Sunday, May 28, 2006

FILM REVIEW: (A) Fanaa

Fanaa- the latest offering from Yashraj Films- isn’t at all unusual: the tale of ‘a pair of star crossed lovers’ is as old as Time itself. Come to think of it, even the movie’s plot isn’t novel: profligacy of films depicting die-hard militants redeemed by their all-consuming love for unsuspecting would-be partners- who epitomises the syncretic nature of a now forgotten 'Kashmiriyat'- constitutes a distinct contemporary Indian cinematic genre in itself. In this context atleast, the shroud of secrecy surroundig Fanaa’s release- its producers remain remarkably tightlipped about its story- seems wasted. Does this mean that one shouldn’t go through the trouble of seeing it?

Well, that depends on whether one watches a film simply for the novelty of its plot or for the way it is told. In Fanah’s case, it’s the telling of the tale that counts. Yashraj is Bollywood’s Cupid: Hindi cinema’s unsurpassable- if somewhat mischievous- god of love. Not surprisingly then, the onscreen chemistry between Rehan (Aamir Khan) and Zooni (Kajol) is simply delicious: prolific use of Urdu couplets - at once flirtatious and powerful- as the characters woo each other amidst Delhi’s majestic medieval ruins during the film’s first half gives their romance an aura of timelessness. Even historical inaccuracies can be forgiven: it wasn’t Shahjehan who compared Kashmir to ‘heaven on earth’ but his father Jehangir. And speaking of fathers, I think Rishi Kapoor is wonderfully restrained as Zooni's doting father. It would be a pleasure to see more of him.

Fanaa's problem lies with its second half: the whole issue of counter-militancy is tackled in a rather cosmetic manner. Even Tabu’s casting as a RAW (it’s no longer called that but who’s keeping score?) officer in hot pursuit of Rehan- who despite his character's calculated cold-bloodedness retains our sympathy throughout the film simply because he comes across as someone who sincerely believes in what he does- does little to make it convincing. The action- most notably a high-adrenalin cat-and-mouse chase cutting across an icy glacier- is reminiscent of sequences from what could well be a James Bond film.

Fanaa's political message is far more 'liberal' than any previous film: militancy effects both India and Pakistan; and Kashmiris have been betrayed as the promised referendum never took place. That may not necessarily be true: Sheikh Abdullah, the most popular leader of the Valley, was decidedly pro-India at the time the instrument of accession was signed with the then maharaja Hari Singh.

Despite these minor flaws, Fanaa is a good film: after all, it is at heart a love story. And both Aamir and Kajol (making a comeback after five years of marital absence) keep the screen sizzling. If for nothing else, one should go and watch Fanah for this. Dev Kohli, the director, has given us yet another treat.

AJ

Friday, May 26, 2006

ESSAY: (A) On Raipur


STATUARY WARNING:
ISOLATION IS HAZARDOUS TO HEALTH


(1)
Recently, while browsing through a website, I happened to listen to an audio recording of an interview given by the prominent journalist Mr. Lalit Surjan. When asked to surmise Chhattisgarh’s performance over the first five years of its existence, he made a rather succinct observation: “the ‘intellectual class’,” he lamented, “is silent.” However, the maddening silence of the intelligentsia constitutes only half the picture. The fact is infinitely more troubling: the total absence of debate in a state inhabited by over twenty million people indicates a fundamental lack of ‘collective conscience’ (a neo-psychoanalytic phrase adapted from Carl Gustav Jung’s somewhat mystical concept of collective unconscious). Are we- and here, I use the ‘we’ in its broadest possible sense comprising both the so-called intellectuals as well as the non-intellectuals- so self-absorbed with our own personal problems that we summarily overlook- even dismiss- those confronting the community?

Not too long ago, Ms. Arti Dhar, the then state correspondent of The Hindu, decided, admittedly against my advise, to use her state-awarded Chandulal Chandrakar Fellowship to research Raipur: the result was ‘Vignettes’, published by the Department of Public Relations. Despite the non-serious title, this book remains unique as the lone post-colonial successor to the antiquated District Gazetteer (last updated in the 1930s). A cursory reading of the book is enough to arrive at the frightening conclusion that Raipur is, for better and worse, all history and no culture. Or to be more precise: whatever culture there might have been was swallowed-up by the mushrooming City. Much like Sir VS Naipaul’s account of Indonesian, Pakistani and Iranian Islam, the city of Raipur is quickly erasing its past; but unlike these, it has failed to create- even through wholesale mimicry- its present. Consequently, this city exists in a space-time void.
Read More (आगे और पढ़ें)......

Return of the Prodigal: Villain or Victim?


Note: This article was first posted as an informal response to an ongoing discussion in the webforum chhattisgarh-net. It was later translated into Hindi and published by the Raipur-based newspaper "Chhattisgarh".

Frankly, I am surprised at the number of comments posted consequent to my arrest about ten months ago: the topic, which posits a linkage between my Papa’s ‘pro-poor’ stance and my incarceration, is itself somewhat fascinating insofar as it encourages a rigorous contextual ‘rereading’- or what the post-modernist might call ‘deconstruction’- of what has been published in mainstream media. Allow me then to contribute, albeit belatedly, my own version to that now-forgotten debate.

Upon my release a few days ago, I was asked ‘how I felt?’ It is impossible for me describe ‘the agony and the ecstasy’ of ten unending months in ten quick seconds, which is the about the time the electronic-media is likely to allot to a ‘jail-bird’ like me. Yet, ten months is a long time- almost an eternity- to put things into perspective: the sad solitude of the seven by ten feet high-security prison-cell allowed- perhaps even compelled- me to indulge in philosophical introspection as well as analytical observations of the Carceral life, both of which have found their way into a four-part Jail Dairy, four plays, quite a few poems and drawings. Someday, they will be published and the reader will gain an insight into the ‘punctuated transformations’- the waltz between nature and nurture- that have molded me.

Whether I am a victim of high political conspiracy, or whether Justice has finally caught-up with me is not for me to say, atleast not right now when the matter is subjudice. What I do know for certain is this: I am being tried for the murder of a person whose name I hadn’t heard before; and the consequences of whose death have been equally if not more tragic for my family as for his. Despite assertions to the contrary, however, the fact remains that in India, we still uphold the view that ‘a person is guilty until he establishes his innocence’ when infact the opposite- ‘a person is innocent until he is proved guilty’- constitutes the bedrock of civilized jurisprudence.
Read More (आगे और पढ़ें)......

JAIL DIARY: Parts One and Two: April 29- July 8, 2005

PART ONE

(A)
WANDERER

April 29, 2005
Tomorrow, I return to Raipur , possibly my first visit this year: as always, it gives me little cause for celebration- people who gave this urban necropolis a certain degree of humanity shall remain conspicuous by their common and several absences, and the city itself shall take on the tenor of J’accuse. Still, how can I forget that the day itself, taken out of its miserable habitation, is by far the most precious of all? When I do ‘look’ at Papa- and I mean really look, not just see, which to me is an unconscious act, the involuntary function of the eye- I feel blessed, undeservedly so. To be born into such self-made greatness can be overpoweringly humbling: to be measured up against that which is surely immeasurable, and in my case, to be universally acknowledged- nay, condemned- as the sine qua non of his myriad miseries that Life- Fate, Destiny, God- reserves for a chosen few. Rationally, it might be possible to convince myself otherwise. But Reason is for the weak-minded- ah, the painful Paradox of Providence!
No: despite protestations to the contrary, I cannot but help feel passionately about Papa: he has become- and biologically speaking, always was, is and will be- the Essence of my Existence. Gladly would I sacrifice myself for him to be able to walk once again. I imagine those legs spring to life as the firmness of their musculature resolves to produce gallant, majestic strides: lo, he resumes his place at the avant-garde:
Ekla chalo
And others follow.


I visualize the musical-imagery: Stravinsky’s Rites of Spring. The primordial lake churns, giving birth to Life. And it pains me to realize that this is one gift I cannot give- and the one gift he yearns for the most. What I can try to give him instead is Hope: I’m told that it is an elixir that works magical wonders.
*
Read More (आगे और पढ़ें)......

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CONTACT ME. मुझसे संपर्क करें

Amit Aishwarya Jogi
Anugrah, Civil Lines
Raipur- 492001
Chhattisgarh, INDIA
Telephone/ Fascimile: +91 771 4068703
Mobile: +91 942420 2648 (AMIT)
email: amitaishwaryajogi@gmail.com
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