Vishal-Shraddha Srinath Starrer ‘Chakra’ Commences Dubbing

The VishalShraddha Srinath starrer Chakra has completed shooting and has begun work on dubbing. Helmed by debutant MS Anandan, a former associate of director Ezhil, the film is being bankrolled by the actor’s Vishal Film Factory. He reportedly plays an army officer in the film while Shraddha will be seen as a cop. Regina Cassandra has also landed a significant role in the film.

The film reportedly deals with Vishal’s search for his father’s missing Param Vir Chakra set in the backdrop of fraudulent practices occurring in the online business. It is touted to be a technological thriller.

Speaking about the artists of the film, Anandan said, “Every character has a backstory and substantial role in the film. When I narrated the story to Vishal, he immediately agreed to do the story while also agreeing to produce it under his home banner. He even told me that I needn’t alter any of the characters written in the story.”

He added, “After a lot of confusion, I decided to rope in Shraddha who is known for taking up unique roles. Regina was also brought on board in the same way.”

The film also stars Robo Shankar, KR Vijaya, Manobala and Srushti Dange in important roles. Chakra will have cinematography by Balasubramaniem, music by Yuvan Shankar Raja, editing done by Shameer Muhammed and S Kannan on art. Anl Arasu will choreograph stunts with Pallavi Singh on costumes. Madhan Karky will pen lyrics for the songs.

The film shot in Chennai and Coimbatore will hit screens on May 1st.

Meanwhile, Vishal also has his directorial debut Thupparivaalan 2 starring himself, whose first look poster was recently unveiled, in the pipeline. Recently, he mired in a spar of letters with director Mysskin over the film. The director had also lashed out against the actor during a recent press interaction in Chennai.

Read: Mysskin Lashes Out Against Vishal Over ‘Thupparivaalan 2’; Says This Is Just The Beginning Of A War

‘Dharala Prabhu’ Movie Review: A Faithful Retelling That Could’ve Moved Quicker

Cast: Harish Kalyan, Tanya Hope, Vivek, RS Shivaji, Anupama Kumar, Sachu and others

Director: Krishna Marimuthu

“It’s a complete retelling of my favourite director – Shoojit Sarcar‘s story,” Krishna Marimuthu said in an interview to me for Silverscreen recently. (You’ll also know this if you notice the thanks card before the film begins). Dharala Prabhu is truly a retelling and not an exact remake of the 2012 Hindi hit Vicky Donor which starred Ayushmann Khuranna and Yami Gautam in lead roles. A lot of effort has gone into tweaking the screenplay to make sure there are no comparisons to the original.

Prabhu (Harish Kalyan) is an avid football player yearning to place at a reputed company through the sports quota. Doctor Kannadasan (Vivek), the owner of Murugappa Fertility Clinic, who is in search of a healthy sperm donor, gets hold of Harish and convinces him to donate his sperm given his great fertility report. Things move smoothly until he falls in love and decides to get married to Nidhhi (Tanya Hope), a regular customer for his grandmother’s (Sachu) herbal products. Prabhu refuses to continue the job after his wedding only to realise that his wife cannot conceive.

While the story remains intact, the presentation does not remind you of the original at any point. It appears to be a different film altogether except for a few dialogues and one or two scenes.

Right from Prabhu’s passion for football, to the relationship with his coach and family, everything was connected with the plot instead of merely serving as points to kill time.

In the film when Prabhu is ‘working’ or when he’s intimate with Nidhhi, the visuals show him trying to score a goal — he either scores or fails. There is also music everywhere in the plot. (The director was a drummer before he entered films). Prabhu’s friend is a singer at a club, Prabhu has a guitar and to top it all, eight music directors have composed for the film. But honestly, apart from Kaadhal Theevay, none of the songs impact the film to a great extent.

While the editor has managed to adopt the J cut (audio before video) and L cut (video before audio) at several points in the film, he seems to have missed out on the overall cut. It feels like the film is running forever with scenes and sequences that impress at the beginning but lose their rhythm as time proceeds. The stretched-out narrative also fails to retain strong emotions, defeating the main purpose of the film.

When teasers and trailers of the film dropped, I believed that there was no better replacement for Annu Kapoor than Vivek. And fortunately, he did not disappoint me. More than Harish, it’s Vivek who uplifts the script with his humorous one-liners and reactions. I must say I was taken back to the time of his now-classic comedies. Sachu and RS Shivaji perform to their best but there’s not much more than that.

Harish and Tanya are true to their characters, but lack chemistry. Buying Tanya as a wife was easy but Harish as a husband just refused to sink in.

To put it in simple terms, Dharala Prabhu is a toffee wrapped up in layers of new packaging that takes too long to unwrap. And by the time your done unwrapping, the interest to consume the toffee fades away.

Also Read: Tamil Movie Review: ‘Walter’ Would Have Sounded Thrilling On Paper But Arrives Stillborn

The Dharala Prabhu review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the film. Silverscreen.in and its writers do not have any commercial relationship with movies that are reviewed on the site.

The Latest Trailer Of Disney Pixar’s ‘Soul’ Set In ‘The Great Before’ Is Out Now

The makers of Inside Out are now bringing out Soul, a new introspective adventure about a man’s journey to find his passion. The movie is set in New York City, in a middle school, where Joe Gardner (voiced by Jamie Foxx) seems to have lost his passion for music.

Joe enlists the help of 22, a soul, to help him traverse The Great Before, a cosmic realm, to help him on his journey. The movie will “answer some of life’s important questions”, according to the makers of the film.

In the trailer, we see Joe landing a gig to play in a jazz band and he is on his way home when he falls in a manhole. He then finds himself heading towards The Great Beyond, where all the dead souls go. Desperate to find his way back, he escapes and lands in The Great Before.

Directed by the two-time Oscar winner Pete Docter and featuring Tina Fey, Phylicia Rashad, Angela Bassett, Questlove, and Daveed Diggs, Soul is all set to hit theatres in the USA June 2020.

Time Illa Trailer Starring Manu Parthepan, Monica Chinnakotla

Time Illa is a fictional comedy-drama film Directed by Manu Parthepan

Kalai Entertainment Presents “ Time illa”

Cast: Mottai Rajendran, Manu Parthepan, Monica Chinnakotla, Adhithya Kathir, Manohar, Subramanian, Abhishek

Written & Direction: Manu Parthepan
Produced by: Kalaiselvan
Music: L.G Bala
Background Score: Dheepan chakravarthi
Cinematography: Kani Rajan & Karthikeyan
Editor: Sri Watsan
Associate Director: Anand Aani
Art: Jai & Inba
Stunts: Kundrathur Babu
Costumes: Vandana
Lyricist: Manu parthepan,Gani ,MC D
Publicity Designs: Nijan@02B & Saba Designs
Pro:Sathish(AIM)

Copyright: MRT Studios

‘Walter’ Would Have Sounded Thrilling On Paper But Arrives Stillborn

Cast: Sibiraj, Samuthirakani, Nataraj Subramaniam, Shirin Kanchwala, Sanam Shetty

Director: U Anbarasan

Walter begins with a dedication to the Tamil Nadu Police. While the timing of that is inappropriate, a lot of things either don’t work in U Anbarasan’s film or the film is simply too bland for us to care. It chooses Kumbakonam as its backdrop, ruled by a powerful MLA, Eshwaramoorthi (Bava Chelladurai), who doesn’t flinch from even killing his protege to maintain his kingmaker status. But when your whole film is set in Kumbakonam, why all those shots of the police headquarters opposite Marina in Chennai? That’s just too much deification of the police. Sibiraj gets a feet first, lathi and then face introduction as the police officer Walter, thereby proving that not only is his character’s name borrowed from his father’s film from the 90s, the introduction too has remained within the confines of 90s archetypes. To maintain the Indian police archetype, he beats up protestors with that lathi, which lasts for about 30 seconds before he is ushered into a hospital to meet with Bala (Samuthirakani), a black shirt clad party worker. Bala is there protecting his doctor friend (they are later shown to be as thick as Deva-Surya), who has reportedly killed an 8-year old by inadvertently prescribing the wrong medicine.

One of the few interesting things about Walter is character motivation. We are constantly figuring out who is good and who is bad. Eshwaramoorthi’s ugly face is revealed too soon, frankly, but we keep wondering about Bala. Is he on the right side of the story? A lot of things give us an answer in the affirmative. But why is he so stubborn about his friend, now a murderer? He’s shown to be a man of values but not someone who’d sacrifice them to protect a child killer. The depiction of police officers in Walter follows all the Tamil cinema stereotypes, as upstanding gentlemen who will go to any lengths to protect the people and that’s somehow noble. The larger plot in Walter is about missing infants who mysteriously return after a couple of hours or a day but end up dead soon after. Walter first chases these cases with the seriousness of a sloth forced into a selfie, but the gravity of the situation dawns on him only after the second infant’s case. Anbarasan deliberately wants us confused regarding how this case connects Walter with Bala or his doctor friend, and how serious Eshwaramoorthi is about it when it is discovered that such cases are popping up all over Tamil Nadu.

Walter suffers from another perennial Tamil cinema problem. Why have a female lead if she is inconsequential to the story? Shirin Kanchwala here is not even a lead, she is a female supporting actor who is there for a couple of songs that have no business being part of the film, and to nag Walter just when the film remotely gets going, negating even the little effort they have put into the script. Thankfully there were no painful meet-cutes forcefully inserted into the proceedings, we are straight-up told that Walter and Raji are in a relationship. The story here is captivating enough as a one-line plot but the writing and direction cry out loud for finesse, with obvious information communicated and repeated with words, a shot held for a second longer so that we realise what a great moment it is for the character. It is amazing what nepotism can do for you, Sibiraj probably the Arjun Kapoor of the Tamil film industry, with neither a great filmography nor acting skills to speak of. He is even confused as to what to do with his hands, not just when he is a police officer commanding respect but also in the romantic interludes. Walter would have sounded thrilling on paper, but the entire package arrives stillborn.

The Walter review is a Silverscreen India original article. It was not paid for or commissioned by anyone associated with the film. Silverscreen India and its writers do not have any commercial relationship with movies that are reviewed on the site.

Mrunal Thakur Roped In To Play A Cop In The Hindi Remake Of ‘Thadam’

Recently, it was officially announced that Sidharth Malhotra would be starring in the Hindi remake of the 2019 Tamil action-thriller ThadamThe latest is that Super 30 fame Mrunal Thakur has reportedly been roped in to reprise the role of the cop played by Vidya Pradeep in the original. She will also reportedly perform in a few action sequences.

Helmed by debutant Vardhan Ketkar, the film is being jointly bankrolled by Murad Khetani’s Cine 1 Studios and Bhushan Kumar’s TSeries.

Thadam helmed by director Magizh Thirumeni starred Arun Vijay and Tanya Hope in the lead roles. The film saw Arun Vijay essay a dual role as brothers Ezhil and Kavin. The film dealt with the investigation of a murder that was complicated because of the involvement of the identical twin brothers. It opened to great reviews and was one of the high-grossing films of 2019.

Read: Thadam Review: A Fairly Engaging Thriller That Needed Better Editing

The untitled Hindi remake will go on floors in May and is slated for release on 20 November this year.

Meanwhile, Mrunal Thakur who was last seen in the Netflix anthology Ghost Stories will next feature in Rakeysh Omprakash Mehra‘s Toofan, Gowtham Tinnanuri’s Jersey (Hindi remake of the Telugu film in the same name) and Umesh Shukla’s Aankh Micholi that will hit screens this Diwali.

Read: Ghost Stories Review: Misfires And Meaning In Netflix’s Rooted Horror Anthology

Watch the trailer of Ghost Stories here.

Mysskin Lashes Out Against Vishal Over ‘Thupparivaalan 2’; Says This Is Just The Beginning Of A War

On Thursday, 12 March, the media assembled to interact with the cast and crew of the Zee5 original web series Kannamoochi due for release tomorrow. Director Mysskin, who was invited as a special guest for the event, took to the stage to talk about… the controversy around Thupparivaalan 2 with actor Vishal.

On Wednesday, both Mysskin and Vishal sparred through letters on Twitter. It was reported that Mysskin had pulled out of the film owing to budget issues in February. They were seen arguing over the film once again.

Mysskin addressed a letter to Vishal’s production house, Vishal Film Factory, stating that the company is required to fulfill his demands in order for him to come back on board as director for the film. It included a demand for five crores without GST as salary, the claim for IPR over the titles and character names, authority to sell the Hindi remake rights to any given person and to select shooting locations, the right to drop the project in case of infringement or any harm caused to the psychological well-being of the team and more.

In response to this, Vishal put out a statement saying he was perplexed as to why he was put in such a position for merely pointing out the mistakes of the director. He said that the director was insistent on scripting in Canada and made the production shell out crores of rupees for an output that did not conform with the expenses incurred.

He added that the statement was made to keep producers, especially new ones, aware of what he went through and to not be tricked into such things. He also said he didn’t want to tarnish anyone’s reputation through this statement and went on to unveil the first look poster of Thupparivaalan 2.

Yesterday, Mysskin told the press that he’d looked upon Vishal as his brother and helped him out whenever he was in trouble but ended up being insulted and falsely accused. He had apparently agreed to help him settle his debts, accumulated due to a series of failures, by writing a script revolving around the Kohinoor diamond which ended up being Thupparivaalan 2. 

“I told him he wouldn’t be able to accommodate this film given the amount of debt he held and said we’ll shoot that script for the third installment. I even suggested we write a Chennai based ten-crore budget script for the second installment. But he refused to listen to me and insisted we go ahead with the Kohinoor one for the second installment. Agreeing to his decision, I decided to base the story in the United Kingdom and borrowed 7.5 lakhs for the process. I have only used up seven lakhs of the amount and not what he claims. If one spends 35 lakhs on the writing process, he is clearly not fit to be a director,” said Mysskin.

He added that he wanted proof for the figures published in the statement and the transaction details between the production company ‘Putlur Amman’ established in the UK and VFF. He also hurled abuses at the actor (which was strangely welcomed by the audience). He even spoke of incidents that took place during Producer Council elections.

The director also claimed that Vishal and his crew had verbally abused his mother and hit his younger brother. “He stood outside my office for 10 days imploring me to give the script and NOC (Non-objection certificate). If I had submitted it to the respective councils, the poster wouldn’t have been unveiled on Wednesday. I even helped with his Chakra but he has spoken ill of me. I told him earlier that actors Nandaa and Ramana would abandon him on the streets and that’s exactly what took place. That’s why the film came to a halt,” said Mysskin.

He added, “I was the only person in Tamil Nadu protecting him. But now I have to protect the entirety of Tamil Nadu from him. I don’t have to fear if I don’t get a producer. I’ll always have stories to tell.”

Mysskin concluded his speech with a warning to actor Vishal. “I want Vishal to know that this is just the beginning of big trouble. His tricks aren’t going to work with me and he’s going to have sleepless nights. If he’s got a little dharma on his side, I openly invite him to wage the Kurukshetra war against me,” he said.

The first look poster of Vishal starrer Thupparivaalan 2 was released on Wednesday. The sequel to Mysskin‘s 2017 Thupparivaalan is being helmed by Vishal, marking his directorial debut and is also being bankrolled by his Vishal Film Factory which commissioned several of his previous films like Kathakali, Irumbu Thirai, and Sandakozhi 2.

The poster features Vishal in London. He is seen in an beige trench coat, covering his face with his hat whilst holding an umbrella in his other hand.

Vishal took to Twitter to unveil the poster.

While Lovely Singh is believed to be playing the female lead in the film, actors Prasanna, Ramana, Nandaa, Gautami, Adithya Menon, Munna, and Rahman have landed important roles. Cinematography is by Nirav Shah and Ilaiyaraaja is composing music for the film.

Thupparivaalan, an action-thriller, dealt with two detectives Kaniyan Poonkundran and Manohar played by Vishal and Prasanna respectively, who encounter a dangerous hitman while investigating the disappearance of a kid’s pet dog. Vinay starred as the antagonist, and Anu Emmanuel, Andrea Jeremiah played important roles.

Though reports that the film was heavily inspired by the Sherlock Holmes novel came in, the film was well appreciated by critics and audiences. “Everyone gets inspired by something or the other. Edgar Allen Poe came up with the first detective story and then came Sherlock Holmes. There is a thin line between inspiration and plagiarism,” said Mysskin in a statement. He added that only Vishal and Prasanna’s characters were inspired from the novel.

Read: Thupparivalan Review: Sherlock Holmes For The Tamil Audience

Watch the trailer of Thupparivaalan here.

Kavalthurai Ungal Nanban Trailer Starring Suresh Ravi, Raveena Ravi

Banner : BR Talkies Corporation & White Moon Talkies
Distribution: Creative Entertainers & Distributors – G.Dhananjayan
Producer: Bhaskaran B, Rajapondiyan P, Suresh Ravi
Starring: Suresh Ravi, Raveena Ravi, Mime Gopi, Super Good Subramani, RJ Munna, Sharath Ravi

Director: RDM
Cinematography: K.S.Vishnu Shri
Music Director: Adithyha – Soorya
Editor: Vadivel-Vimalraj
Art: Rajesh
Lyrics & Dialogue: S Gnanakaravel
Stunts: Om Prakash
D.I: G.Balaji
Costume Designer: Senthilkumar
Stills: Hari Krishnan
PRO: Suresh Chandra, Rekha, Nikhil
Publicity Designs: Yuvraj Ganesan
Sound Design: Arun – Seenu
Sound Mix : Rajakrishnan.M.R
VFX: Mantis (Rajesh.S)
Make Up: Sreeralan Mani
Production Executive: Vijayakumar
Production Controller: Jithesh Tony
Cashier: V.K.Srijith, P.KalaiMani

Direction Team: Prasanna Nagarajan, Aruna (a) Narayanan, M Gowri Shankar, Jeffrey Stanley, Santhosh (a) Sridhar A J

Audio on ‘Lahari Music’

Six Songs We’re Listening To On Shreya Ghoshal’s Birthday

Singer Shreya Ghoshal is undoubtedly one of the best finds in the music industry. Gifted with a mesmerising voice, she has established herself in almost every industry down South and up North. As the singer turns 36, here’s a look at six of her songs that we truly enjoy.

‘Munbe Vaa En Anbe Vaa’ – Sillunu Oru Kadhal, 2006

I always believed it was Bhumika Chawla, the heroine featuring in the song, singing for herself in this one. Little did I know there’s someone behind who has put her heart and soul into the song. A breezy romantic number that’s still a part of every ‘Romantic Songs’ playlist. ‘Munbe Vaa En Anbe Vaa’ features in TN Krishna‘s Sillunu Oru Kadhal which starred Suriya, Jyothika, and Vadivelu in lead roles. AR Rahman was the composer.

‘Ishq Hua’ – Aaja Nachale, 2007

One can say that this is an underrated song of the singer, given the number of songs she has sung. She manages to be spot on when it comes to exuding the feeling of love. ‘Ishq Hua’ features in Anil Mehta‘s Aaja Nachle which starred Madhuri Dixit, Kunal Kapoor, and Konkona Sen Sharma in lead roles. Salim Merchant and Sulaiman Merchant were the composers.

‘Bahara’ – I Hate Luv Storys, 2010

If someone tells you that they didn’t travel into a dream world like Sonam Kapoor did in this song, it’s time to cut all ties with them. It’s almost impossible to not be drowned in your own world when you’ve got Shreya on the vocals. ‘Bahara’ features in Punit Malhotra’s I Hate Luv Storys which starred Imran Khan, Sammir Dattani and Samir Soni in lead roles. Vishal–Shekhar were the composers.

‘Ghoomar’ – Padmaavat, 2018

Never heard of this song? Run up to the nearest college in your locality and there’s a chance you’d witness groups of girls performing to this peppy yet melodious number. Shreya’s voice adds to the grandeur of the mise en scène. ‘Ghoomar’ features in Sanjay Leela Bhansali‘s Padmaavat which starred Deepika Padukone, Ranveer Singh, Shahid Kapoor and Aditi Rao Hydari in lead roles. Sanjay Leela Bhansali was the composer.

‘Ninaithu Ninaithu’ – 7G Rainbow Colony, 2004

There’s love and there’s melancholy. Who else besides Shreya do you call? Once you’re hooked onto this, there’s no going back. ‘Ninaithu Ninaithu’ features in Selvaraghavan‘s 7G Rainbow Colony which starred Ravi Krishna, Sonia Agarwal, and Suman Shetty in lead roles. Yuvan Shankar Raja was the composer.

‘Un Perai Sollum’ – Angadi Theru, 2010

A soul-stirring number from the singer which talks about how devoted a couple is to each other. She goes from high to low with such ease while also retaining the helplessness one would feel without their better half. ‘Un Perai Sollum’ features in Vasanthabalan‘s Angadi Theru which starred debutant Mahesh, Anjali, Pandi and director A Venkatesh in lead roles. GV Prakash Kumar was the composer.

Tom Hanks And Rita Wilson Have Coronavirus

Hollywood stars Rita Wilson and husband Tom Hanks have tested positive for the Coronavirus. The couple is in Australia currently. Hanks was shooting for a film in which he plays Colonel Tom Parker, Elvis Presley’s manager.

He posted the message on his Instagram:

“Hello, folks. Rita and I are down here in Australia. We felt a bit tired, like we had colds, and some body aches. Rita had some chills that came and went. Slight fevers too. To play things right, as is needed in the world right now, we were tested for the Coronavirus, and were found to be positive. Well now. What to do next? The Medical Officials have protocols that must be followed. We Hanks’ will be tested, observed, and isolated for as long as public health and safety requires. Not much more to it than one-day-at-a-time approach, no? We’ll keep the world posted and updated. Take care of yourselves! Hanx!”

The WHO has declared Coronavirus a pandemic. Just a few weeks ago the American President Trump sought to play down the impact of the virus. “It will go away, just stay calm,” he said. Hanks and Wilson are the most prominent of Americans to test positive and by immediately going public with the news, they have earned admirers for simultaneously raising awareness and being transparent.

Featured image: CNBC

Three Recent Tamil Films Speak The Right Kind Of Politics But Fail As Works of Art: Writer Tamizh Prabha

Three films I watched recently — Kanni Madam, Ettuthikkum Para, and Gypsy — have left me feeling discouraged; left me feeling like a protestor who has lost his belongings in a revolutionary rally.

If we choose to present ideas such as equality and alternative thinking to people using this art form called cinema, we have to do justice to the art. And this cannot be done by merely using revolutionary verses, leaders’ names, their photos, and talking about events that have happened around them. We must create the justification for all of this within the story. We must then tell it using the language called screenplay, in an interesting manner. The audience must feel as if the problems the characters in the film face are their own and feel utterly helpless.

These three films have failed to do this. Not only is their screenplay uninteresting, they even flounder in their politics. I have a feeling that in all three films they must have started to write the story after writing the dialogues.

As far as the film audience is concerned, the ‘message’ is secondary. If we look at the number of films with dangerously bad messaging that we, as the audience, have welcomed and made big hits out of just because they are very interesting, we can easily understand this subtlety — a film has to be interesting first and foremost.

I wouldn’t even call these three films — that only talk about the ‘message’ — propaganda movies. Propaganda can’t be done, ‘by the way’. It needs great talent. With nothing but their rhetoric, leaders in Tamil Nadu and all over the world, have stunned audiences into staying put without moving as much as an inch.

Those who patronise films such as these three, that don’t have big names and aren’t promoted heavily, are too few. And the ones who do come to the theatres, thinking we must embrace a film that speaks our kind of politics, come with great expectations. But these films vex them. Made with the belief that superficial excitement is enough, these films do a disservice to those who came believing in them. On top of that, its patrons feel under pressure to not be vocal about these disappointments.

When one side is embracing poisonous plants like Draupathi (a recent film whose politics has come under fire) as if it were medicinal herb, I can understand why friends who believe in equality, don’t want to put films that speak the right kind of politics down.

However, for our political harmony, if we pledge art, we will only be scratching each others’ backs. It will not create any ripples in society. The general movie audience that comes to watch these films will eventually run away from all films that speak of revolution. It will take away the opportunity from the next good filmmaker.

Mao said, ‘art must serve people’. But everything that speaks for people is not art, and I hope filmmakers with political leanings understand this. This is not just your failure, comrades…

Translated with permission from the original in Tamil, by Tamizh Prabha. He is the author of the novel Peattai and the screenwriter of Pa Ranjith’s upcoming film.

Plan Panni Pannanum Trailer Starring Rio Raj, Ramya Nambeesan

Cast
Rio Raj
Ramya Nambessan
Bala Saravanan
Robo Sankar
Thangadurai
Naren
Viji Chandrasekar
Rekha
Santhana Bharathi
M S Baskar
Sidharth Vipin
Maarimuthu

Production House : Positive Print Studios LLP
Director : Badri Venkatesh
DOP : B Rajasekar
Music : Yuvan Shankar Raja
Choreo : Kalyan
Stunt : Stunner Sam
Editor : Sam RDX
Story Writer: A C Karunamoorthy
Dialogue Writer: G Radhakrishnan
PRO : Suresh Chandra, Rekha D’One
Music Label – Sony Music Entertainment India Pvt. Ltd.

Notes From Filmmaker Saeed Akhtar Mirza’s Master Class

“Don’t try to be good, try to understand”, filmmaker Saeed Akhtar Mirza says, reflecting on a hideous story idea proposed by two well-meaning acquaintances of his. To understand: that might be the verb Mirza most used at the masterclass organised by the Bangalore International Centre in February.

In conversations with different hosts, Mirza talked about his childhood, his turn to filmmaking, the blossoming of his political awareness and various aspects of his filmmaking and writing practice, including the circumstances of production of the three films screened at the event. Together, the films and the conversations evoke the image of an artist for whom practice is an extension of one’s intellectual relation to the world, a transcription of one’s ‘understanding’ of it.

As the child of noted screenwriter Akhtar Mirza (Naya Daur, Waqt), Mirza found cinema and cinema-related discussions an integral part of growing up. But it wasn’t until his 14th birthday, when his father projected a copy of the Soviet film Battleship Potemkin, that the medium took firm root in his consciousness. The image construction, he says, was shocking. He’d subsequently have one classic of world cinema screened at home every month. The realisation that cinema could accommodate ideas, conversations, polemics as well as narratives enthralled him.

Adult life, however, had different plans, and Mirza found himself working in an advertising firm. He experienced an internal crisis eight years into the job. Encouraged by his wife, he applied for a course at the Film and Television Institute of India (FTII), coming back to the road he had left behind in his adolescence.

At the institute, then under the direction of Girish Karnad, Mirza set out to document protests against slum evictions in Bombay. The sheer imbalance in clearing thousands of residents to make way for a few hundred government officials struck him, instilling an abiding desire to speak to people and hear what they have to say. Emergency was declared shortly after he finished editing the documentary, simply titled Slum Eviction.

How is it that a cosmopolitan— “internationalist”, in Mirza’s description —unmarked Muslim from west Bombay became a committed, politicised filmmaker producing work attuned to realities that had little bearing on his social situation? Mirza traces the transformation to an incident from childhood. At the age of ten, he refused to enter the Bandra mosque with his father to offer prayers on the day of Eid. He didn’t believe in god anymore, he told his father, who asked him to remain seated at the steps outside the mosque. This original doubt paved way for others, taking him on a journey of progressive ‘declassification’ of the mind.

Mirza relates this opening up of the mind to diverse ideas, especially at the film institute, to the predicament of the protagonist in Arvind Desai Ki Ajeeb Dastaan (1978). One of the two films produced by the quasi-legendary Yukt Film Cooperative Society (the other being Mani Kaul and K. Hariharan’s Ghashiram Kotwal (1976), in which Mirza also worked).

Arvind Desai, says Mirza, is about being young and hailing from a particular social milieu. He adds that Arvind’s predicament, of rationalising the gap between acquired ideas and lived experience, of harmonising the two, was his own. “Our school education is status quo-ist”, notes Mirza, “we need outside ideas to shake it up”. Arvind Desai thus became this “journey of guilt”, tracing the chasm between received education and political action.

His subsequent film, Albert Pinto Ko Gussa Kyun Aata Hai (1980), set around mill strikes in Bombay, is the story of the politicisation of a bourgeois businessman. It came at the end of a significant personal change, says Mirza, the result of “being swept into a vortex of ideas. It was an age of questioning at a mass level,” he adds, referring to the international protests against the Vietnam war in the seventies. And Albert Pinto was another step towards engaging with the other, in this case with one of the largest organised workforces in the country.

Mohan Joshi Hazir Ho! (1984) adopts a sophisticated expositional framework that combines the tamasha form of theatre, a middle-class melodrama and a documentary. Even though the decrepit chawl we see in the film seems like a real slice of Mumbai, the film itself has only tenuous links to realism, weaves as it does in and out of a burlesque mode of narration. Bhisham Sahni’s dignified face, representing for Mirza ‘civility in an uncivilised world’, is pitted against the machinations of a caricatural Naseeruddin Shah, whose career rises just as the chawl continues to crumble.

On being asked about the long, revealing titles of his films, Mirza speaks of a democratic dialogue with the audience, of not wanting to deceive them. When the viewer buys a ticket, he says, he has an idea of the film he’s walking into. “It’s not some Khandaan or Jurm.

In no other film is the title as illuminating as in Salim Langde Pe Mat Ro (1989). The instruction—don’t cry over Salim the cripple—positions the film as a tragedy, with the fate of its lead character sealed from the start. Salim, a low-level hustler with dreams of making it big as a gangster, gets a rude awakening when he’s showed his place by a system that views him differently. The Mumbai slang of Salim and those who abuse him are far from the Byron-quoting urbanity of Mirza, who had to undertake midnight trips to Dharavi to talk to real underworld figures as part of his preparation.

Mirza describes the last of his five major films, Naseem (1995), as the final nail on the coffin of the idea of India. Set in the months preceding the destruction of the Babri mosque, Naseem paints an elegiac portrait of a syncretic, tolerant nation, thrown into disarray by the events of and after December 1992. Like Salim, but on a lower, more heart-breaking key, the teenager Naseem (Mayuri Kango) is forced to confront her social identity as reflected in reaction of those around her. Naseem finds Mirza articulating space with greater surety, with the fluid camera stitching the rooms of Naseem’s middle-class household into long, unbroken shots.

Responding to why he didn’t direct films at the same clip after 1995, Mirza said that he felt he didn’t have anything more to say, that he needed to gather himself. Over the next few months, he travelled extensively through the country, meeting people of all stripes from across geographical regions, in order to “regain his faith in people”. “The Babri demolition”, he adds, “was an assault on what my mother stood for”. And this journey across the Indian heartland was necessary to restore his belief in the basic generosity and benevolence of ordinary Indians.

Mirza’s energy and effort after Naseem were directed towards writing: screenplay for a children’s film Choo Lenge Akash (2001), but also two books. In a conversation with Aakar Patel on his writing output, Mirza detailed the idea behind his first book, Ammi: Letter to a Democratic Mother (2008). Letter, he says, is a tribute to his mother as an individual, but also a remembrance of history, an act of unburdening. His mother’s deep thirst for information was often checked by an insecurity about herself in face of an erudite husband and English-speaking children. With conversations unfolding at home in English, reflects Mirza, language became a tool of distancing. Letter was a way to address this distance, to recognise the silent revolutionary gestures of his mother—a document, then, at once personal and political.

“It’s unforgivable if you’re over 50 and don’t have a sense of our history”, asserts Mirza, pointing to the collective amnesia the country has developed around the Babri demolition. Just after the events, in a workshop with students of direction of the batch of 1992 at FTII, he admittedly asked students to mull over three questions: whether India was (a) more intolerant (b) more violent and (c) more religious than any other country in the world. When the students came to the conclusion that India was no special case, he counselled the students then to cut out the clichés and understand the causes and effects of historical upheavals.

Cause and effect. Words crucial to both the inner workings of Mirza’s films and his view of history. Marxist in spirit, Mirza’s work never settles for easy simplifications of human behaviour, even when framed as melodramas, as Mohan Joshi or Salim are. It’s also a Marxist term he coins to characterise the changes the nation has been subjected to in the past thirty years; a “lumpenisation of aesthetics” has taken place, he says, and the globalisation of the economy has but resulted in a “ghettoisation of the mind”.

“Each film I’ve done is a journey of understanding myself and the world,” reflects Mirza. His work invites us to undertake the same journey, to leave the self-imposed ghettos of our mind.

Featured image: Scroll.in