BENEGAL GRAM
A well-intentioned but dull account of a villager who spins a tall tale. Plus, a ghostly story with no spirit.
MAR 28, 2010 – THE GENIALLY APPROBATORY TITLE OF Shyam Benegal’s latest feature has the quaint ring of a different era – say the seventies, where it would have implied a pat on the back delivered to a Swedish pop quartet. But Well Done Abba harks back even further, to the tales that Scheherazade spun over a thousand and one nights in order to stave off execution at the hands of her husband. Here too, we have an unreliable narrator in the chauffeur named Armaan Ali (Boman Irani, often caught “acting”), who, at the film’s beginning, finds his head on the chopping block. Threatened with dismissal, he pleads with his master to listen to his (tall) tale before making a decision. And thus, we have an Arabian Nights-style narrative framework that’s essentially a dilatory tactic, and who knows if the story that Armaan spins – about his trials in boring a government-sanctioned well in his backyard (the title, therefore, is pregnant with pun) – is the truth, or just incident after imagined incident intended to keep the butcher’s knife at bay.
After the modest success of Welcome to Sajjanpur, Benegal strives, once again, for that folksy, RK Narayan-meets-Majid Majidi feel. (The film is set in a village named Chikatpally, in Andhra Pradesh, where rickshaw drivers and passengers haggle over a proposed fee of five rupees and settle for… four.) But this style of gently sympathetic comedy doesn’t come naturally to Benegal, who’s more (or at least, who was more) at home with the raucous goings-on amidst the colony of prostitutes in Mandi. That had its share of socially relevant issues too, but those were consigned to the backdrop – up front and centre was the great gallery of eccentric characters, hardnosed and high-spirited. The populace of Chikatpally, on the other hand, is hardly memorable. We’re invited to laugh at Ravi Kishan’s randy overtures to new wife Sonali Kulkarni (who is urged to get breast implants), while a twin played by Boman Irani (and paired with the redoubtable Ila Arun) is a complete misfire.
Sumitra Bhave and Sunil Sukhtankar, in their Marathi feature Ek Cup Chya (the title is a euphemism for greasing the palm), succeeded, to a large extent, in detailing a similar story. (Like Well Done Abba, they even zeroed in on the Right to Information Act.) Despite the inevitable ungainly stretches where exposition came in the way of entertainment, their account of a hapless bus conductor hit by a whopping electricity bill (and forced to engage with oily government agencies) was powered by an excellent cast, along with empathetic writing that led these people right into our hearts. In Benegal’s narrative, the only relationship that registers is the small-scale romance between Muskaan (Minissha Lamba) and Arif Ali (Samir Dattani) – a love that sprouts over sms-es exchanged in sweetly colloquial Hindi. (Muskaan is the film’s best-written character. She flies kites as a symbol of her independence, as a Muslim woman who doesn’t shroud her loveliness with a burqa and who seeks higher education.)
With no one to particularly invest in, Well Done Abba turns dull very quickly – and it doesn’t help that complex issues are raised and redressed with insulting simple-mindedness. (The conclusion of a subplot reminiscent of Sagar Sarhadi’s Bazaar, about impoverished young women sold off to rich Middle Easterners as “wives,” is galling in its convenience.) It’s interesting to witness how filmmakers of a certain age deal with the burden of stature. Someone like Martin Scorsese strays from fiery personal visions to broadly played-out genre material. And someone like Benegal finds his way back home, to the village-based small-movie, after big-budget missteps like Zubeidaa and Bose – except that his villages, these days, are more the playground of a placid elder-statesman than the canvas of a probing artist. The fire in the belly of the man who made Suraj Ka Satvaan Ghoda – his last great film, also featuring a raconteur, an unreliable narrator – is now a distant speck of yellow.
THE INDUSTRIOUS BOMAN IRANI MAKES his third appearance, this week, as a ghost so impeccably tailored and barbered, his plans for the evening clearly include high tea with Her Highness. (Like any self-respecting multiplex movie of the millennium, Hum Tum Aur Ghost unfurls in London.) Fellow-spirit Carol (Zehra Naqvi), meanwhile, hasn’t drawn a breath in over thirty years, but that tiny detail hasn’t made a dent on her comely person – her cerulean eye-shadow shows nary a smudge, her lips blush like a newly bloomed rose. So this is what lies in wait when we die – the passage to the afterlife may be l’ordeal, but at the other end there’s L’Oreal. What a pity, then, that this makeover didn’t extend to Kabeer Kaushik’s lifeless chronicle of Armaan (Arshad Warsi), who’s recruited by ghosts to clean up their corporeal tangles. Kaushik wants to milk the material for laughs, and he also wants to, Ghost-like, souse us in schmaltz – both ends elude him by a comfortable margin as Dia Mirza, playing a Bambi-eyed love interest, does her darnedest to keep us distracted.
Copyright ©2010 The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Venkatesh
March 27, 2010
Off topic.
“Someone like Martin Scorsese strays from fiery personal visions to broadly played-out genre material.” – Oh so true.
I just saw Shutter Island and for some reason in my mind i kept thinking of a bearded Scorsese sitting in a Taxi behind De Niro in Taxi Driver, waiting waiting ,where is that director ?
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Amrita
March 27, 2010
So this is what lies in wait when we die – the passage to the afterlife may be l’ordeal, but at the other end there’s L’Oreal
L’Oy. Yet another weekend of meh. I feel l’ornery about this lack of l’oblectation.
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Arif Attar
March 28, 2010
Is the story set in London? Because that’s Newcastle they shot the film in. Had heard two years back that Arshad Warsi and Dia Mirza were in town shooting for a film. Now having checked the trailer, I think the whole film has been shot in Newcastle. Probably a first for an Indian film.
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brangan
March 28, 2010
Arif Attar: yes, it’s set in London. Hence the line “Like any self-respecting multiplex movie of the millennium, Hum Tum Aur Ghost unfurls in London” 🙂
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ram
March 28, 2010
Your perspective is stuck in time. Benegal understands that times have changed and so have issues. With the attention span of 10 minutes, there is no way anyone will watch a Suraj ka Satva Ghoda or Bhumika. The man has perhaps the sharpest understanding of current reality among all film makers and changes his idiom without altering his stamp. Boman Irani is delivered a stellar performance. I almost forgot he was acting. There is something about this review which is condescending.
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george
March 29, 2010
congratulations on getting away with that opening groaner of a musical pun
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brangan
March 29, 2010
george: Thanks. Ever since that title was announced, a bad pun was just begging to be made 🙂
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Ramsu
March 29, 2010
I wonder whether the Vadivelu sketch came first or the short story Abba Ka Kuan. I’d put my money on the latter, but I’d put equal money on the writers of the aforementioned sketch coming up with the idea themselves.
Abba seems to start wonderfully — the detailing is so rich that one enjoys simply taking a tour of this village. Then the plot and its various auxiliary strands kick into motion and things begin to go a bit wahoonie-shaped. It is a testament to Irani’s acting prowess that he gives us something to hold on to throughout.
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Radhika
March 29, 2010
>>where it would have implied a pat on the back delivered to a Swedish pop quartet
heh – for being inducted into the rock and roll hall of fame, eh?
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Karthik
March 29, 2010
Rangan…Have you caught Mundhinam Partheney yet. Found it to be a refreshing urban flick!
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brangan
March 29, 2010
Karthik: Yes, I did. The film has its problems but there were solid laughs that tided it through. Angadi Theru on the other hand… Grrrr! Writing about both next week.
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Sendhil
March 29, 2010
Did you watch Dev Benegal’s Road,Movie starring Abhay Deol ? Any musings on that?
Also, I remember you reviewing Welcome to Sajjanpur,but dont seem to find it in the Star Ratings. I see Welcome to Abba has gone straight to Below Average.Just curious how much you would have given Sajjanpur.
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brangan
March 29, 2010
Sendhil: That wasn’t a review, but a Between Reviews. So no rating. BTW, two-and-a-half stars isn’t a *bad* rating. It just means it’s not quite a *good* film IMO.
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Arvind
March 29, 2010
Baradwaj
Did you check out Angadi Theru, yet? Can we expect a review on that?
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duh
March 30, 2010
it’s set in newcastle for definite..i saw it being filmed and there was this thing on b4u where they tgalked about where it was set – newcastle
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brangan
March 30, 2010
Arvind: I did see Angadi Theru. Didn’t work for me at all. The milieu was interesting for about five minutes and after that, it just became window-dressing. The film is just a love story set amidst the impoverished (not that there’s anything wrong with making a love story set amidst the have-nots), but poorly written and made and (especially) acted.
It’s the kind of film that thinks it’s being “honest” and “realistic” because it delivers one tragic/melodramatic bludgeoning after the other. I wasn’t as huge a fan of Veyil as some others, but this was a new low. Will write about it in a coming BR.
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bart
March 30, 2010
I am a big fan of Veyyil but Angadi theru was just downright bad after the initial plot setting. It was like watching a never-ending tear jerking teleserial… (good songs were a minor reprieve but again not all the picturisations)
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Arvind
March 30, 2010
Baradwaj
Interesting Perspective [:D] Going by the trailor, I thought it would be a wannabe Paruthiveeran, but I found it very refreshing and an appropriate portrayal and it worked well as a commentary for me.
Well, will hold on further arguments till that column comes out [:D]
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Manish
March 30, 2010
Baradwaj – I know what you mean by old masters trying to find a space in the new age. Can see that with someone like Govind Nihalani. But not with Shyam Benegal.
Btw, did you see Hari Bhari? Came after Suraj.., and was a very good watch. Perhaps not a ‘great’ in Benegal’s book, but still..
Sajjanpur was quite different in its approach from others, and I would tend to agree with Ram’s comment above, that Benegal seems to be catching on the new age issues fairly well, and moulding them into his style of storytelling.
You can’t expect him to make a Vishal Bhardwaj like brooding thriller, just to fit into the new definition of thinking man’s director!
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Hari
March 31, 2010
BR: Just curious to know, what’s your take on the socials made by Benegal such as ‘Nishant’, ‘ankur’ and ‘manthan’?
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Nova
March 31, 2010
Hated the first movie… Shyam Benegal should not try to mix commercial and parallel cinema – they are best left alone!!
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brangan
April 1, 2010
Manish: I remember not liking Hari Bhari at all. I thought it was a screenplay spun around a bunch of fertility issues, more like an educational feature. Maybe I need to watch it again.
Hari: Nishant is a great film. I’m not sure how Ankur (which was more polemic) holds up today, but from what I remember, it’s pretty damn good. Manthan too. Till Suraj Ka Satvaan Ghoda, I don’t think there was a single dud from Benegal. I love even the less-heralded films like Kalyug and Trikaal.
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Manish
April 1, 2010
Baradwaj: Yes, please do. Maybe I’m too ‘city type’ and therefore was attracted to so relevant, yet dramatical display of rural life.
If you watch it peacefully, that movie makes you cry at the death of a buffalo!
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Manish
April 1, 2010
And btw, Manthan was much more of a ‘screenplay spun around a bunch of social issues’. If ever there was one.
Benegal has always been this way, IMHO. It’s just that in today’s world, where as I said earlier our definition of thinking man’s director has become much more sophisticated and urbane (Kashyap, Bhardwaj etc) that we’re just not able to relate to Benegal.
If this is not the case, tell me when was the last time you appreciated a movie on rural issues?
Oh and actually…before I forget….after Suraj ka…and Hari Bhari…there was also SAMAR from Benegal. Heard/read a lot of good things about that one. Meaning to watch it. Did you?
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brangan
April 1, 2010
Manish: I don’t think his earlier films were always that way. Bhumika, Kalyug, Nishant, Charandas Chor, Trikaal, Suraj Ka Satvaan Ghoda, even Mandi for that matter — there’s a difference between doing research about a milieu and stringing a screenplay around the nuggets thus unearthed and using a screenplay as a mouthpiece for issues. I felt the latter tone, that mildly hectoring tone in Hari Bhari.
I don’t care for issue-based films at all. I don’t care for being lectured at the movies. Make me laugh, cry, puzzle me, dazzle me, make me tear out my (non-existent) hair in frustration — but for heaven sake don’t talk down to me and seek to ennoble me! That’s what the religious right is there for! 🙂
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ram
April 3, 2010
i dont think Benegal every lectures. There is something about his cinema that makes you aware. Sometime there is no point in deconstructing. The challenge with reviewers is to really understand the craft. I do think Rangan knows his cinema but there is an air of arrogance. i think Rangan you should go and interview Benegal to understand the man.
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Qalandar
May 3, 2010
Man, Benegal’s recent films have all been snoozefests: think about “Hari Bhari”; in fact, given that Zubeidaa was the most obviously commercial of the lot, it was frightening just how boring it was. And let’s not even talk abouty Bose — how one takes this so very interesting life and makes a film the experience of viewing which is akin to watching paint dry, is beyond me. Welcome to Sajjanpur was actually the least unsuccessful of the lot.
I’m still enough of a sucker for the Hyderabadi accent to (eventually) check this out, but I don’t have hopes of liking it…
PS– Baradwaj, any chance of a “Recent Comments” sidebar? I don’t know if I’m the only one, but I like to keep track recently active threads, etc…
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