ‘Kilometers and Kilometers.’

“My mother named me after one of the characters in ‘Gone With the Wind,’ says Jarvis over email. “She found the name beautiful.”

Jarvis’s love for acting goes back to her childhood when as a 9-year-old, she joined a community theater. And, with a BFA from the Academy of Art University (San Francisco), she moved to New York. She worked there in Off-Broadway shows and short films.

Kilometers and Kilometers is her first Indian feature film where she essays the lead role of Cathy- an American tourist in India. Cathy after winning at a casino is keen on touring the country, but not in chauffeured cars. She is eager on exploring India while riding pillion on a motorcycle.

When the offer to do this Malayalam film came her way, Jarvis despite being unaware of the industry, took it up.

“I have watched Indian films,” she says. “My favorite is ‘Black’ – the Amitabh Bachchan starrer. As an actor, you’re always looking for scripts with interesting stories and characters.”

Like her character, it was her first experience traveling to India. 

“I’ve never worked on anything like this before. I knew it would be a challenge from an acting perspective.”

Talking about her director, Jarvis says, “Jeo had a great vision for this film. I knew it was in great hands.”

In Kilometers and Kilometers, she is paired opposite Kerala’s heartthrob –Tovino Thomas. Thomas plays Josemo, a motorbike mechanic who takes on the work opportunity to drive Cathy around on his motorbike. Being the only son, he supports his widowed mother and younger sister and hopes to clear his family debts with the money thus earned. 

Jarvis was at ease working with Tovino Thomas. 

“While shooting, I found myself lost at times due to the language barrier. Tovino was always helpful,” she recalls.  “There’s one scene where Josemon and Cathy are sitting on the edge of a cliff. We were secured by a rope around our waists. It was terrifying, but I put on a brave face to get through the scene. Pillion riding on a motorcycle was a blast. Despite a hectic schedule, it was almost therapeutic.”

Kilometers and Kilometers is a feel-good film now streaming on Netflix.

Following its release, Jarvis has been flooded with messages on social media. Though she has received offers to work in India, she is unable to travel in the existing pandemic times.

Mythily Ramachandran is an independent journalist based in Chennai, India with over twenty years of reporting experience. Besides contributing to leading Indian and international publications including Gulf News (UAE), South China Morning Post, and Another Gaze (UK), she is a Rotten Tomatoes critic. Check out her blog – http://romancing-cinema.blogspot.com/ 

 

Bhageera Premieres at Poppy Jasper International Film Festival

The Poppy Jasper International Film Festival (PJIFF ) brings local flavor to the South Bay, broadcasting more than 170 films from 38 countries. From feature-length to short films, the festival will be virtually streamed from April 7-April 22. One of the unique aspects about Poppy Jasper is that it has remained a strongly community-based festival since it was founded in 2003, connecting movie buffs to filmmakers and directors. 

Mattie Scariot, the director of the PJIFF explains, “Our mission as a film festival is to change the way people see each other through film and to bridge that gap in Hollywood with women and minorities,” as various panels at this year’s festival discuss how to empower women filmmakers and herald diversity of gender and cultures into the process of filmmaking. “When we show films from around the world, that changes the dynamic and the way we see each other,” adds Scariot.

The complete PJIFF line-up includes features from across the globe including Bagheera from India, a film that draws on true events, interpreted with intense film noir style. Shot in Hindi this impactful, 20-minute short film, LOGLINE Bagheera, tells the story of a bright young leader of a Girl Scout troop in India, who is abducted by a brutal assailant. The skills that have earned her many achievement badges provide the key to her escape and scorching retribution.

Director Christopher R. Watson wanted to tell a powerful story about a modern woman which would uplift audiences. The plot centers on the sexual abuse of women, which is the most common unreported and unpunished crime in the world. So, he decided to celebrate the human spirit, by demonstrating the value of common sense, resourcefulness, and courage in the face of danger. Preeti Choudhury, the star of the movie, brought a girl-next-door naturalism to the character. When she turns out to be tough and capable, it’s not only a magnificent surprise, it’s believable. Nailing the visuals was vital and the locale–a disused shipyard on the outskirts of Mumbai and a tract of vacant land nearby—adds a deeper dimension, instrumental in expanding the script with a magnificent myriad of detail.

A wonderful way to spend the advent of spring check out The Poppy Jasper International Film Festival, as they highlight original content with different points of view, a wonderful outlet for artistic and cultural expression.

Tickets for Bagheera: https://pjiff.eventive.org/films/60132175a9fa880069fdce01

Tickets for the festival and entire line up at Poppy Jasper International Film Festival: https://pjiff.org

Mona Shah is a multi-platform storyteller with expertise in digital communications, social media strategy, and content curation for Twitter and LinkedIn for C-suite executives. A journalist and editor, her experience spans television, cable news, and magazines. An avid traveler and foodie, she loves artisan food and finding hidden gems: restaurants, recipes, destinations. She can be reached at mona@indiacurrents.com

 

Drishyam 2: George Kutty and Family Are Back

(Featured Image: Actor, Mohanlal with Director, Jeethu Joseph)

George Kutty with his wife Rani and their two daughters, Anju and Anumol, bring in a new saga of fortitude as the sequel of the critically acclaimed Malayalam film, Drishyam started streaming worldwide on Amazon Prime Video from February 19th. 

Remade in other south Indian languages as well in Hindi, Sinhalese, and Chinese, Drishyam was a game-changer not only for Director, Jeethu Joseph, but for the entire cast led by Mohanlal and Meena and supported by Ansiba Hassan, Esther Anil, Asha Sharath, Kalabhavan Shajohn, and Siddique. Jeethu Joseph had no inkling while scripting Drishyam – the first part – that it would lead him to a sequel. Post Drishyam’s release and with people discussing and creating their stories for a sequel, the production house asked him to consider its sequel in 2015. Although Drishyam was a closed plot, Joseph decided to explore it.  

“It took me four years to write Drishyam 2,” Joseph tells me over phone from Kerala. 

Drishyam 2 trailer hints at a police investigation probing again into the case of the missing Varun. The question in our minds is – How will George Kutty protect his family again?

“My challenge lay in the characterization and to ensure a continuity of the story. I met Lal ettan (elder brother) with my final draft. He wanted some clarifications. We ironed out few issues. The idea was to write a good story and to make good cinema. We were not thinking of its business prospects.”

Drishyam 2 examines how life has changed for George Kutty and his family over the past ten years. How did the trauma of Drishyam affect them? How does society view them? 

Drishyam 2 was shot last year during Covid times with social restrictions in place. New characters have been introduced in the sequel. The multi-faceted actor-director Murali Gopi is playing a police officer.

Is it ok for George Kutty to continue lying to protect his family?

Joseph tells me, “We can talk about that after the release of Drishyam 2.”

Meet George Kutty’s Daughters

Actress, Ansiba Hassan

Ansiba Hassan: “I am excited since I have not been in cinema for the last four years. Drishyam 2 is a comeback for me. In the first part, Esther (who played Anumol) had a significant role and the story was pivoted around Anju. Seven years have elapsed since then. Today, Anju is in college. She is a mature young woman but she is torn by guilt for having committed a crime. She always dreads being caught and is battling depression. She avoids people and prefers to be with her family at home. Much as she wishes to laugh and enjoy life, the ghosts of the past restrain her from living in the present. She is unable to laugh to her heart’s content and is very sad. My challenge lay in bringing to the fore Anju’s remorse while appearing happy on the outside.” 

Actress, Esther Anil

Esther Anil: “Getting back to the sets was a good feeling after being indoors during the lockdown. It gave us hope in the industry. Anumol in Drishyam 2 is studying in class 12. And, this teenager is often in an argument with her mother. In part one, Anumol had much significance but not so in the sequel. Drishyam 2 is about the family and their bonding. Anju was affected by a situation in Drishyam and the family is living with past trauma. My role cannot be compared with that of Ansiba chechi (elder sister). I have as much space as in part one. In the sequel, the emotional connection of the family has been retained well.” 

Mythily Ramachandran is an independent journalist based in Chennai, India with over twenty years of reporting experience. Besides contributing to leading Indian and international publications including Gulf News (UAE), South China Morning Post, and Another Gaze (UK), she is a Rotten Tomatoes critic. Check out her blog – http://romancing-cinema.blogspot.com/ 

Paava Kadhaigal: Of Love, Lies, and Betrayal

Even if the four-part anthology, Paava Kadhaigal, was made up of just one segment, Sudha Kongara’s Thangam may just have been sufficient to capture its all-encompassing theme. There’s the unlikely love triangle involving a sibling and a best friend, there’s unrequited love that forms the emotional core of the film, and the forbidden inter-faith relationship between its two principal characters. But despite having a heavy agenda, Kongara doesn’t appear to bite off more than she can chew. The movie effortlessly chugs along like a Malgudi Days’ tale, and tugs soulfully at our heartstrings. Along the way, the movie brings to the fore a heartbreaking reality that while families may eventually reconcile and accept their children, when it comes to letting a human being choose their gender, the world remains a massively one-sided place

The Confirmation Bias

If Kongara’s film touched multiple themes, Vignesh Shivan’s segment Love Panna Utranum handles several genres in one slick segment. There’s horror when we see a loved one electrocuted, drama when we witness the evil machinations of a leader and his crooks, and finally, delightful humor when the man’s lieutenant struggles to say the L-word (I fell off my chair watching him mouth ESPN repeatedly; Jaffer Sadiq as Narikutty is fantastic). But while Shivan deserves credit for his creativity, I found the transition from mournful moments to comic situations a little too jarring for a short film. Shivan redeems himself with a clever trick in the end though when Penelope (Kalki Koechlin) calls and talks to Narikutty looking at her phone while driving. I wondered if she was staring at the camera and calling the bluff on the viewers and their confirmation bias; early on in the movie, we see two characters lying on a bed, and begin to assume the nature of their relationship. “How dare we?” Shivan appears to ask. I’d like to think that the friendly cuss word is for Narikutty though.

The Judgment

If there’s one thing about Gautham Menon and his movies, it is that he makes them with his heart. While they are rough at the edges, one cannot help but note they have a soul. Ditto with Vaanmagal, a segment that most viewers would relate to considering today’s life and times. It deals with a middle-class family’s worst nightmare, one in which a girl whose hormones haven’t kicked in yet is mercilessly attacked. While most filmmakers would deal with the event itself and the trauma that the victim would undergo, Menon chooses to focus on the reaction of her family instead. There’s the father (Menon himself), who personifies guilt and cannot bring himself to look at his daughter in the eye, hanging his head in shame as a man. There’s the mother (Simran) whose character is used as a pivot to deliver a message to all parents (the use of the shot atop a hill may be manipulative in the trailer, but bears significance in the movie). And the brother, the instrument responsible for restoring parity in the film’s most defining moment. No lives are lost, and yet, Menon’s segment remains the only one in the film that delivers closure for a victim.

The Great Betrayal

The final act of Paava Kathaigal fittingly falls in the hands of Vetrimaaran, one of the finest filmmakers in India today. Narrating the story of a father-daughter relationship gone sour in Oor Iravu, Vetrimaran cuts back and forth between the past and the present, culminating in the baby shower that the father (the seasoned Prakash Raj) arranges for his daughter (a fine Sai Pallavi) as a way to make amends. Vetrimaaran shows us his finesse in dramatic thrillers, by bringing every frame to life and letting every scene breathe. Take, for instance, the scene when a character heads from the courtyard to the kitchen for a jug of water. The camera follows them and stops just at the doorstep. The character takes a fractional moment longer to return, in what seems like an eternity to us. It’s a bone-chilling finish, one that involves a murder without a weapon, but punctuated by the cries of two women locked in different rooms. Cries that echo in our ears long after the credits roll by. Chilling indeed…take a bow, Scorsese of Tamil Cinema!

Anuj Chakrapani loves cinema and believes movies, like other forms of art, are open to interpretation. And when you begin to interpret, you realize that the parts are more than the sum. Adopting a deconstructionist approach, he tries not to rate movies as “good” or “bad”, instead choosing to capture what he carries away from watching them. Anuj lives in the SF Bay Area and works for a large technology company.

Does the Great Indian Kitchen Lead to the Great Indian Marriage?

While I ran about in the sprawling open courtyard of my mother’s house in a somewhat sleepy little village in rural North Bengal, I remember my granny sitting on a low stool cooking in the dimly-lit kitchen. It was already dusk and a few hours later, a tasty dinner was served. My parents had gone down to spend a few days during the Durga Puja holidays. 

After my mother’s family moved to Kolkata, I often used to visit my maternal uncle’s place. Here, the kitchen was big and bright, but granny still continued to cook. Her specialty was a chicken dish which no one ever in my family has been able to replicate. Maybe it was the spices she used or her loving and caring hands that were behind the deliciousness. 

Granny is now no more. She passed away a few years ago, but I still remember her chicken curry. Today, after watching The Great Indian Kitchen, a Malayalam movie earning rave reviews from critics, I realize how I never knew my real granny: what was she like, her likes, dislikes, desires, and aspirations. Maybe none of these things ever mattered to anyone in the family.

And this is what makes the ‘great Indian marriage’ such a fearsome thing to enter into, especially in an arranged marriage set up, where women are mostly expected to cook and clean and act submissive. Exceptions are always there. In my family, I have seen my father making tea, cooking rice, and even doing household work. An aunt of mine who lives in Delhi was horrified when she learned that I had praised her husband’s culinary skills in front of my other relatives. It was a most shameful thing for her and she reproached me for making the hush, hush fact “public”. 

I can understand her consternation, the great dilemma she felt because women are expected to cook for their families. Little do they realize that in doing so, they become fettered and chained forever. 

A scene from the Great Indian Kitchen.

I am no great cook, but I can make basic meals for myself and during the lockdown prepared a few dishes, among them egg biryani twice. My friend Neeraj, who is a great cook himself, keeps on sending me recipes and colorful snaps from his kitchen from time to time. He once taught me to cook the perfect rice over the phone. 

Cooking is art no doubt, but as the movie shows it can become a tedious routine. The movie’s female protagonist, Nimisha Sajayan who plays the docile wife and later leaves her husband to follow her dreams, is expected to cook rice on the firewood, besides making a variety of tasty dishes and serving food to the men. In almost all the scenes featuring her, she is shown cutting, chopping, and dicing vegetables, besides making hurried meals, attending to the faulty kitchen sink in need of urgent repair, cleaning up the kitchen, dusting, and washing her hands frequently.

I entered into a brief marriage only to regret it to this day. My in-laws expected me to shift to a small town where they lived, take up a part-time job or better still become a housewife and cook for the family whereas I wanted to pursue my dreams. So, I packed my bags and came to Delhi when I was offered a transfer. 

Cooking is not an issue. I prepare food for myself every day and quite enjoy doing it. But slaving away in the kitchen is quite another matter. In the movie, the men are shown relaxing, doing yoga, and reading newspapers whereas the women are portrayed tirelessly working in the kitchen. The most evocative scene in the film is the one where the women eat food at the table made dirty by the men with spilled over and chewed food. When the wife confronts her husband about it later at a restaurant over his bad table manners at home, he gets angry.

For most women, cooking and doing housework is a routine and they are not supposed to complain. It is for us to decide whether to follow our dreams or please the men. If you want the first, just let it go like I did eight years ago, or else give up on your desires and aspirations. 

My next-door neighbor back in Kolkata could not fry papad properly and they always used to get burnt. She was always the subject of criticism in the neighborhood, but nobody praised her ever for being an excellent teacher, her love for Bengali literature, and intelligent conversations. 

Women in our kitchens have become such a regular fixture that we never pause and question their narrowed existence. All my childhood memories are centered around the great Indian kitchen: my granny on her low stool, my father’s mother stirring the milk tea, my aunt chopping vegetables, my mother making sweet delicacies in winter, the neighborhood aunty (she was called Ronny’s mom after her son’s name as if her identity never mattered) making parathas so that we children could enjoy it on Sundays.

Welcome to the great Indian kitchen. If you don’t like it, you are free to leave like Nimisha’s character or me. After so many years, a remark by my erstwhile husband came back to me. He had remarked once, “You never served me tea (in Bengali of course).” But you see I was born to rule and not to serve. I served him coffee, of course, but he conveniently forgot all about it. But what I remember is that he never made either tea or coffee for me and that’s what made all the difference.

Deepanwita Gita Niyogi is a Delhi-based freelance journalist.

Slick Malayalam Language Thriller “C U Soon”

The real deal

Having read the disclaimer about COVID-compliant measures during the making of C U Soon and with all the social media and dating app screen grabs at the start, I wondered if this was just a creative attempt at making a movie during these unprecedented times. But as it progressed, I found myself captivated by the movie and its memorable characters, told to us through the lens of computers and smartphones. While conventional cinema titillates us with manipulative slow-motion shots, C U Soon does it with long takes captured in real-time on static camera angles. When a gut-wrenching backstory needs to be told, conventional cinema would do it with flash cuts. Here, you see events organically unfold in front of our eyes through audio-video recordings on a social networking site. A few more movies like this one and I’ll find myself alien to big-screen cinema.

All things to all people

Steeped in realism, the movie itself works at many levels and has something for everyone.

For the drama purists, the movie is not just about a relationship between two youngsters who meet on a dating app, but also about a poignant one between a mother and a daughter that surfaces towards the end. Of course, there’s also the “supposed” father-daughter relationship that leads to the shocking twist in the end.

For the connoisseurs of Independent cinema, the movie resembles flawed everyday characters we encounter in our real lives. These characters talk over each other and argue endlessly; they type texts in their native tongue, in shorthand, and with typos. For the activists in us, the movie shines a light on the organized multi-national crimes that happen even in today’s day and age. C U Soon also carries a subtle message about class issues, what a cruel thing financial debt is, and how it can wreck innocent lives.

And for the thrill-seekers, this is a nail-biter from start to finish. When a soulmate doesn’t answer the phone, we start getting worried. When a character vanishes from the scene, our minds wander in a million directions searching for clues. And heck, never have I found myself fibrillating so much, glancing at the bouncing dots on a chat screen!

Fastest finger first

The movie is also a tribute to the gadget-happy generations of today. While it was heartening to see a movie centered around social media using emojis and emoticons so sparingly, its characters use creative ways to communicate instead. I was impressed by how often they use voice notes to reply. I guess it makes sense; it’s easier to hit a button once and speak your heart out rather than type scores of characters. The characters also never forget that their phones have a camera. A software engineer asks his mate if she is still at work, who responds with a stylish selfie.

The movie also tells us about the fast lives we live in, and how quick our reaction times need to be. Between watching a character speaking with a stranger on the phone about an invoice that needs correction, and the simultaneous texts to his beloved, alongside the confusing backdrop of the desktop screen, I was struggling to keep pace myself. Spare a thought for the man in the center of this 100-meter dash called life!

The missed experiment

It would be boorish to complement C U Soon merely as a brave experiment. It has the potential to redefine how Indian cinema is made, watched, and perceived. It’s also a universal example of how an effort with the highest level of conviction can find its way to fruition regardless of the circumstances. However, I wondered if director Mahesh Narayanan may have missed a trick with the use of the background score. Make no mistake, the background music supplements the scenes very well, but the movie may have been even more ambitious if he had eschewed the temptation to use background music. It may have just added an extra layer of authenticity to the experience. Maybe Mahesh can go the Iranian director Asghar Farhadi-way next time and go sans a background score. Until such time, we’ll savor this gem.

Anuj Chakrapani loves cinema and believes movies, like other forms of art, is open to interpretation. And when you begin to interpret, you realize that the parts are more than the sum. Adopting a deconstructionist approach, he tries not to rate movies as “good” or “bad”, instead choosing to capture what he carries away from watching them. Anuj lives in the SF Bay Area and works for a large technology company.

Female Feticide in America?

Female feticide is common in India and surrounding countries. I was very surprised when a gynecologist in California told me that it is practiced by South Asians in many parts of America as well. She mentioned that when an Indian patient finds out that the fetus is female, the likelihood of aborting the pregnancy is very high, even higher if this is a woman’s second or third female child. 

I spoke to several other gynecologists who relayed similar experiences.

One gynecologist told me that he offered sex selection through IVF as an alternative to abortion but the patient’s family was not willing to bear the expense, even if they could afford it. They did not care that the wife/daughter-in-law was having to go through several traumatizing abortions. Another ObGyn said that she was afraid to do an ultrasound on her patient for fear that it would be a female fetus. She said that sometimes she would make an excuse or stall until the next check-up.

The reasons given by patients and families for their preference of a male child are the same everywhere – the boy will continue the family name, he will take care of the family business and his aging parents, and most importantly, a man is not masculine enough if he cannot father a son.

As a writer and storyteller, I knew I had to tell this story. How we conveniently do certain things under the guise of culture, tradition, and customs. Normalization and rationalization of unreasonable behavior are often justified as tradition. 

As a woman and a mother of daughters, I believe that women should have the power to make decisions about their own bodies and to speak up for themselves. I wrote and produced the short film ‘Unborn’ to convey this message to all women of the world. If one woman, one husband, one family sees this film and a female child is given a chance to survive and ultimately thrive, then this film has done its job!

Directed by Jaswant Shrestha, the film stars the talented actors Ayushi Chhabra, Sumeet Dang, and Rashmi Rustagi. It has won several awards at many film festivals including Best Short Film, Best Actress for Ayushi Chhabra, and Best Supporting Actress for Rashmi Rustagi. 

Unborn is now streaming on Amazon Prime.

Rashmi Rustagi is an actor, writer, producer, and food blogger. She has pursued acting from a very young age, starting out as a radio actor in All India Radio plays in Lucknow, India. She performed in several theatre productions while living in the Bay Area and is currently a film and television actor in Hollywood. 

Tamil Film Exclusively at the San Jose Drive-In

West Wind Drive-In Theatre in San Jose will offer a special limited run three-day run of the long-awaited and critically acclaimed film Master, a Tamil-language action-thriller film directed by Lokesh Kanagaraj.

“We are thrilled to have the exclusive Northern California screening of Master,” explains Nancy Crane, Vice President of Operations for West Wind Drive-Ins and Public Markets. We are lucky to be selected to show this lavish action-thriller. The cinematography is superb and the storyline is exceptional.”   

The film follows a charming young professor (Vijay), who is addicted to alcohol, is looked down on by his colleagues but is adored by his students. He is sent for a 3-month teaching stint to an Observation Home for Juvenile delinquents. He realizes the reformatory is controlled by Vijay Sethupathi, who uses the children in this Home for his unscrupulous, nefarious activities. The story is about the clash between them and if truth triumphs!

The film starts Friday, January 15 for a very limited three-day run.  

 

Coolie No. 1, Another 2020 Disappointment

I interviewed the poised and reticent Shikha Talsania in mid-December for Coolie No 1, starring Varun Dhawan and Sara Ali Khan in the lead. Normally I would have posted the review based on her comments but she did not reveal anything about the movie other than quoting  “it’s a refreshed version” and “ a family movie”.

So, I watched the movie on Christmas Day with my family. Although I had forgotten the scene by scene roll out of the 1995 blockbuster, the raving zest of Govinda, his side-splitting interactions with Kader Khan as Hoshiarchand. The credulous “Barbie-like’ mannerisms of Karisma Kapoor had left a mental imprint. Twenty-five years ago, I remember borrowing the VCD tape from a street vendor in Manhattan over a long holiday weekend, watching it with my friends and being flabbergasted by the song “Main to ladki ghuma raha tha...Tujhe mirchi lagi toh main kya karoon?” At the same time marveling as to how the lyrics-tune beat combo “Husn hai suhana ishq hai deewana”  had created a cult-like appeal.

As I watched the 2020 David Dhavan remake, I was catapulted back into the frenzied hip-hop of the roaring 90s! Apart from that, the new movie was unable to cast a spell. Varun Dhavan is a handsome and talented actor who has cast a spell in Badri Ki Dulhaniya and other films. Sara Ali Khan is glammed up (though costumes are not tasteful) but her acting skills are untapped. I wish David Dhavan would have reimagined the storyline after a quarter of a century! If he is thinking of vesting money and energy in remaking other Govinda movies with Varun, he must rethink it. 

There are a myriad of stories and current real-life issues to be explored and presented to the audience in commercially successful cinema. I hope to see Varun, Sara, Shikha, and other stars cast in original socio-economic-political narratives to entertain and enlighten the audiences. If the lure of “rags to riches” theme is too hypnotic to ignore then there are stories like that of Ambani, a son of a village school teacher, and Narendra Modi selling tea at Vadnagar railway station. Although the remake has a backstory, it could have been more creative! Bollywood must come to grips with the fact that the 2020 filmgoer finds it ludicrous to believe that a change of costume can conjure a completely different identity, whether that be of twin or not.

The story is as follows: Humiliated by a mercenary hotelier, Jeffrey Rozario (Paresh Rawal), matchmaker Jai Kishan (Jaaved Jaaferi) avenges himself by introducing a railway coolie Raju (Varun Dhawan) as Kunwar Raj Pratap. Raju is smitten by the photograph of Jeffrey’s daughter Sarah (Sara Ali Khan). Sarah gullibly believes Raju’s tall tales. It might have been more interesting to see the daughter Anju (Shikha Talsania) marry Raju’s friend Deepak (Sahil Vaid) rather than team up with a fictional twin of Raju. 

If the movie was made as an homage to the original, it falls short. If it was made to erase the original from our memory, it fails hopelessly. Govinda’s unexpected words, irrational antics, and outlandish costumes are unforgettable, as are his bona fide dance moves in those loose trousers! Govinda pulled off a con in Coolie No 1 by holding the audience spellbound but Varun Dhawan’s over-rehearsed expressions and mimicry failed to tickle the funny bone. Paresh Rawal’s limericks, or Rajpal Yadav and Javed Jaffrey’s pranks did not do the trick either. I feel that the entire cast was so much in awe of Govinda’s comedic high jinks and they lacked the oomph to overshadow the original Coolie No 1. It’s like comparing an original Indian soda to the same soda in a fancier bottle but with more sugar and less fizz! Although the songs will be good for zoom zumba the movie fails to dazzle! Coolie No 1(2020) is now streaming on Amazon Prime Video, Netflix, and Hotstar.

 

Monita Soni has one foot in Huntsville, Alabama, and the other in her birth home India. Writing is a contemplative practice for Monita Soni. Monita has published many poems, essays, and two books: My Light Reflections and Flow Through My Heart. You can hear her commentaries on Sundial Writers Corner WLRH 89.3FM.