Friday, January 20, 2017

Just about OK



Almost duty-bound, I went yesterday to see OK Jaanu – which brings up the versions I’ve seen of the movie up to three. Did I like it quite that much? I suppose I did, to be so curious about how they had treated the Hindi remake.

It was not surprising but still disappointing to me when OK Jaanu didn’t ‘take’ in the Hindi market. It is, after all, only the thousandth time that something good, even special, from the South has been difficult to translate into Hindi.

What was the problem with this film? It is easy to blame the lead pair, Aditya Roy Kapur and Shraddha Kapoor. And a bit unfair. They were just in a project that was being repotted without due process.

I found Tara ‘off’ in Jaanu – she didn’t ring true... this is not how Tara Agnihotri from Kanpur would behave... what was cute in Tamil was bizarre and tangential in Hindi. Perhaps it's because Mani Ratnam is so steeped in the Tamil way, and his own stamp is so distinct but not so easily conveyed outside the culture.

Baradwaj Rangan makes an incisive point here on why Hindi remakes of Mani Ratnam’s films don’t work. He says, “There is an air of alienation when a Tamilian moves to a “north Indian” city – when Mouna Raagam’s Divya moves to Delhi, when Nayakan’s Velu flees to Mumbai, or even when Guru’s protagonist moves to Mumbai... He’s an outsider. And this outsider-ness – this non-Bombay-ness – adds a layer of subtext to the drama.”

He is so right. That is why it didn’t seem at all odd that Nitya Menen’s Tara would wave to a strange young man she didn’t know and laboriously signal him her phone number - he was a friend of a friend, and he was Tamilian from back home, here in Big Bombay, trying to make his way through just like she was. She knew his sort and in the comfort of that knowledge, he was familiar. But why would Tara from Kanpur?

Shraddha Kapoor is just too much of a “nice girl” to play the quirky character right. Miscast, perhaps. I thought Roy Kapur was better, but not quite anything approaching Dulquer Salman. Dulquer and the incandescent Nitya Menen pitched their characters perfectly: layers of irreverent flippancy over throbbing intensity.

In rewriting and re-imagining the film, Shaad Ali hasn’t gone even half as far as he should have. He should have rewritten so many aspects – the first meeting, the second meeting... Adi’s missing two days... and unforgivably the Hindi version deletes two crucial scenes that brought the story to an emotional boil.

Naseeruddin Shah, however, plays his part far more warmly than Prakash Raj did and Leela Samson was even better this time round. And I loved Chal na kuch karte hain.
Oh well.

Thursday, January 12, 2017

Fursat ke raat din*

It has been a fairly hectic fortnight, one way and the other. Sadhana has been somewhat time and energy-consuming – at least compared to the pace I tend to keep.

So today, quite consciously, has been relaxed. A nothing-day. I ate a lunch of masala oats and salad, washed up conscientiously, which left me feeling virtuous. This winter afternoon, the surroundings are quietish but for a land-mower in the distance. I have been sitting at the balcony door, sprawled out in the accommodative bean bag, doing nothing more strenuous than reaching for the binoculars when a bird happens into my ambit. My rules don’t permit me to haul myself out and totter up to the railing even... even if the passerine in question happens to dart below the view span.

My window of opportunity
In this desultory manner, I have spied white-headed babblers, house sparrows, bee-eaters, sunbirds, sundry LBJs, a white bellied drongo and bounding squirrels. The sparrow in particular flitted within view for several minutes, and therefore, I watched him for as long as he stayed. Shweta’s excellent binoculars allows for a 16x zoom, which is handy indeed if you can find a stable prop for the elbows.

Every now and then, I swing the lens towards a small clearing in the thicket. This is a bit like dropping your keys on a moonlit night and then looking for them only in patches where the light falls. But silly or not, this brown patch draws my attention because this was where Shweta fortuitously saw a leopard once, sauntering majestically into her binoculared field of vision.

There is a Brown Wood Owl that comes to this spot but I haven’t seen it yet. And no elephants either, this visit. But the thing that is most exciting about this perch, as, I daresay, with life, is that it teems with possibilities.

* The title of this post is from Ghalib's sher:
jee dhoondta hai fir wahi fursat ke raat din
baiTHe  rahain  tasavvur-e-jaanaan  kiye  hue

जी ढूंढता है फिर वही फुर्सत के रात दिन
बैठे रहें तसव्वुर ए जानां किये हुए

The heart seeks again those days and nights of restfulness,
Once more, simply sitting, contemplating the beloved