Friday, February 20, 2015

Qissa (2013)

In a nascent, post-partition India, a Sikh man (Irrfan Khan playing Umber Singh) with three daughters resolves to delude himself for the rest of his life - and then some - by making himself believe that his fourth born daughter is the male heir he has been waiting for. Suffused with folklore, "Qissa" is a story of patriarchy, unforgivable sins, guilt and no redemption.

The premise is so startlingly fascinating that writer-director Anup Singh's script tackling even the most foreseeable complications in the child Kanwar's life lends the film immense complexity. The girl (or, the boy,) oblivious to her condition, plays the central character in her father's fantasy.You can't wait to see what happens at every stage of the child's growth - from a privileged childhood, more than what was afforded to her sisters, to the confusions of puberty and the attractions of adolescence. Considering the father's unshakable determination to see this lie to its logical end, you begin to anticipate and, to an extent, predict the places the story would go. 

The partition era is such a great period for mining fascinating stories that it's a real tragedy that so few contemporary filmmakers venture to tell them. Earlier in the film, Umber Singh pushes a cart laden with the body of a Muslim man he fell, back to his own village. When inquired by the other men, he says he was going to dump the body in the well of the house he is leaving behind, to poison whoever it is who comes to occupy it. When questioned about morality and whether this action befit a Sikh, he says he has lost his religions identity. Maybe it's this act of  unwarranted vileness that comes back to affect him and his family since the day he arrives in Indian Punjab. 

It would be unfair to call "Qissa" a reflection of patriarchy in rural India, when it's quite evident just how deep rooted this issue is in every corner of the country. Earlier in the film, a midwife marks a girl's birth with the words, "Girls are also a blessing." Although what happens in "Qissa" is set in motion by general patriarchy, it's getting uprooted from their homes and being forced to start life anew that urgently spurs the need to drop an anchor or sow a seed - anything that would say, "I was here." And that anchor to Umber Singh, who like many others lives his life through the eyes of society, is to father a son.

As much as the film is about the father's megalomania, it's also about the unfortunate life Kanwar is born into. As a child, she shows a natural affinity to the gender that she was born with - letting her hair loose and looking in the mirror, watching her mother gracefully bathe herself, wanting to go out with her sisters for Lohri festivities. Then Anup Singh depicts what is expected of masculinity and the struggles anyone has to go through to live up to someone else's rigid expectations. Struggling for affection after becoming her mother's other child, Kanwar naturally adopts bullying as a trait as she mans up. But the feminine pull is stronger, especially since the household has four other women, and no amount of wrestling lessons, hunting and truck-driving appears to be enough to make Kanwar function without a sense of doubt about her identity. 

Deciding to marry Kanwar to Neeli, the daughter of a man belonging to the lesser, gypsy tribe, is the beginning of the end for Umber Singh. From here, the film goes on to become frightening, mysterious, poetic, oddly beautiful and, ultimately, truly sad. You are likely to hear from people who loved the film that it is haunting, because it absolutely is. Days after watching it, the film, its imagery and musical cues, still lingers in my mind. The film urges viewers to take certain leaps of faith, and I was more than glad to. The performance by Irrfan Khan, Tisca Chopra and Tillotama Shome is top-tier. The craft is impressive from the largely foreign crew. "Qissa" is one of the most entertaining and deeply satisfying films I have seen from India in recent times. 

Saturday, February 7, 2015

Yennai Arindhaal (2015)

This article is intended for people who have seen Gautham Vasudev Menon's Yennai Arindhaal.

"Yennai Arindhaal" marks Gautham Vasudev Menon's return to action filmmaking for the first time in 9 years. It's another righteous cop story that works better as a romantic family drama than it does as an action film. Ajith, in what I personally think is his most captivating performance to date, gets to play the guy Suriya and Kamal did in the past, and goes on to one-up them.

Stripping the film to its bare bones, it's a story about a boy Sathyadev whose father gets killed (collateral damage, as the boy would one day grow up and say to someone else) by a gangster, and decides (with some inspiration from Alex Pandian) to become a cop to stop people like his father's killer. Although the film's intentionally misleading teaser makes it seem like it's a story about a man having an internal battle between good and evil, in reality, this whole Melisaana Kodu business is as important as a scratch on Sathyadev's Enfield. Menon introduces it, but does nothing to explore the theme. There's no pull of the dark side luring Sathyadev to cross over. There's no evidence to show that, deep down, his chosen nemesis Victor wants to be a good guy. These two people are quite comfortably thriving in their own chosen sides of the melisaana kodu with no moral quandary. For that, you'll have to go see Mysskin's brilliant "Anjaathe". But seriously, what do expect a boy to become besides a police officer when you name him Sathyadev?

Gautham's writing seems to grow just a wee bit with each iteration, and by an iteration, I mean one whole fucking movie. The old tropes are everywhere. Some of these are intrinsic to what we have now come to call "a Gautham Vasudev Menon film". The interiors of houses, cluttered with books on filmmaking; two people bonding during travel; the mild-mannered romance, like an advertisement for Bru coffee; being admirably progressive and celebrating women. But then there are some which only go to show his limited writing prowess - like the part where Sathaydev's father basically rephrases "pursue what your heart desires" from "Vaaranam Aayiram", or the unnecessarily long kidnapping subplot set in New Delhi from the same film, which makes a splashy return with additional details about organ trafficking.

A lot of people have been calling "Yennai Arindhaal" the final chapter in Menon's cop trilogy. When "Vettaiyaadu Villaiyaadu" came out back in 2005, nobody called it a spiritual sequel to "Kaakha Kaakha" - because, let's face it, those two films were quite different. Just because there's a third film now, people are falling over themselves to defend Menon's repetitive narrative choices. Besides, there's so much happening - with the Rise-Fall-Rise structure typical to superhero films - that this one film is a trilogy in itself. A boy is spurred by the death of his father, becomes a cop, excels, quits after lover is murdered on the eve of wedding, takes a long break to bond with his lover's young daughter (All I'm saying is Menon is clearly a big fan of "Thanga Meenkal", a film which he himself produced) from a previous marriage, is forced to return after a friend's daughter goes missing, settles old scores and avenges lover's death. This is pretty good, right? On a story level, the answer is yes, but the end result is a) a resounding no or b) a half-hearted yes, depending on who you ask.

When actresses are offered a role in a Menon film, I'm sure they all want to play the one who dies. Playing the role Hemanika, a classical dancer/single mom, Trisha, the closest thing people of Chennai have to royalty, is breathtaking. These are things that Menon does effortlessly. Sathyadev's personal life is where the film scores.

When it comes to "The Dead Wives Club," Gautham is second next to none other than Christopher Nolan. In "Memento", "The Prestige" and "Inception", and to an extent in the Dark Knight trilogy and "Interstellar", Nolan's protagonists are driven by the death of their wives. The abduction and the subsequent killing of Maya in "Kaakha Kaakha"; Kayalvizhi's death in "Vettaiyadu Villaiyadu" turning Raghavan into an invincible cop with nothing to lose; Meghna's death in "Varanam Aayiram" sending Suriya on an all consuming downward spiral.. and now again in "Yennai Arindhaal", where Hemanikaa is sacrificed to set up a revenge plot. The reason I find this motif problematic in a Menon more than I do in a Nolan is because 3 of these 4 instances were in a cop film. Besides being predictable to the point of amusement, the death of Hemanika is frustrating because it allows us a glimpse at the frayed edges of Gautham's imagination. If there's any upside to this, it's that no matter how short-lived the marriage or the relationship, the guy always gets laid. Doesn't matter, had sex.

Pandian, Ilamaaran, Amudhan - these are iconic villains by the standards of Tamil cinema. The performances may have been too show-y for my taste, but there was a significant deal of intrigue surrounding these antagonists of Menon's previous two cop films. We witnessed them doing horrible things and we knew what they were capable of. In "Yennai Arindhaal", we get a watered-down, one-dimensional, PG-13 bad guy in Victor (played by a devoted Arun Vijay.) He is the name-sake villain here but you seldom see him do really bad things. Sure, he shoots a cop (Michael Mann's Heat inspired this scene, and perhaps more) once, abducts a homeless kid from the street, but that's the farthest Menon is willing to push Arun Vijay. Deciding not to show the grisly murder of Hemanika at the hands of Victor robs the second half and the climactic showdown of serious retributional heft. Instead, Menon chooses to play it out like a twist near the end, to Sathyadev and to us. And that didn't work for me at all because, by this time, Hemanika is a distant memory. A few months from now, I don't think I'd remember anything about Victor - because what does he really do anyway? 

For the sake of argument, imagine that Anbuchelvan, Raghavan and Sathyadev are all the same person. I am sure it's not a stretch. Now allow me to collectively refer to this person as "the cop". So here's the pattern: if a part of what happens in "Vettaiyaadu Villaiyaadu" was the life lead by the cop after the events of "Kaakha Kaakha", then, as a friend suggested, a part of what happens in "Yennai Arindhaal" is the life lead by the same cop had Aaradhana died at the end of "Vettaiyaadu.." and left him with the daughter. It fits, right? It's basically a same person who soldiers on as people he falls in love with keep dying one after the other. Now, calm down, people. Let me assure you this "cop trilogy" is not the result of some grand design. It just goes to show just how badly Menon is in need of a writing partner. Also, here's wishing good luck to the character played by Anushka.

It's also not a smart film. Besides Ajith, every other cop is shown as an inept fucking idiot. Even as a police procedural, it doesn't deal with an interesting subject. It's slick, sure, but intelligent it is not. The intermittent humor is quite pleasant, I must say - a risk, as in the past, Menon neatly pulls off. Going into this film, I thought it was rather admirable of Gautham to ask for help because he was apparently struggling to complete the film. I don't see any of Kumararaja's "touches" in the final film and I'd love to be enlightened if you felt otherwise. In the final 30 minutes, Menon attempts to create tension through dynamism, the way director Hari does so often, keeping characters constantly on the move. But it doesn't really help. "Yennai Arindhaal" is an uninspired rehash of everything Menon has done in the past and doesn't really amount to much.