BROOD AWAKENING
Emraan Hashmi embraces his angst in an interesting outing from the Mahesh Bhatt school of filmmaking.
JULY 6, 2007 – EVERY YEAR, at our awards ceremonies, we see trophies being accepted by Bollywoodâs most beautiful, most powerful, most successful â but very rarely by Bollywoodâs most worthy, who usually have to wait for retirement before being recognised for something, usually lifetime achievement. And every year, I wonder why no one announces Mahesh Bhattâs name in the latter category. Wikipedia informs me that Filmfare, for instance, has doled out these trophies to the likes of Mumtaz and Jeetendra and Asha Parekh, and while I wonât deny that these actors â at least Mumtaz â deserve some form of acknowledgement, if only for leaving behind a host of happy memories, why wonât anyone pay attention to Bhatt? Is it because, in his eagerness to sound off about everything and everyone under the sun, he has rubbed practically the entire industry the wrong way? Itâs a shame, because Bhatt may not be the most original of creators â when heâs not lifting ideas off foreign films, heâs lifting story threads from his own memories â or the most subtle, but even his failures like Kaash are difficult to dismiss entirely, and in this anything-goes multiplex era, his legacy is all around us. What we are seeing today â arty commercial cinema (or would that be commercial art cinema?) â is simply an extension of Bhattâs efforts to make art cinema more interesting, commercial cinema less insulting. Would there have been a Life in a Metro, say, without the numerous tales of adultery or marital strife that Bhatt has spun right from the 1980s?
But whether or not his peers recognise him, a long line of Bhattâs protégés regularly pays homage to their mentor, with gritty dramas that show a healthy disrespect for everything thatâs wholesome and family-friendly in our commercial cinema â and the latest is Mohit Suri, with Awarapan. (The buzz is that this is a takeoff on the Korean film A Bittersweet Life, but thereâs enough here to suggest that Bhattâs own Awaargi may have been an inspiration.) The story kicks off when Reema (newcomer Mrinalini Sharma) becomes a victim of human trafficking, and ends up with Hong Kong gangster Malik (Ashutosh Rana). Speaking about her to his loyal henchman Shivam (Emraan Hashmi, in his most restrained performance since that promising debut in Footpath), Malik muses, âMere saath bistar pe thi…,â? and that instant, we know this is no virginal heroine. And yet, Suri treats her like one, like someone who needs to be rescued, freed. Weâre told that her boyfriend from back home â much like Sharman Joshiâs character in Metro â is still in love with her and is willing to be with her, if he can only get her away from Malikâs clutches. Malik senses this, that there may be someone else in Reemaâs life â Rana conveys quite nicely the frustration of a powerful man who is powerless before this woman; he has unlimited access to her body, but he just canât enter her heart â so he asks Shivam to spy on her. But Shivam has his own inner demons to deal with, which results in his deciding to reunite Reema and her boyfriend, and itâs only a matter of time before Malik turns on Shivam.
Sex, love, jealousy, infidelity, guilt, betrayal, redemption, and, most importantly, brooding male angst â Suri touches on every prickly emotion that Bhatt made his own, but where he makes his mentor proud is by grounding all of this in an utterly unexpected religious context. This isnât just in the surface details â Reema and Aliya (the lovely Shriya Saran, as Shivamâs love in a past life) are shown performing the namaz â but in the very pores of the film. Even the Aliya-Shivam meet-cute revolves around a religious belief, that if you buy a pigeon and set it free, Allah will grant you your wish. The Buddha makes his presence felt too, in the form of a bhikshu â somewhat awkwardly shoehorned into the screenplay â who owes his life to Shivam. Almost every other scene involves either a taaveez or a reference to the Maula (in a wonderful composition by Pritam) or a characterâs escape from certain death being attributed to a chamatkar â and yet, the portions that linger are the ones that show how the godless Shivam is affected by Aliyaâs beliefs. He mocks her at first, mimicking her in a dargah as she raises her hands and closes her eyes in prayer, but something about the serenity in her expression gets to him, and you can see him ache for the kind of peace that heâs never really known, thanks largely to the demands of his profession.
Shivamâs equations with some of the others arenât nearly as involving. Malikâs son (Salil Acharya) and nephew (a terrific Purab Kohli), for instance, show signs of becoming worthy adversaries with motivations for personal vendetta â they hate Shivam because Malik treats him like a son â but they devolve very quickly into generic, cackling hoods. But a bigger problem with Awarapan is that, having established his conceits, Suri goes overboard in embellishing them. The story being about whether Shivam sets Reema free, one shot of a cage being opened and a flock of pigeons flying out doesnât seem unwarranted. But when pigeons show up in a monastery, and in Aliyaâs hands, and when even a song in a nightclub is staged with dancers inside a giant, gilded cage, you know itâs only a matter of time before the characters themselves start spouting lines that reflect this metaphor. Sure enough, Shivamâs best friend Kabir (Shaad Randhawa, who we first saw in Suriâs earlier Woh Lamhe) pleads, at one point, âMujhe is zindagi se rihaa kar de yaar.â? But flaws and all, the juicy spins on Mahesh Bhatt material â he presents this film â keep you watching, besides the fact that a film thatâs over-thought-out is, any day, preferable to one with no brains at all.
Copyright ©2007 The New Indian Express
Manish
July 5, 2007
Baradwaj:Isn’t it so that there is a certain ‘method’ behind the getting Filmfare (and indeed all other Indian film-related) awards? And that Bhatt, with his…umm..independence…does not fall into the line? Perhaps this is what you were suggesting about him rubbing people the wrong way?
But surely, he has positively influenced quite many of those as well, no? Even some ‘popular’ ones on the award/bollywood-celebrity circuit? What about his multiple works (not all terrible) with SRK..or even the gem of Zakhm with Devgan?
Anyway…Bhatt surely doesnt belong to the list of ‘lifetime achievers’ as in Filmfare defintion those are usually the ones who really didn’t deserve many awards in their actual careers…or ones well well past their prime (which Bhatt hasn’t as a creative person).
And btw, I think the biggest achievement of Bhatt (at least for the current generation of moviegoers) was to bring a status of hero to the director’s chair. Sure we’ve had a few of those director’s cults before…but in recent times, when I was growing up…it was Bhatt, as a modern director, who sold movies (the ashiquee, sadak line of movies) purely by the marketability of his name.
Oh and also btw…I think taking inspiration from one’s own lives still qualifies as highest level of creativity..otherwise we would have to disqualify quite a few global geniuses (in all creative arts) as ‘imitators’.
And finally, there hasn’t been dearth of subtlety in his movies…Saraansh, Rao Sahab, Janam, Daddy, Arth (and a few others I forget) had enough moments of unspoken and non-highlighted gravity.
He has also been one of the few (and perhaps the best) of our directors to make a good film with bad actors. I mean…Rahul Roy…need I say more?
I guess by now you can make out that I’m a fan 😉
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Karthik
July 5, 2007
How about the review of the capped-nasalite’s alphabetically challenged film?
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brangan
July 5, 2007
Manish: It’s going to take me some time to digest that comment, so I’m not even attempting to respond 🙂
Karthik: That’s the review this Sunday. A fan, are we? 🙂
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brangan
July 5, 2007
Manish: BTW, I hope you got that I’m a fan too…
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Karthik
July 6, 2007
Nah…just wanted to have a good laugh 🙂 I can then decide if I want to have a harmless good time too.
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Manish
July 6, 2007
Baradwaj: Yeah..I guess we can have can come back to a Bhatt special later also…he’s not going anywhere 🙂
Oh and sorry for typos etc…
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Manish
July 6, 2007
..oops..see..this is what I meant 😉
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Aditya
July 6, 2007
Baradwaj: Here comes another Mahesh Bhatt fans….in his hey days i used to watch every single film of his. Got a little put off when he took the assembly line route in the nineties when, if rumours are to be believed, he started directing scenes over the phone. Remember Chaahat, Dastak, Angaaray, Milan, Duplicate, Kartoos…Even during this time he interspersed his oeuvre with other films that had the distinct MB sensibility i.e. Najayaz, Tamanna, Zakhm.
Now that he’s only writing, we’re seeing glimpses of that sensibility again. Gangster and Woh Lamhe were two of my favorite films last year.
It’s good that you mention Aawaargi. It’s a terribly underrated film, which in my opinion is Anil Kapoor’s best work to date.
Another Bhatt film that I liked immensely was Swayam, which for some strange reason got ripped apart by critics when it was first released on TV.
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Aditya
July 6, 2007
Manish: If I’m not mistaken, Rao Saheb was a Vijaya Mehta film
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ad
July 6, 2007
“and that instant, we know this is no virginal heroine. And yet, Suri treats her like one, like someone who needs to be rescued, freed”
What this means? Just because she isnt virginal, she doesnt deserve to be rescued/freed?
Ok,ok, I know you didnt mean it like that, but it READS like that 🙂 So there.
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brangan
July 6, 2007
ad: We usually have women who get sold into brothels and still being “pure” till they get rescued. I wanted to point out that that wasn’t the case here. Guess I didn’t get the point across…
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Lakshmi
July 6, 2007
B, I am always touched by how un-snobbish you are when it comes to films – no movie is too *low* for you to review – no film-maker is too awful for you to examine – it’s really nice.
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Shankar
July 7, 2007
I agree with most of what is said here…I’ve enjoyed MB’s movies too (Janam is one of my favs, unfortunately not available anywhere). But there traditionally have been many directors who sold movies on the strength of their name…the Raj Kapoors, Manmohan Desais, Prakash Mehras (the last two with a big dose of help from AB), Yash Chopra etc. I think MB has always been regarded,for some strange reason, more as an “arty” kind of director rather than a maker of blockbusters with huge starcasts. But in the later part of his directing career, he did seem to get carried away by his own success…directing 5 movies at the same time on different floors of the same studio!! I think quantity completely took over quality at that point!!
MB does surely have a place in the history of cinema…I’m just not able to decide where though!!
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Shankar
July 7, 2007
Baddy, BTW you mentioned Maula composed by Pritam. I wonder if you have heard the band OM – the fusion band” and their song “Maula”? These are a bunch of young Delhi guys who absolutely rocked in their first album (self titled), released by Times Music in 2005. If you haven’t heard them,you have to check it out. I was most surprised by the sheer talent, the tightness and the variety of their compositions, especially since it was their debut album. I’m not sure if they were very popular…but I can assure you, the album is a nugget of absolute pleasure!! 🙂
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ad
July 7, 2007
Bawardwaj- thats one of the things you have got to love Mahesh bhatt for- giving the indian woman a life of her own, goddamit. all his movies have women who are strong, have an identity, own their sexuality, and even if they are playing absolutely ridiculous cops, as as ridiculous as the male cops at any rate.
Whereas you have other “new age’ directors like mani ratnam, who, for all his splendid movies and scenes and witty dialogues forever has the same old stereotyped woman in his movies…the shy, decorous, never-been-touched, winces-at-touch, smiles from a distance wife or girlfriend. Roja reeked of chauvinism (the first half at least), Bombay’s heroine was no better at the wincing, Iruvar’s first-aishwarya left me gagging (the second was slightly better), guru was no better. Maniratnam’s movies have women at a supporting role at best.
At least thats one thing you cant say about a Mahesh bhatt movie.
(Gawd, that was a nice vent!)
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brangan
July 7, 2007
Lakshmi: Thank you. But then, this is a big-budget film with a decent cast, so I’d hardly dismiss it as *low* 🙂
Shankar: I’ll see if I can lay hands on that album. Sounds interesting. But this is the first I’m hearing of them.
ad: Gawd, that *was* a nice vent 🙂
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Manish
July 7, 2007
Aditya: yep, you’re right..that wasn’t a Bhatt movie. My mistake.
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Manish
July 7, 2007
Shankar: Yes Raj Kapoor and Chopra did have the brand value..but I was talking more of ‘modern’ directors. Chopra had slowly built the ‘franchise’ over time. And even then, he always needed big name stars to sell his wares. Not Bhatt.
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Akshay Shah
July 7, 2007
Bhatt rocks! Really looking forward to seeing AWARAPAN! Ace review Baradwajbhai!
A.Shah
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George
July 8, 2007
You noted that Maula was a wonderful composition by Pritam … the most difficult thing about the soundtrack has been trying to figure out what Pritam did besides a good engineering job. If you take a look at the CD, each track has its own composer credit (Maula, incidentally, is composed by Rafaquat Ali Khan). The ambiguity is echoes that on the credits of “Zeher,” which, interestingly, was Mohit Suri’s directorial début.
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brangan
July 9, 2007
A. Shah – thanks bhai
George – I remember the credits saying the music was by Pritam, and I went by that. So that’s not the case?
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Shankar
July 9, 2007
Baddy, here is a link to their Hindu review…I’m telling you, check them out…you will not be disappointed. Their music sounds absolutely professional and tight, for a debut album.
http://www.hinduonnet.com/thehindu/mp/2005/01/27/stories/2005012701970300.htm
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George
July 13, 2007
The CD also gives Pritam a music credit. I’m not sure what the deal is — everyone seems to be mum on the subject.
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