If you haven’t yet seen the excellent Before Trilogy by Richard Linklater for whatever reason I urge you not to read ahead. Also, mild spoilers for The Littoral Zone by Andrea Barrett. Spoilers ahead.
But both of them remember those days and nights as being almost purely happy. They swam in that odd, indefinite zone where they were more than friends, not yet lovers, still able to deny to themselves that they were headed where they were headed.
In the short story, The Littoral Zone, two married people with children fall for each other and leave their families behind so they could be together. Later they realize that so many things mean something (read everything) only in the moment. Their relationship was complete as it was in the moment but when it was stretched beyond it, the essence was lost. The attraction on the island couldn’t translate into an enduring relationship on the mainland. Initially I found their behaviour odd. But Jesse and Celine from the Before Trilogy also reunited at a huge personal cost but this was acceptable. Why? Because we are conditioned to believe and root for them because we are shown that they belong together. Does the audience ever think if they are even meant to be together? Imagine something other than what the narrative tells you to and one will see a different story emerge.
Ruby had talked about the littoral zone, that space between high and low watermarks were organisms struggled to adapt to the daily rhythm of immersion and exposure.
In Before Sunrise, the day they spent together in Vienna can never be replicated. It took so much from them. Celine and Jesse never truly recover from that. Their whole life is in the shadow of that perfect day; the way they responded to each other and the way they connected pales in comparison to the reality they are living now.
What if they had let it be and let each other remain only a fond memory and not continued to pursue each other over their lifetimes? We never learn that all good things come with a sell by date. Continue reading “Happily ever after?”
The movie Lipstick Under My Burkha is a brutal attack on patriarchy. No wonder the CBFC had a problem with it. But thanks to the controversy it generated a huge buzz and many people are in theatres to see it (besides perverts that is), who would have otherwise missed it. It is doing good business even in small towns (How do I know? I live in one). The movie is exceptional because of the way it shows women as they are. Messy, emotional, pliable, virtuous, out of control, not always keeping it together, and certainly not perfect but beautiful, flawed creatures.
Four women in different stages of life. It is set in Bhopal though it could be any small town in India. Ratna Pathak Shah is outstanding as ‘Buaji’, an identity slapped on her for so long that she has forgotten what her name is. She rediscovers romance and wants to live and love a little but at her age it’s a taboo. A college student played by Plabita Borthakur, Rehana, longs to leave her burkha behind and dance with abandon. A beautician played by Aahana Kumra, Leela, wants to live life on her own terms unafraid of societal diktats. A tormented housewife, Shirin, played by Konkona Sen Sharma, is saddled with an abusive husband with no way out.
We see the different ways women are subjugated. It was depressing to see how they go about their lives trying to fulfill their desires in secret. The only way to live out their dreams and fantasies is when they are hidden from the world, their families, neighbours, everyone. If it is an inhospitable environment for their dreams imagine the world they are living in. They go to immense lengths to conceal their true selves just to live in this world without being ostracized.
It is always women who lead lives of quiet desperation. Mostly. There wouldn’t be a woman in the country who wouldn’t identify with at least one of the characters.
It’s that rare film where every actor is perfectly cast. Vikrant Massey (Leela’s love interest) and Sushant Singh (Shirin’s husband) are fantastic in their roles, especially the latter which could have easily been a caricature in the hands of a lesser actor. I’m yet to see A Death in the Gunj but Vikrant Massey is superb here as the on-again-off-again boyfriend. Continue reading “Lipstick Under My Burkha”
My first thought as I watched Dunkirk was remembering Ian McEwan’s Atonement; both reading the book with its long war passages, and watching the devastation unfold on screen.
The pounding musical score by Hans Zimmer in Dunkirk isn’t what you would ever want to download and listen to (Do listen to the OST of Atonement by Dario Marianelli.) but it works for the movie, pumping it with urgency. And how the movie is shot adds to the tension so we are able to feel the rising panic and helplessness. Cinematography by Hoyte van Hoytema is outstanding.
Dunkirk was emotional for me. The movie has a beating heart. A war movie without any of the goriness but all the urgency thanks to the way it is shot which puts you in the thick of action, and that’s something that appealed to me. I don’t know how people found it cut and dry. Dialogue is sparse. There was pin drop silence in the hall. Everyone was listening intently and watching like a hawk so as not to miss anything because the narrative is such; we weren’t being told just shown. We don’t get a history lesson here. Nothing is explained. We get to see a dramatization of experiences of how the soldiers themselves might have experienced it.
Both for a war movie, and the cinematic flourish that Nolan usually brings, Dunkirk was understated and subtle.
I loved the patriotic spirit of the people, civilians who went out to rescue their people on being urged by their government, knowing fully well that they are undertaking a a huge risk.
Honour and bravery are all very well but it is survival that matters in the end. Survival by any means possible is what the movie focuses on. I chose to believe that survival in this case isn’t an act of cowardice because staying alive they will be more useful to their country’ the war was far from over.
Survival isn’t fair.
There’s no melodrama and some scenes are almost clinical in its brutality but no fuss is made about it. If anyone says it’s not engaging, it’s probably not their cup of tea. Even though the outcome is widely known we (those of us in the hall) were watching what was unfolding on screen with bated breath, till the credits rolled on.
When the movie ended there was applause. Clearly the audience was moved. Continue reading “Christopher Nolan’s Dunkirk”