SELL CULTURE
Shimit Amin, once again, makes a charming, minor-key movie about material that might have been better served belted out with brassy energy.
DEC 13, 2009 – IT’S PROBABLY NOT MUCH OF A STRETCH for an actor to play a salesman, for what is acting if not snake-oil salesmanship, the peddling of the patently absurd notion that the same off-screen person is any number of different people on screen? Even the tools of the actor and the salesman are the same – wheedling charm, hoodwinking wiles, never-say-die perseverance, stoic powers of persuasion, an utter lack of shamelessness – and few actors working today would appear better suited to playing a salesman than Ranbir Kapoor. It’s not that I think he’s a bad actor. He’s an appealing screen presence, and he undoubtedly possesses the basic skill-set to portray your garden-variety, yuppie, mainstream-movie hero. But his performances, so far, have had a puppy-eyed single-mindedness in overselling himself to his audience. Almost every gesture has been a tad overwrought, every line reading a mite overdone, every charming move a wee bit over-calculated to ensure that we keep renewing our AMCs for the product that’s his persona.
So it’s certainly ironic that the most unvarnished, underplayed performance of his young career comes in a film where he opts for a profession that’s typically dominated by shrill hucksters. In Shimit Amin’s Rocket Singh: Salesman of the Year, Ranbir plays Harpreet Singh Bedi, a Commerce graduate who just about scraped through his exams. In a beauty of an opening scene, he sits in front of his computer, scanning his college web site for his name, and when he realises he hasn’t flunked out, he doesn’t do what he’d do in another movie, which is to pump a fist in the air and rush out, with whoops of joy, to lift up his protesting grandfather (a completely charming Prem Chopra). Harpreet just leans back in his chair, digesting this most minor of achievements – and it takes a few seconds for a smile to light up his face. Even later, in a badly miscalculated scene where he’s ragged by juvenile colleagues at work, he doesn’t retaliate, choosing instead to suffer like a silent satyagrahi. Like Shah Rukh Khan’s sports coach in Amin’s earlier Chak De India, Harpreet is the very embodiment of Zen calm – an old soul in a young man’s body.
And like those old souls from an older generation – a more innocent, optimistic generation that grew up with Naya Daur and cheered uncynically when a tonga outraced a truck – his values and his choices are what we’d roll our eyes at today. Why, we might wonder, would such a self-effacing, idealistic, laidback and honest person choose to become a computer salesman? (Surely not just because his friends refer to him as HP!) In an early scene, when the DJ at a party threatens to leave, Harpreet, with a combination of conversation and persuasion and negotiation, convinces him to stay. That, apparently, is the justification that he possesses the qualities to make it in the dog-eat-dog world of salesmanship, and even when he discovers, to his disgust, the kind of underhanded practices that are de rigueur in the profession, he opts to soldier on like a peace-loving beatnik convinced that he can strum a guitar and wave a white flag and end the war.
Your falling for Rocket Singh will probably depend on how easy it is for you to buy this development, and how much you believe that the power of simple-minded goodness can overcome the hydra-headed evil that defines today’s marketplace. A director like Rajkumar Hirani would have made us believe in such a construct – a Glengarry Glen Ross without the corrosiveness and the cursing. There’s a wholesome warmth to Hirani’s storytelling, and his Munnabhai movies are steeped in an endearing brand of whimsy that renders the happenings just the right amount removed from grimy reality. Shimit Amin, on the other hand, while a far better filmmaker – he realises his effects with breathtaking precision, even in a film that lingers longer than necessary – is also a far more cool and clinical craftsman. He’s the anti-salesman, who never oversells a moment – even the last-minute speech by his wronged hero is less an eruption of righteous indignation than an expression of bewilderment at a world turned so bad.
Amin, working from a smart (though somewhat predictable) screenplay by Jaideep Sahni, isn’t one to belabour, for instance, the point that Harpreet is as middle-class as they come. We realise this from the shots of Harpreet’s home during the opening credits, and when he says he doesn’t possess the funds to pursue a degree in management. More importantly, his values are middle-class – his screensaver is a picture of Guru Nanak, and when he returns after a night out drinking with friends, a look at this floating image is enough to chastise him into at least brushing his teeth before flopping into bed. (When Ranbir played the upper-class Sid, by contrast, there was barely a mention of a higher power.) Even the world around Harpreet is the kind of middle-class we rarely see in the “upmarket” multiplex movie – the slow-dance music at an office celebration isn’t Baby I love your way but Bheege honth tere.
It’s undeniably refreshing to sink into this well-weathered atmosphere that Sahni has made his own – one that Amol Palekar would have felt at home in – and yet, I couldn’t shake off the feeling that, as with Chak De India, Amin has, once again, made a minor-key movie about material that might have been better served belted out with brassy energy. It’s like watching Alexander Payne’s take on Jerry Maguire, a comparison that comes about because, here too, the story centres on the redemption of a man who throws away his career owing to something he writes in a fit of conscience. At least the sports-movie clichés in Chak De India gave that film its lift, but there are stretches of Rocket Singh that are low-key to the point of catatonia, energised solely through Salim-Sulaiman’s jaunty background score. There’s probably a tiny thesis to be toyed with that Amin struck a perfect balance between form and content in Ab Tak Chhappan, which was produced by Ram Gopal Varma, but in his subsequent efforts for Yash Raj Films, his style has seemed somewhat at odds with the substance.
The real pleasures, therefore, come from the superb cast and their superlative conversations. (Manish Chaudhary, playing Harpreet’s conscienceless boss, delivers the film’s finest speech, towards the end; Amin, admirably, doesn’t make this man a villain, merely a representative of reality). And despite the romance feeling like a half-hearted add-on, the first real encounter between Harpreet and Sherena (Shazahn Padamsee) is a little gem, more so because it takes place in a toilet. Another lovely scene is the one where a jubilant Harpreet, after hatching a borderline-devious scheme to exploit his office facilities for his own little purpose, comes home and announces to his grandfather that they should order pizza. But a minute later, after prayer, he realises there really isn’t much cause for celebration – he has, after all, been dishonest, even if this dishonesty was spurred, contradictorily, by the pursuit of “honesty.” Almost everyone surrounding him gets a few such great moments – D Santosh as the porn-surfing tech-geek, Naveen Kaushik as a smarmy über-salesman, Gauhar Khan as a sleek receptionist hell-bent on climbing the corporate ladder – and they almost reconcile the distance between Amin’s coolness and the audience’s need to warm up to what’s on screen.
Copyright ©2009 The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Satyam
December 12, 2009
Insightful writing as always..
I am disappointed though that you did not review Paa.
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Vivek
December 12, 2009
Really, I’m not exaggerating, if there’s any Bollywood review, that someone who cares to read one should read, its yours.
Still I feel such subtlety as is Rocket Singh has its own place in our cinema. Amin / Sahni will probably keep it coming on in the years to come and it will be welcome respite.
By the way, am almost craving your thoughts on ‘Paa’.
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Divir
December 12, 2009
Great review Rangan. The supporting cast really stole the show here. Quite unlike a Yash Raj movie to not have showpiece songs though. Pocket mein rocket didnt even make an appearance towards the end!
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Debojit Ghatak
December 13, 2009
Found the film highly boring.And repetitive like most Bollywood cliches
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Aman
December 13, 2009
Still have to see Rocket Singh but putting my vote in for a Paa review.
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A
December 13, 2009
Each time i read your reviews, I just find myself nodding with your observations..I just loved the the way the opening credits were presented and the subtle hints on his background like you’d pointed. But, dont you think the ending was a little too abrupt and turned out a wee bit like a moral science lesson with the scene at croma?
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brangan
December 13, 2009
Debojit Ghatak: really enjoyed your piece on Rocket Singh.
Vivek/Aman: Didn’t do a “review” on Paa. But there’s a Between Reviews up this week.
A: Well, I didn’t get the feel that it was a moral science lesson because it’s not as if anyone won. It’s just a change of heart, and he… vanishes. It wasn’t speechifying, more like a conversation about the nature of people and the marketplace.
What is this CROMA, by the way? Sitting in Chennai, didn’t quite get the funda. I mean, it’s an outlet and all, I get that, but everyone keeps talking as if there’s something more to it.
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Anand
December 13, 2009
CROMA is a TATA enterprise and TATA is a name that stands for great business ethicas.
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Anand
December 13, 2009
oops sorry for the typo. ethics.
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Srinivas
December 13, 2009
Hi Baradwaj..agree with you all the way. It was just Boooooorrrrrrrrrrring and ridiculously naive. Only good thing was the performance of the lead and all the supporting cast. I mean, Gauhar Khan???
Still, a complete waste of time. 🙂
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Harish S Ram
December 13, 2009
“The real pleasures, therefore, come from the superb cast and their superlative conversations. ”
that is what makes this movie from an ordinary film into an engaging one … but i still couldn’t get the purpose of returning the company to HP – he isn’t losing money anyway. why should he be generous and want HP back in business?
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brangan
December 13, 2009
Srinivas: I don’t think we agree on our respective assessments of the film at all 🙂
Harish S Ram: Simply because he won’t be able to do that kind of business at all, the “good” kind of business that HP does. He acknowledges that he’s licked, for the time being. And it felt right to me. And his speech before that was just astoundingly written.
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Srinivas
December 13, 2009
LOL..ok..I at least thought that it just failed to engage and that whole honourable employee schtick was just a waste. 😉
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Dharu
December 13, 2009
Baddy, This is one of the movies that I think you have not praised enough :-). After a long time, a movie that I could relate to. I literally pulled out of the dusty memory files campus interviews for marketing!! I hope this movie makes money and they make more of these…the theatre we went to had a handful of people only on day 2!
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shammi
December 14, 2009
speaking as someone who has seen salesmen upclose, it was remarkably authentic – from the reading stuff upside down to tucking ties into the pocket before eating a meal. the man has done his research well. i also found the end a tad difficult to beleive – it may not be business that he can do, but it goes against a barracudea like puri to allow a formidable competitor to get back into the action – and it wasn’t spontaneous – he had the contract all ready with him. giving him a job afresh, yes, that itself was a bit implausible given how different his business model is, but a full mea culpa was a tad difficult to swallow. (more likely the board would ahe chucked out puri for declining sales and sold back rocket because it was proving more of a liability with having to fulfil contracts with razor thin margins.) but never mind, made for a happy ending.
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Arun
December 14, 2009
smart movie and your perspective as always, unique! Knowing few sales guys in media, i know their plight! A sincerely made movie.
But the movie was too long. I think the last half hour could have been made crispier with faster cuts/edits..actually the climax could have been movies most interesting bit had it been made more imaginative
and am unsure if a firm as big as DHL would trust a small Rocket Sales without even an address! whatever happened to the Legal client-service Agreements they sign before they begin work!
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devashish makhija
December 14, 2009
shimit amin’s soul is that of a maker of an understated indie american film. when put in charge of a yash-raj film scripted in a predictable syd field-esque three act structure, his high degree of zen-coolness deprives the film of the jab of melodrama that might have made it a burp-worthy popcorn watch. you’re right when you say his style is at odds with the substance. more so when the substance here, though delectable in its minor details, is simply a rehash of jaideep sahni’s Bunty (from Bunty aur Babli) albeit with a conscience this time. you’re right yet again when you evoke raju hirani. in his hands a premise such as this one would have been touched with the perfect degrees of ebullience and melodrama. jaideep instead makes it sag with predictability. and shimit prevents the film from reaching its true emotional potential. 4-5 terrific perfomances though make it worth the single watch. sad. because its premises like this one that need to rediscover their space in mainstream cinema, the space hrishikesh and basu had cornered till the early 80s. and we lost since, to our mindless manufactured desire for aspirational claptrap.
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Shankar
December 14, 2009
Baddy, it’s still early in Ranbir’s career…his familial lineage would have been a huge pressure when he chose his earlier films. The need to star in “star” films and continue the family name must have been huge. Given that he has opted to act in a low key film is a good sign and must surely portend better things for his growth as an actor. He is no Abhay Deol who has made his name on “alternative” themes and it certainly looks like he doesn’t want to go the Kumar Gaurav path either. It will be interesting to see how his career shapes out…
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aarkayne
December 14, 2009
For some inexplicable reason this movie did not satiate me. I get what they were trying to do, but for some reason felt Sahni was somehow limited by the 120/160 minutes of screen time he had. I would really prefer to see a novel/novella on Rocket Singh and his thought process, his philosophy etc. In fact in a lot of places I felt there was time wasted, really!
And I get the supporting characters, they are truly delicious, especially Gauhar Khan. Man that expression on her face, bordering on the impatience that comes with efficiency of having grown out of your current job and aspiring to do something bigger, loftier even, but being stuck in a cubby hole is simply outstanding!
I do hope this movie makes money, because the talents involved are all important and God knows need the encouragement. Yet I did not totally get the juices….still trying to understand why.
And needless to say, a fatak review from you sir!
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Sivaramakrishnan
December 14, 2009
baddy, the review of rocket singh on indianauteur is by anuj and not by debhojit. It is a great piece but is not by debhojit who as he says found the movie boring. Or is there some other piece by him which i didn’t read?
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Rahul Bhatia
December 14, 2009
Well, saying Croma’s an outlet is like saying the Quarter Pounder is a sandwich. It’s like the Crossword of electronics. Very good when it first came out, never seen anything like it, etc. But there’s still space for a Landmark.
I’ll stop now. This is painful writing.
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SUGGU
December 14, 2009
Agree with Dharu on – you not having praised the film enough! Have been following most of yours reviews and what I find is that in just one viewing you grasp so much, truly brilliant! I’d liked the way you began for KURBAAN – ‘Hardware is there, but where’s the heart’. For me Rocket had all the wares -Hard & Soft in addition to so much of Heart & Soul. One needs to hail film-makers like Shimit (and Ashutosh G) who follow up an underdog winning tale (Chak De & Lagaan) with a subtle and an extremely restrained film like Rocket and Swades resp. You rarely find such fine detailing in Hindi films (Luck by Chance was the last Hindi film this year which was so minutely detailed). The uniqueness of the script, which is why I don’t think is was predictable is showcased at every point which keeps breaking or tweaking the formula. Even in the end we seen the finale being actually the redemption of the antagonist (I know he’e not the villian – still using that term for discussion sake :-)) and in turn the audiences who are empathising with him all the while. Such an honest attempt of writing and making a film – which is exactly opposite of PAA, which is just a USP film and doesn’t go beyond that. A gimmick thats all. Looking forward to your views on Paa.
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Raj Balakrishnan
December 14, 2009
“When Ranbir played the upper-class Sid, by contrast, there was barely a mention of a higher power.” Obviously Baradwaj, Siddharth was a Hindu. And you cannot show a religious Hindu in modern day Hindi movies! It is also a crime to show Hindu temples and Hindu customs and practices – thanks to Karan H Joker and Aadha Chopra.
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VR
December 14, 2009
My piece on Rocket Singh –
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brangan
December 15, 2009
Dharu: Campus interviews? I don’t even want to go there 🙂
SUGGU: I wouldn’t put Shimit Amin and Ashutosh Gowariker in the same bucket at all — but I guess you’re talking about intentions, as opposed to execution.
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arijit
December 15, 2009
for me one of the best hindi films of the year…and all the more surprising since it comes from the house of melodrama (ala yashraj :))…shimit amin and jaydeep sahani have deliberately underplayed everywhere where any other yashraj director/writer would have gone balistic…that way this film is quite un-bollywood (and so refreshing for a change)…
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Mithun
December 15, 2009
BR, did you write a review for Ab Tak Chappan? Please post the link if you get a chance. Just watched the movie again and was totally blown away by Nana’s performance.
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brangan
December 16, 2009
arijit: Reg. “house of melodrama,” I feel that YashRaj gets a bum rap sometimes. Their crap-to-good stuff ratio is as good/bad as anyone else’s. Chak De India was different. I guess the glossy star-quotient of JBJ eclipsed the fact that it was a bold narrative experiment. They backed Laaga Chunari with Pradeep Sarkar (never mind how the final product turned out; they must have at least thought it would be another Parineeta). Bachna Ae Haseeno was again a slightly different kind of romance-comedy mix.
Mithun: Here you go.
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Lakshman
December 16, 2009
Spare a thought for Naveen Kaushik,D Santosh and Gauhar Khan who will be conveniently forgotten for this year’s supporting actor awards. I remember a comment made by you in the same lines for Dev D’s fantabulous soundtrack which was spot on.
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VJ
December 17, 2009
this was a delightful movie and capped off an interesting and satisfying year for Hindi cinema – a year that saw DevD, Delhi-6, Kaminey,Luck by Channce , Lov aaj kal and Paa.
oh wait ! 3 Idiosts is releasing next week ,maybe that would be the icing on the cake 🙂
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musafir
December 17, 2009
Maybe its just me, but is the rest of the bollywood watching junta also beginning to feel that mainstream bollywood is going rather gung-ho on the whole Punjabi story??? It started probably with DDLJ…but its certainly appearing that bollywood has almost become a semi Punjabi-wood….with most mainstream characters having Punjabi names (be it hindu or sikh), ever increasing infusion of bhangra and Punjabi rap into soundtracks, depiction of weddings as typical Punjabi shaadis….and a general “glorification” of Punjabi culture/people. Namastey London, Dil bole hadippa, Jab we met, London Dreams, Love Aajkal, singh is kingh…these are just a few recent movies that allude to my point. Of course, a movie that has a specific mandate to focus on a specific cultural character (e.g. singh is kingh) is well justified in having characterisation from that’s specific cultural system. But what about the other more generic movies…where one doesn’t need to have any one specific culture represented??
I’m certainly not a punju-basher (most of my good friends are punjus)…but wasn’t bollywood supposed to be more of a hindi cinema / pan-indian industry, as opposed to having a more distinct regional identity. Certainly the audience for bollywood comprises far more than just Punjabis !!!! While punju culture is indeed colourful…a non-punju must surely tire of seeing the same relentless, sycophantic, gushing, over-the-top pandering behind just the ONE community. This is all the more ironic, considering that a large part of bollywood as an industry (actors, directors, producers, financiers, technical staff, supporting actors etc) ARE non-punjabi. Having said that…its also the case that a lot of the producers, directors and mainstream actors are indeed punjabi !!!!
Surely we can see many of the other indian communities being depicted in various forms of characterisation in bollywood???? Its time bollywood evolved and moved on from typecasting certain communities…e.g. showing Maharashtrians only as servants, govt workers, cops, corrupt officials, fisherwomen…..and south indians (and again, the lack of distinction between tamilians, kannidigas, mallus and telugus is equally offensive and culturally ignorant) as dark skinned, relatively unattractive, solely orthodox, speaking hindi with a ridiculous accent….or biharis as uncultured boorish oafs. Why must the main characters, the rich, handsome, beautiful, successful characters always be punjabi???
Case in point…..why does the “boss” in Rocket Singh have to have a punju name (Puri)….is it not conceivable that a successful businessman in mumbai (and certain dialogues in the movie make it clear that it is set in mumbai) would be anything BUT punjabi??? Where are the maharashtrians, gujjus, sindhis, marvaris, ,???
Yash Raj and Karan Johar have clearly displayed a total inability to retain cultural/communal objectivity and neutrality in their cinematic endeavors. But then again, they ARE punjabi. One scene from Chak De stands out to me…the scene where the punjabi hockey player has a tiff on the field with the girl from bihar (or andhra…cant recall)…and the former lashes out in punjabi…..and SRK scolds her asking why she is yelling in punjabi, and doesn’t she know that the other girl doesn’t understand punjabi. Well, this just about epitomizes the attitudes of many punjabis….they inherently refuse to see beyond the boundaries of their own culture…and perhaps it is this same cultural chauvism we’re seeing now in punjabi-dominated bollywood.
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brangan
December 17, 2009
musafir: Yes, it does seem to be a depressing trend, something we’ve learned to live with. But as you say, it’s because most of the Hindi-film movers and shakers come from that background. Of course, this shouldn’t preclude them from pursuing characters from non-Punjabi backgrounds, but I guess people pursue what they’re comfortable with. Like the South Bombay directors populate their films with yuppie types.
After your comment, I quickly scanned through the list of films I’ve reviewed in the past couple of years. And there weren’t that many exclusively-Punjabi-culture movies — thanks to the presence of people like Anurag Kashyap, Vishal Bhardwaj, Nagesh Kukunoor, Mani Ratnam, Vinod Chopra, Rajkumar Hirani, Rakeysh Mehra, Balki and so on, plus the “yuppie” directors.
Also, I would not club the Sardar in Rocket Singh or the “Delhi” culture of Khosla ka Ghosla as a part of this “Punjabification.” IMO there’s a difference between someone who, out of habit, opts for a Punjabi character versus films that etch out strong characters who just *happen* to be Punjabi.
Just this year alone, we had strong Maharshtrian characters (Abhishek in Paa, Priyanka in Kaminey), plus Saif in Kurbaan, the cast of Firaaq and so on. I guess the Yash Raj and Karan Johar films loom so large in the mainstream mindscape that they eclipse these other filmmakers, whose films are at least “neutral” if not representative of non-Punjabi cultures.
So to echo your concerns in a slightly different manner, my grouse isn’t the presence of this Punjabi culture. It’s more the relative ABSENCE of other cultures (or their reduction to stereotypes).
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musafir
December 18, 2009
Brangan >> agreed that its indeed the relative absence of or marginalisation of characterisation of other cultures that is the issue here, rather than the punjabiasation per se.
Also agree that some movies, storylines and characters necessarily need to have that Punjabi element (just as they might need to incorporate some other specific characterisation). And yes, Khosla ka Ghosla was not in this same vein of adulating, feel-good punjabiness, as say De Dana Dan. In KKG….the accents, body-lingo and various other subtleties were pure middle-class delhi…right down to the harayanvi inspector who drags Anupam Kher to jail.
My grouse is with movies like De Dana Dan….which is a classic example of this by-now-endemic tendency to paint everything with a punju brush. There is absolutely no way anyone can conclusively prove that any cinematic element of this movie necessitated a Punjabi flavour, let alone an exclusively punju sentiment. This comes across as a deliberate and overwhelming attempt by the director to convey a message that there is a direct link between pubnjabiness and the underlying aura of material success and upward mobility depicted in the characterisation of the movie. Would it have been too difficult to have some of the main characters from some other cultures?? Would the depicted wedding between Samira Reddy and Chunky Pandey be any less glamorous, visually effective, or even less relevant to the plot, if it was say a gujju, Bengali, rajasthani style wedding??
The above apart, of interest to me is the link between Punjabi urban culture and this growing punjabiness in bollywood. Take for example a typical urban middle-upper to upper-middle class Punjabi wedding (be it hindu or sikh). What used to be an event driven more by traditional rituals, relative seriousness and more convergence with other forms of hindu weddings across india, has now evolved into a sho-sharaba affair with multiple events (cocktail night/s, sangeet, mehendi night, wedding, reception etc), with fairly elaborate dressing up, and a wholesome in-your-face filminess that was surely non-existent 20+ years ago. Is it a coincidence that bollywood sees this flamboyance in Punjabi society and then naturally links ostentatiousness, glitz and glam to Punjabi culture, and thereby incorporates that same punjabinessin their movies to create the same perceived effect??? And then again, people see the punjabiness in the movies and this obviously shapes the pop culture even more. So all in all, a repeating cycle really.
As regards the frequent glorification of Punjabi ruralness and its depiction as a vibrant, colourful, forceful cultural system, as in Namaste London, Pardesi, London Dreams etc….i have a theory. This may well be in place to appeal to the Punjabi diaspora in UK, Canada, US, Australia…where a lot of the punjus do hail from small town/rural Punjab. Moreover, it is a unique characteristic of the Punjabi community that even the urban junta from say Chandigarh, delhi still maintains some sort of cultural proximity to the grass-roots of rual punju culture. This is backed by the relatively higher degree of urbanisation of the punju rural sector (in terms of exposure experienced by the people and youth, infrastructure available, extremely high incidence of overseas migration from Punjabi rural sector, and higher standard of living owing to foreign currency repatriations). So a glorified romanticised depiction of the Punjabi rural scene probably does go down rather well with even the urban Punjabi crowd. This is in stark contrast to other communities where there seems to be a distinct cultural and lifestyle divide between the rual sector and urban. I find it hard to think that an urban maharashtrian family would bond well with characterisation of rural Maharashtra !!!!
Whatever the case may be…I for one would like to see more cultural objectivity and increased emphasis on delving deeper into cultural peculiarities, of which there are many in our ethnic melted pot that is India. Movies like Parineeta are extremely refreshing as they provide an intelligent and endearing insight into Bengali culture. Or at the very least, bolywood needs to stop some of its historic stereotyping, esp that of maharashtrians and southern Indians….as that just borders on the offensive.
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Raj Balakrishnan
December 18, 2009
Musafir, glorification of punjabi culture appeals to the pakistanis too, majority of whom are punjabis. Therefore the disgraceful bollywood filmakers lead by Aadha Chopra and Karak Joker have decided to cater to the pakistanis, punjabis and to the other non-Hindu audience. Major reason why Hindi films have distanced themselves from Hindu culture.
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Mambazha Manidhan
December 18, 2009
The jazzy background score was just fantastic eh ?
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Raj Balakrishnan
December 18, 2009
The other trend now is to have the leading man play a Muslim character and the heroine play a Hindu girl. This again appeals to the pakistanis; the cunning crap-filmakers like Karan Joker know that the naive Hindus will not mind. You know what happened when poor Mani Ratnam dared to show a Hindu boy marry a Muslim girl in the film ‘Bombay’!
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musafir
December 18, 2009
Raj Balakrishnan >> you’re mostly correct. Many bollywood directors and producers seem to suffer from some delusional perception that throwing in some heavy dosage of punjabi fare will serve the box office well….and quite frankly, they’re doing alright at the box office. its for the non-punju audience and bollywood stakeholders to take an indirect or direct stance to shape the character of bollywood away from a specific mindset and away from cliched stereotyping, and into the realms of genuine artistic cinema making.
And the relative docility of hindus in general, and the lack of a pan-hindu identity is a huge factor here too, not just in this bollywood context, but in every other aspect of india’s dynamics (political, geo-political, economic, diplomatic, cultural).
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Lakshman
December 19, 2009
@Musafir – a big thanks for the rant! this punjabification has more often than not left me seething though Rocket Singh was a welcome change. Apart from Rocket Singh and KKG i dont remember seeing many movies where they did manage to take Punjab out of the Sardar.
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Aditya
December 29, 2009
I want to add to the point of cast. Mr. Puri was one character who stood out in the film. Had it not been for him and the side characters, I would have definitely put the film into the bag of typical Bollywood films which come and go. Why is it that the main protagonist has to be reduced to the caricature of a ‘Hero’ in Hindi films while the other characters get a full breathing space to develop and mature?
The part where Mr. Puri looks back at his wall where he has hung all the framed pieces of his youthful triumphs, really made me appreciate the beauty which was given to his character. Apart from all the lecture he gives to Harpreet about hardships of entrepreneurship, the fact that he himself was once an entrepreneur stands out. Instead of portraying him as a villainous person, he is given the touch of being human – that he also once dreamed about opening a company, he also once kept everything at stake, he also had his own ideals which helped him make a company. The humanism which is lent to his character makes him much more endearing than Harpreet Singh himself. He is a human after all, just like you and me. He has his own faults and qualities.
The friend of Harpreet Singh, Sai, who advises him to give CAT is an IIT graduate himself, Amol Parashar. It was natural for him to fit into that role and admonish his friend to settle for a safe path rather than become a salesman and suffer all his life.
The character of Nitin Rathore was also one which stood out. He had his family to support. Coming from a middle class background, he could have easily been wheedled into accepting the offer which Puri was making. But he left his job, and took the risk of helping Rocket Singh Corp which was a clandestine company running in another company. He suffers just like others and has to apply for jobs once the secret of Rocket Singh Corp is out.
The character of Giri is also very endearing. He is supposedly the only engineer working in a company full of salesperson. The idea of showing him obsessed with skimpily clad women and downloading all that stuff from his computer is the done thing in all enginerring college hostels. He comes out as the only person whom Harpreet can initially rely. Later he has his own share of doubts and compromises (when he has to share profit in Rocket Sales Corp with other partners).
Why is then that main protagonist so devoid of that sense of being human. Agreed that qualities like scoring very badly in exams, being called zero by the manager make him just like us, but aren’t there moments where one is supposed to look back and think, yes, that’s where I could have been wrong. That doubt, that skepticism is hardly there in Bollwood film hero.That scene where he refuses to order pizza is good because at least he bends, even if in front of God.
Not only in Rocket Singh, other hindi films have also suffered because the main character wasn’t allowed to breath and the complete film sank because of that But yes, going by the recent times, film was really a fresh whiff of taut script-writing and colourful direction.
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B.H.Harsh
December 29, 2009
@Aditya
As far as I can remember, Harpreet *does* sit back and repent for being so self-content all his life that others cant stop pulling him down.
Being Human doesn’t mean having a flaw in his nature or something. A nice person like Harpreet is as human as others, so what if We don’t get to see his grey shades. Being ignorant of reality is good (or bad!) as a flawed character, I guess.
The only thing I brooded over later was the need of keeping our protagonist a Sikh – Wasn’t it just a gimmick, to give the leading man a different look – and thus setting the film obviously a leage apart from the rest??
Any which ways, Ranbir sure can act whatever way the film requires him to – and thats a sign of a real Star Actor our industry is in a desperate need of, to give Hrithik some company after Aamir says ‘I Quit’ 🙂
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