Thoughts on ‘Njan Steve Lopez’, and the problem with email interviews.
Slowly, surely, Rajeev Ravi, known to most people as “Anurag Kashyap’s cinematographer,” is creating an identity for himself as a filmmaker. His superb first film, Annayum Rasoolum (“Anna and Rasool”), was about a young man who falls in love. The girl rebuffs him at first, then she says she loves him – and then fate throws a big, fat spanner in the works. The young man gets involved, somewhat tangentially, in some criminal activity, and things are never the same again. One of the marks of an auteur is the recurrence of themes, motifs, events, and it’s certainly too soon to even be considering Ravi an auteur – but his second film, the fascinating and deeply atmospheric Njan Steve Lopez, follows pretty much the same trajectory. Young man. Rebuff. Love. Spanner-throwing fate. Tangential involvement with criminals. It’s all there – but in a different form. Annayum Rasoolum was essentially a love story, while Njan Steve Lopez (“I am Steve Lopez”) is a coming-of-age saga.
And the protagonist, Steve Lopez, certainly needs to come of age. At first, he’s just an amiable loser. He drinks. He sleeps all the time. The girl he likes, Anjali, says he lives in a fool’s paradise and has no plan. (She’s more focused. She’s moving to Bangalore, which is where all young Malayalis, at least the ones on screen, seem to be heading these days.) Then, one day, he witnesses a brutal attack – men he doesn’t know are hacking away at a man he doesn’t know. Probably for the first time in his life, he does something for someone else. He gets a sense of… purpose. He sets about saving the victim. This is where the film really takes off. Coming-of-age stories are usually woven around dysfunctional families or an ill-fated romance, but Njan Steve Lopez locates the protagonist’s arc in the midst of the kind of paranoia thrillers Hollywood made in the 1970s (though in a more muted form). Deep cover-ups, an unyielding establishment, mysteries that are best left untouched – that’s the kind of stuff Steve gets into.
The film is really about a quest – a quest for answers, a quest for identity (note the “I” in that title), a quest for the political in a life that’s so far been only about the personal – and I was thrown off, a little, by the Camus quote at the beginning: “Every act of rebellion expresses a nostalgia for innocence.” Because I didn’t see much rebelling here, at least the kind you find in the average angry-young-man movie. I asked Ravi (via email; he was in Cochin) what the quote meant to him, and he replied, “Basically, the film is about this boy who realizes that his dad is not on the right side, the side that his parents and society have schooled him about. A decision to go against this is itself a rebellion for me. The thought of Steve going against his father and the time he takes to take the step is the act of rebellion… It’s an internal rebellion, going against everyone’s advice.”
I then asked him about the film’s dreamy, hypnotic pace, which is one of its greatest strengths (just as it was in Annayum Rasoolum) – and yet, commercially speaking, probably one of its drawbacks as well. Wouldn’t he be able to look at a larger audience with a film that moved faster? He said that he gets a grip on the pace of a film as he goes about the process – “it’s an inherent pace that develops. I don’t believe in manipulating the pace for commercial purposes. My basic intention is to tell a story, and the pace sets in during the filming.” When I asked him about his music – gentle, plaintive background scores, with lots of acoustic guitar, even in the fight scenes – he said he didn’t have an explanation. “It’s the instinct or the feel. I prefer to have a kind of narrative in the music as well – an interpretation. I am unable to give you a technical explanation. It’s just the feel. I had two people doing the background score.”
I was also curious about the second half of the film being a mirror of the first. There’s another woman named Anjali. Another scene where Steve peers through a barred window and sees a housewife doing chores. Another out-of-the-blue attack that he witnesses. Another wounded thug that he takes to the doctor. Another reason for his father to be upset with him. Another status update on Whatsapp. Another run-in with cops who suspect he may have been drinking. Ravi said, “Steve is drawn out from his world into another space, which is actually not alien to him. There are similar incidents, which are supposed to be reflected in a different way. So this was intentionally done.” This is when I wished I had spoken to Ravi directly about the film. Emails just don’t give you what you want. You just end up with a fraction of what you are really after.
There are questions, too, that cannot be adequately expressed through email. Face to face, you ask a question, and the interviewee responds, and then you tweak the question, make it sharper, and he gives you a more accurate answer, and then you zoom in more, and he zooms in too, and you finally get the answer you were looking for. For instance, I wanted to ask Ravi about the scenes (this is really an editing thing) where something minor, like a grace note, happens after the point of the scene is over and done with – the long shot that shows Steve staring at a gurney being wheeled away, the shot of feet running down a flight of stairs. But I knew this kind of nuts-and-bolts question would never work over email. I asked him, instead, if he felt that Steve could be labelled stupid by viewers, for not minding his own business, especially when he’s not really lit with a big enough fire inside to do the things he does, to rebel as he does (if that’s how you want to read his actions, following that Camus quote). Ravi said, “Yes, Steve will be called stupid by everyone. For me, Steve is anyone in that age group. He’s not a hero. He’s just a normal boy who does stupid things.”
Lights, Camera, Conversation… is a weekly dose of cud-chewing over what Satyajit Ray called Our Films Their Films. An edited version of this piece can be found here. Copyright ©2014 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Rajesh
August 29, 2014
For once, I agree with almost everything you write sir (didnt like it that you bring up Hollywood here too, we saw this kind of cinema more in Europe, very little in Hollywood).
Brilliant cinema, even better than Annayum Rasoolum because of what is happening and the underlying ‘message’ or what not one would like to call it.
Finally, Malayalam cinema has got one director who has his own style of direction. Just like you can recognise a painter from his strokes or style, I think I will be able to recognise a Rajeev Ravi movie without seeing the credits. He has a clear cinematic signature.
I feel glad that there has been two good attempts on cinema in Malayalam, Steve Lopez and Munnariyippu. What a relief.
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Srihari N
August 29, 2014
Thanks BR for the write up. Rajeev ravi is definitely making a mark as a bold and inventive story teller sans the commercial compulsions.In an age where you are bombarded with jump cuts and racy narratives, Here comes a filmmaker who takes the viewer experience the movie in its own pace.The resonance of the film will linger long after the movie and we keep going back to it for the statements it makes.
Last week, we had another malayalam film called Munnarayippu(“Warning” )by Venu- acclaimed DOP that was sensible,genre-bending and inventive to the core.This is again a little gem like Steve Lopez though different in treatment where in there is no spoon feeding and the interpretations are left to the audience..The film plays out in your mind and you get the dark humour which is a revelation.
Its refreshing to see DOPs such as Venu Sir and Rajeev Ravi never getting overawed by visual extravaganza for their directorial ventures.
Hope you get a chance to view this as well and let us know your thoughts.
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brangan
August 29, 2014
Rajesh: For once, I agree with almost everything you write sir (didnt like it that you bring up Hollywood here too, we saw this kind of cinema more in Europe, very little in Hollywood).
Can you tell me where in Europe you found the kind of film I’m talking about here: “paranoia thrillers Hollywood made in the 1970s (though in a more muted form). Deep cover-ups, an unyielding establishment, mysteries that are best left untouched…”
Srihari N: I doubt I’ll be seeing “Munnariyippu” anytime soon (with subs, that is). Even “Drishyam”, it took such a long time to get hold of a screening with subs,
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Paresh Palicha
August 29, 2014
Wow! There is everything I thought about this film, but, couldn’t articulate it in such a beautiful way. And, for the same reason I avoid interviewing him via email, once I tried but got only one line replies (my questions were longer than his answers).
Best,
Paresh
PS: Have you got a chance to see Liar’s Dice by Geetu Mohandas (Rajeev’s wife & co-writer of NSL). Please go through this link: http://pareshcp.blogspot.in/2013/12/heard-at-last.html
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Sandeep S
August 29, 2014
Recently in an article I read that John was not fully satisfied with the making of Amma Ariyan. After watching Steve Lopez I felt that if he was alive today in this age of WhatsApp he would have definitely made his film in this manner. A political film in all sense. A bold mirror towards a selfish society. New age parents in this neo liberalized economy who teaches their offsprings to keep their eyes closed towards the problems of others , a generation of youngsters who cannot respond towards a ruthless system. Steve Lopez is a journey through them seeking for answers. It is allegorical that the dad who warns his son to keep his mouth shut himself is the person supposed to secure law and order . This film needs appreciation starting from its innovative posters. The title song / dialogues which was a rap cum conversation between two cops was really funny and bears a tinge of oppression. It also delves into the geographical arena of this city and their way of speech. Transformation of Steve from a lover boy into a social being who asks unending questions to the system is shown with truthful incidents and atmost reality. Reality here I mean that the one you cannot find in ‘films’ . farhaan is really convincing as Steve . One cannot blame people who couldn’t connect with Steve or this narrative , as their sense of viewing a film or broadly the film culture here is altered by the films which are responsible for this.
Steve Lopez is one of those rare political films ever made and that should not be missed in big screens. No wonder if you felt regret for the lost innocence.
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Saurabh
August 29, 2014
Rangan: Characteristically terrific piece here Sir. I was really looking forward to watching this in the theatre in Delhi but the film never released here (the makers had advertised that it would be released with subs in all metros, but it just never reached here!). I consider Annayum Rasoolum a modern day classic and certainly the best romantic film since Kadhal. Also I don’t think there exists a more ‘interesting’ young actor in India than Fahadh Faasil- he is one of those rare actors who do a lot on screen by almost doing nothing. Also he is perhaps the only star-actor in contemporary who chooses roles which deconstruct his star-persona (for someone who had no less than 12 releases last year, he simply refuses to play even one role where his character is a straight arrow. I doubt there will be another actor who allow himself to be penectomised on screen. Apart from Annayum, my favourite performances of his are in “Artist” and “North 24 Kaatham”. Even the “Akam”, “22 Female Kottayam” and “Amen” perfs. deserve mention)
BTW I am not sure if they are screened with subs in theatres in not, but almost all Malayalam releases are released with subs on DVDs within 3-4 months of their theatrical release (and if you want to go down the unofficial route, you can download them online with subs very easily as they are available on torrents, with proper BluRay and DVD prints, after 3-4 days of their DVD release).
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Saurabh
August 30, 2014
Rangan: Sir, I also wish that you check out this is superb Marathi film from last year “Fandry” (it is again very easily available with subs on dvd as well as online)- this and Annayum Rasoolum were my favourite Indian films from last year. Would love to know your thoughts on it.
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Jphil
August 30, 2014
Thank you for stretching out and tasting more of the fare from across the Vindhyas . RR ‘a annayum ..was a game changer for Mallu cinema and I am eager to savour nsl ASAP . Here in the U.K. it’s practically impossible to watch left of centre movies like these on screen and the divine cinematography of movies like these make it a veritable crime to watch on a pirated stream .
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Jphil
August 30, 2014
Vindhyas ??!!! I meant the ghats . Something Freudian going on there I confess 😉
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MANK
August 30, 2014
paranoia thrillers Hollywood made in the 1970s (though in a more muted form)
Yeah, the film reminded me a lot of Parallax view and chinatown, except with a younger protagonist in the lead. I am glad that Rajeev ravi settled for an ‘Organic pace’ , rather than a manufactured fast pace with jump cuts and zoom lenses and all.I wish Farhan fasil was more effective- not that he is bad, this being his debut – but still i was underwhelmed by his performance.But the quality of the film didnt surprise me at all as it was coming from the maker of Annayum rasolum. The real surprise was Munnariyipu. The previous films of venu as filmmaker were underwhelming – though he’s an ace lensman- and mammootty hasnt had a good film or performance in ages.This is the comeback of mammootty as one of the greatest actors of the country, he is really terrific in the movie.
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brangan
August 30, 2014
Paresh Palicha: No, I haven’t seen “Liars’ Dice.” Is a subtitled print available online?
Saurabh: Yes, I’ve heard a lot about “Fandry.” Must check it out.
Jphil: Well, you give us subtitles and we’ll watch happily. Otherwise, how do we non-speakers of various Indian languages truly “get” these films? 🙂
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brangan
August 30, 2014
MANK: I’m going to disagree with you about Farhan’s acting.
Acting is not always about “performing” or “emoting,” which instantly clues us in to the mental processes of the characters. Sometimes it’s just about being blank-faced — intentionally or otherwise — and allowing the audience to PROJECT whatever they want onto the character. You may interpret his motives one way, I may do this another way, and this “vagueness”, this lack of conclusiveness, becomes part of the film’s free-flowing design. An open-ended film like this needs an open-ended performance like this.
Again, I don’t know if Farhan is a good actor who’s consciously gone blank, or if he’s incapable of doing anything else — but this blankness worked perfectly for me.
PS: This is why it is difficult to evaluate performances sometimes. You have no way of telling how much came from the actor, how much was decided by the director.
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MANK
August 30, 2014
Again, I don’t know if Farhan is a good actor who’s consciously gone blank, or if he’s incapable of doing anything else
Agreed, thats why i mentioned ‘this being his debut performance’, so we will get a clearer picture in his next film.But i disagree that an open ended film needs a blank performance. Jack nicholson was as Nicholsoneque in chinatown as he was in any film , but that didnt spoil the film for me. Actually having a lively performance in the lead in a blank film sometimes work in its favor- atleast from an audience perspective- in getting more involved in the film.
But i agree with this:
‘You have no way of telling how much came from the actor, how much was decided by the director.’.
Since this being Farhan’s debut and Rajeev being a director who leaves his imprint on every aspect of his film- this could be very much a call of the director or may be he just found the blankest actor to suit his vision. 🙂
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ThouShaltNot
August 30, 2014
“..Sometimes it’s just about being blank-faced — intentionally or otherwise — and allowing the audience to PROJECT whatever they want onto the character..”
So, you’re telling me there’s a chance, says Ajith (even if 1 in a 1.2 billion) 🙂
“..Again, I don’t know if Farhan is a good actor who’s consciously gone blank, or if he’s incapable of doing anything else..”
Ahh bummer, that was the shortest distance between hope and despair.
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Srihari N
August 30, 2014
Rangan,
I completely rue the fact that these films do not come with subs on release but I am not sure how much of diligence goes into the subs while maintaining the essence of the film. Steve Lopez and Munnarippu are mood pieces that rely on the unwritten word that gets carried by the sharp dialogues,sometimes philosophical at other times carrying subtext crucial to the story. I am compelled to compare the 2 films as both delivers on different mantles. While Steve Lopez needs unobtrusive actors who are all rank newcomers and theatre artists where as Munnariyippu needs the acting powerhouse talents to get the impact.
Mank,
I agree on your observations on Mammootty’s performance.There are very little dialogues, only cues and gestures, gait and a haunting smile(I guess this is already talk of the town;-)) which jolts the viewers for days.I wouldnt be surprised if he walks away with the honours for the year. Not to forget the immense contribution from Venu, Unni R(script) and Bijibal(BGM)
One interesting snippet is Rajeev has always looked upto Venu Sir who in turn has had wide experiences with legendary folks such as John Abraham,Mani Kaul,Padmarajan,MT etc. That lineage or movement should hold good for Malayalam cinems in the years to come.
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MANK
August 31, 2014
Srihari N
Yeah what you said about munnariyuppu and mammootty are true. But i think the film has not managed much of an opening box officewise as it has failed to enthuse the fan clubs.What you said about mammootty’s performance becoming talk of the town is true- but there is a flip side to it as well as the rabid fans who consider the film arty and boring has been vicious in their attacks. Not to mention the fans of the rival superstars who are busy adding this to the no. of flops of mammootty.Some of the comments made about the film in facebook and social media are shocking and downright condemnable. That is what forced Producer Ranjith to go on an offensive against the fan clubs and other facebook users for tarnishing the film.Facebook , that was a blessing for the malayalam movies – especially the indie new gen kind- has now become a bane , for the fans of rival stars to fight it out. Earlier it was done in the streets, now its in the social media.I hope this does not discourage these genuine filmmakers.
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Nikhil
August 31, 2014
I definitely agree that the deliberate pacing is one of the great strengths of this film, as it was for Annayum Rasoolum. Just a minor complaint that I had as someone born and brought up in Thiruvananthapuram – the city wasn’t as much a character in NLS as Kochi was in AR. The opening credits promised much in that regard, but it was not to be.
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Nikhil
September 1, 2014
*^ NSL, not NLS
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Cinemakkaran
September 1, 2014
@MANK I don’t think Ranjith comment was about munnariyuppu. What he said about Munnariyuppu was thankfully it didn’t receive many bad comments. Rest of his rant was in bad taste. Any social media is just a microcosm of the society. Also don’t think social media is not that influential as anyone might want to believe.
As for Njan Steve Lopez the audience I watched with was mostly civil and were seemed okay with the leisure pace. They seemed dissatisfied by the climax. I think NSL’s Amma Ariyan references possibly didn’t make as much an impact as it was expected. It’s also an indication of the fact that times has changed as far as the audience goes. That’s also funny considering the society and the streets that both these films set in is still the same only for superficial changes. Rajeev Ravi laments the apolitical nature of present day youth, but he doesn’t blame the present day youth. He thinks the previous generation was a generation of morons ( His words, not mine).
I thought this review was interesting http://moifightclub.wordpress.com/2014/08/18/film-review-njan-steve-lopez/ and is in line with what I thought of the film.
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suresh
September 1, 2014
I really dont understand why this average flick is getting much attention and critical acclaim. It is certainly different. But not something too good or provoking. It takes the reality mode for narration but, presents the most unreal character -Steve Lopez who appears to be walking the tight rope of retardation. Violence is not something new for the current generation. You see it every day. In schools and colleges, violence is the norms under which even simple disputes are settled. In the streets of Trivandrum or any other streets in the urban earth, violence decides your fate. But Steve Lopez appears to be from Mars. He drinks and lives somewhat an urban life. But surprisingly, he is never exposed to violence. Obviously, he has never seen a regular Malayalam movie where you see these gang wars. He has no idea of the threat he walks in and peers in. I fail to imagine such a Steve Lopez in the current generation. The last scene of the movie is really ridiculous and the preceding scene where he meets the wife of the lost criminal is totally dramatic. Steve tries to become a tragic hero straight from the plays of Shakespeare. He delivers a dramatic dialogue to the poor lady who seems be to unaware of the dealings of her husband and is living a regular innocent life. Steve obviously destroys her world….Steve Lopez is humane, but rather than innocence, retardation is predominant.
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Paresh Palicha
September 1, 2014
Liar’s Dice is a Hindi film. It is not released commercially, just doing rounds in the Festival Circuit.
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ramitbajaj01
October 3, 2014
Hopefully Liar’s Dice would be released nationwide next month.
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Rohit Sathish Nair
May 3, 2016
Hello Sir
Rajeev Ravi’s third film ‘Kammatipaadam’ is up for release this 20th. Dulquer’s playing the lead role, of a 43-year old man. They say it’s a period action thriller, something about how Kochi became the sprawling city it is today, how gangs came up, something like that.
Looking forward to your views on the film
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Rohan Warrier
December 19, 2016
How did you get his email address? IMDbPro? I couldn’t get it
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