Bombay

Bombay is the second of Mani Ratnam’s ‘terrorist trilogy’, and is the one that I find the most disturbing. I remember the news reports from the real-life events that happened in Bombay in 1992 which are recreated here in authentic detail, and I find the violence here more confronting and realistic, despite a rather romanticised ending. In Bombay, Mani Ratnam juxtaposes a ‘forbidden’ romance between a Hindu man and a Muslim woman with the Bombay riots to create a compelling and disturbing look at the religious divide in India. The film shows how prejudice can drive extreme acts of hatred but also includes the counter ideals of selflessness and acceptance with an almost fairy-tale spin on good and evil. It’s another stunning film from Mani Ratnam that still makes an impact to-day and along with A.R. Rahman’s soundtrack deserves all the awards and recognition that it has achieved over the years since its 1995 release.

The story starts with Shekhar (Arvind Swami) returning home to visit his family in a river-side village in Tamil Nadu. Just as Shekhar arrives he sees Shaila Banu (Manisha Koirala) and instantly he falls in love. Luckily the attraction is mutual and despite their different religions, a romance begins to grow between the two. Shekhar has been studying journalism in Bombay, which gives him a city sophistication and an intolerance for his father’s prejudiced views. Narayanan Pillai (Nassar) is a devout Hindu whose worst fear seems to be that his son will marry a bride from the North of India, since he is unable to imagine the horror of a daughter-in-law from a different religion. Shaila’s family is just as appalled by the thought of Shekhar and her father Basheer (Kitty) quickly arranges a marriage for his wayward daughter when he finds out about the affair. The clandestine nature of the romance allows for some beautiful camera work from Rajiv Menon and we also get the beautiful Kannalanae as Shaila spots Shekhar at a wedding.

I’ve read that Mani Ratnam wanted these scenes to be beautiful as a contrast to events in the second half, and I find it interesting that his idea of beauty is in the wind and rain that are a constant presence in the village. For me, accustomed to the weather in Ireland, I’d thought that this was supposed to represent the cold attitude of the two families to the romance until I read Baradwaj Rangan’s interview with Mani Ratnam. In Ireland, wind and rain is always cold and miserable, but since visiting Tamil Nadu I can appreciate why gusts of wind and showers of rain would be beautiful in a hot and often dry landscape. Despite knowing this, I still feel chilled when I see the wind whipping Shaila’s veil and skirt around, while the crashing waves and constant rain strike me as cold and gloomy even though I can appreciate the beauty of the landscape.

At the same time, coming from Northern Ireland, where it was just as taboo for a Catholic and a Protestant to start a relationship, I can really relate to the problem faced by Shekhar and Shaila; another reason why I find this film so confronting. The attitudes and expectations of society resonate closely to my own experiences growing up surrounded by religious intolerance and I am always thankful that my own family had a more progressive attitude. It does mean that I can understand their predicament here, and to some extent why their families are so worried as well. Beyond their own antipathy to the relationship there is the worry that society will condemn both Shaila and Shekhar, leading to ostracism and a continual risk to their safety.

With their families at loggerheads, Shekhar and Shaila elope to Bombay. They quickly get married and before long have two twin boys Kabir Narayan (Master Harsha) and Kamal Basheer (Master Hriday). The boys are named for their respective grandfathers but are brought up in both religions, while Shekhar and Shaila are easily accepted in their neighbourhood despite their ‘mixed’ marriage. But when the Babri Masjid is demolished and riots break out across Bombay, the boys are lost in the city alone. They are caught by a gang of men who terrorise the children, pouring petrol over them and starting to set them alight in a shocking scene full of religious intolerance and hatred. These are two young boys with no idea what religion is, let alone the differences between Hindus and Muslims, and with their brutalisation, Mani Ratnam exposes the full horror of the riots and the absolute inhumanity of the rioters.

While relations between the communities in Bombay are breaking down, Narayanan and Basheer have gradually turned their enmity into a guarded tolerance, so when both travel to Bombay in the wake of the December riots, they are able to live with Shekhar and Shaila without too much trouble. As the violence continues in the city, their relationship continues to improve as they realise the extremism and intolerance doesn’t reflect either of their own beliefs.

Some of the most powerful scenes here show Shekhar interviewing the religious and political leaders and asking them when the riots will stop, but no-one seems able or even willing to try and bring peace. As riots again grip the city and neighbourhoods are set on fire, the family is torn apart once more with Shekhar and Shaila left to tour the hospitals and mortuaries in their search for Kabir and Kamal. Meanwhile the boys find kindness from unlikely places as Bombay slowly begins to return to normal.

The film has graphic scenes of the violence and does not spare the audience any of the horror associated with the riots and the aftermath. The scene of bodies in the morgue is particularly bleak, even though Mani Ratnam doesn’t explicitly show grieving families – he doesn’t need to. The anguish and despair come through clearly as Shekhar staggers through room after room of bodies, men women and children, Hindu and Muslim, all mixed together, in a terrible reminder that this is the real cost of the riots. Although some of the scenes here do feel rather contrived, such as when Shekhar confronts two of his friends who are fighting on opposite sides, many more appear authentic, painting a picture of neighbour against neighbour with the main casualties being the innocent bystanders. When the police enter the picture (including Prakash Raj as Inspector Kumar) the level of violence seems to jump yet again, and the images of Kabir and Kamal hiding from the authorities are powerful reminders of the political aspects to these events.

The romance is beautifully told with plenty of symbolism in the images of sheets of rain separating Shekhar from his family, and Shaila losing her abaya as she runs towards Shekhar and freedom. The second half is brutally realistic but still has beautiful scenes of the family together and the developing relationship between Narayanan and Basheer. Rajiv Menon’s cinematography is excellent and A.R. Rahman’s soundtrack perfectly complements the visuals while Raju Sundaram and Prabhu Deva ensure that the dance numbers are equally spectacular.

Arvind Swami is excellent in a role that requires him to switch from a love-struck young man to a desperate and terrified one as he searches the streets for his children. His emotions are clear and easy to read, particularly in the second half when he begins to realise the political manipulations that are behind the riots. His fear and desperation as he searches for his children are frighteningly realistic while his disgust at the politicians, religious leaders and the rioters themselves also comes across well. Manisha Koirala too is wonderful in her role, and brings plenty of emotion to her character at every stage. Although she looks fragile, her character has plenty of determination and a fierce capacity to fight back when necessary. I love her performance here as she conveys so much without words, letting her expression say everything instead. The support cast are all good too, and Nassar and Kitty steal the show whenever they are on screen together. Their initial animosity and then gradual acceptance help to ground the film and stop it becoming too overly emotional as well as providing some mild comedy that also helps to lighten the atmosphere.

Overall, Bombay is a beautifully made film that takes on both a societal issue and a horrific subject to make strong and compelling political and social statements. Mani Ratnam does hammer home the manipulation message rather forcefully, and the final scenes are a little too simplistic, especially after all the drama that has come before, but despite these few issues, the film still delivers a powerful message that continues to resonate, even all these years later. It’s a disturbing film but that’s what makes it such essential viewing. Highly recommended. 4 ½ stars.

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Maari 2

Balaji Mohan revisits the concept of the bad Don that everyone loves to hate, but this time gives the titular character a best friend and a heart of gold that unfortunately reduce Maari’s onscreen impact. The standard mass formula doesn’t help either and the story feels tired despite attempts to refresh it with Sai Pallavi as Maari’s love interest and Krishna Kulasekaran as bestie Kalai. Still, in terms of generic gangster flick it’s not totally terrible, and there are a few flashes of the ‘old Maari’ while Tovino Thomas is better than the script deserves as the film’s villain. Overall the film is entertaining enough for a one-time watch, but as a sequel Maari 2 doesn’t come close to matching the appeal of the original.

Maari 2 opens well with the 100thassignation attempt on Maari’s life after which the gang celebrate his continued survival in plenty of style with cake and a party. A few years have seemingly passed since the end of the first film, and Maari’s boss Velu has died, leaving the leadership of the gang open. This is where Balaji Mohan adds in the new character of Kalai (Krishna Kulasekaran), the son of Velu and Maari’s best friend since they were both kids. While everyone wants Maari to become the leader (which in itself is a major turnaround from the first film), he proposes Kalai takes charge while he remains in the background.

Maari is seen to be trying to do the right thing, even as he cracks the usual jokes and slaps around his henchmen, Sani (Robo Shankar) and Adithangi (Kalloori Vinoth). Despite the loud shirts, sunglasses and gold chains, this Maari is a totally different character, with one of the biggest changes being the attitudes of the people around him – the only people who hate him now are the rival gangs. Adding to this newfound popularity, Maari has a stalker in the form of auto driver Aanandhi (Sai Pallavi) who refuses to be put off her attempts to coerce Maari into a relationship, despite Maari’s truly appalling treatment. The reason for her devotion is revealed later in the film but appears simply as a blatant attempt to appear feminist-aware and completely misfires given the film’s general attitude towards women and Aanandhi in particular. 

Aanandhi states that she isn’t a “loosu ponnu”, but she veers uncomfortably close while her character initially appears mainly as a butt for numerous jokes. Although Aanandhi tries to give as good as she gets, she’s limited by her determination to make Maari fall in love with her, and as a result does look just like any typical mass film heroine. The hearty demeanour of the character and over-the-top attempts to gain Maari’s attention don’t work well either despite Sai Pallavi doing her best to make her character sympathetic. Where she does shine however is in the songs, and her dancing in Rowdy Baby in particular is simply superb. Her energy is amazing and she matches Dhanush step for step, in some parts even surpassing him for passion and commitment to the routine. Prabhu Deva provides the choreography and ensures that Rowdy Baby is the most memorable song of the film.

Tovino Thomas plays the villain Beeja, aka Thanathos. Although he is first seen in a prison cell, Beeja is portrayed as a more intellectual gangster, speaking in English and using the name of the Greek god of death as his alias. However, he’s still the crazy psychopath Tamil cinema loves to have as a mass villain, since he sports dreadlocks, a gold tooth and has scrawled the words “Kill Maari” all over the walls of his prison cell. No doubts at all then about his plans for the hero. Tovino Thomas is an accomplished actor, and in the first half of the film he does a better than average job of making Beeja a more menacing character than his overdone theatrical traits would suggest. Unfortunately, he is let down by the plodding dialogue and nonsensical storyline in the second half, while the final fight sequence doesn’t do much for either Tovino or Dhanush. The later channels his inner Salman Khan in a rather unnecessary shirtless fight scene, while Tovino’s character rolls over much too easily for someone who has made the death of his opponent his driving force for the last few years.  

Varalaxmi Sarathkumar makes yet another appearance as a respectable member of government, this time as IAS Officer Vijaya Chamundeswariin charge of law and order. It’s a role with a rather similar feel to her last appearance in Sarkar and she really only gets to look stern or concerned in roughly equal measures as she hunts for Maari as a potential witness. The rest of the support cast are fine in equally narrow roles, mostly reprising characters from the first film. Worth a mention is Aranthangi Nisha who has a small comedic role as one of the other auto-drivers also named Aanandhi. Most of the fight scenes are well choreographed by Stunt Silva, but there isn’t anything that stands out as particularly new or innovative. The music too from Yuvan Shankar Raja works well enough within the film, but apart from Rowdy Baby none of the songs are memorable after leaving the cinema. Om Prakash captures the colour and energy of Maari and his sidekicks and I did like his contrasts between the worlds of Maari and Beeja. Both are gangsters in the same area of Chennai, but Maari is always bright while Beeja revels in dark costumes and equally dark lighting.  

While there are a few flashes of the old Maari, for the most part he is a more considerate and thoughtful character this time round. This softening of the character is completed by the romance with Aanandhi and without the ‘gangster everyone loves to hate’ persona as a point of difference from other gangster flicks, Maari 2 is just another mass masala movie. Even Dhanush seems at times to be unsure exactly which role he is supposed to be playing as he switches between callous gangster, the infuriated target of Aanandhi’s advances, caring friend and concerned lover. It’s only in the first of these that Maari 2 really comes to life and these are without doubt the best parts of the film. Further déjà vu comes from numerous references to Rajinikanth films, particularly in the second half, and the overall unlikeliness of the story further reduces the impact of the film. However, if all that you want is a potboiler gangster story with plenty of fight scenes, some good comedy and the odd dance sequence then Maari 2 fulfils all of that and adds just a little bit more. 

ABCD 2

ABCD 2

For me to enjoy a dance movie it just needs to have a lot of dancing. Sure a story is good, some character development would be nice but as long as there is plenty of dancing then I’ll be happy. And that’s just as well, since ABCD 2 has no coherent storyline and little character development, but does have excellent dancers, inspiring choreography and plenty of hip hop. It does at times feel a little like watching an extended episode of SYTYCD, except that there is probably more drama and definitely fewer inane dialogues in the TV show. But in fairness ABCD 2 does deliver just as much dancing. Not a film for everyone, but if you don’t mind a wafer-thin plot and are happy to watch the entire cast start dancing at every possible opportunity then ABCD 2 is the film for you.

The film starts with dance group the Mumbai Stunners being disqualified from a dance competition for plagiarising their entire routine from a Filipino group. This is particularly heart-breaking for Suresh (Varun Dhawan) whose mother was a celebrated Kathak dancer who died with her ghungroos on (naturally!) and who would no doubt have been appalled at her son’s behavior if she’d been around to see it. The group is subsequently ostracised for cheating, which even includes being ridiculed and abused at their respective workplaces however unlikely that may seem. Despite these setbacks, Suresh is determined to dance and starts up a new group with an alcoholic choreographer he meets in the bar where he works. The plan is to take the new group to Las Vegas, compete in the hip-hop world championships and thereby regain their honour.

That would be fine except that the group really did plagiarise someone else’s choreography. And they never actually admit to it, or apologise for doing so. Not even when they meet the group they copied later on in the film do they ever acknowledge that they were at fault. It seems an odd omission for a film that is otherwise concerned with redemption – how can the group deserve a second chance when they never admit they made a mistake?

Suresh’s childhood friend Vinnie (Shraddha Kapoor) and fellow dancer Sushant Pujari help Suresh recruit new dancers who include Dharmesh Yelande and Punit Pathak (from ABCD), and they start their quest to compete in Las Vegas. Their chosen choreographer Vishnu (Prabhu Deva), who may or may not be the same Vishnu from the first film, sobers up exceptionally quickly and helps the group gain their second chance to show they really can dance.

Varun Dhawan is an excellent dancer and impressively keeps up with the professional dancers most of the time. Shraddha Kapoor is also much better than I expected, although she does get a break (not quite literally) when the group get to Las Vegas and she injures her ankle. That allows Olive (Lauren Gottlieb) to be a last-minute substitute, which means the group can really go for it and pull out some serious dance moves. There’s a sub-plot that involves Vishnu behaving somewhat shadily in the USA but of course it all gets resolved in time for the big dance finale.

The film does follow a similar ‘underdogs fighting for success’ path as ABCD and even includes a reworking of Bezubaan, presumably because it worked so well in the first film. However Bezubaan Phir Se is very similar to the original, reprising both the music and the dancing in water choreography but lacks the spark that made the original such a standout track despite some very impressive dancing.

Sadly ABCD 2 doesn’t develop any of the characters apart from a brief glimpse of Suresh’s mother and a short interlude with Vishnu, making it difficult to develop any empathy for the dancers or get behind their search for success. Even the few who are more than just faceless performers have little impact on the story and the film probably didn’t need an actor of Varun Dhawan’s calibre given how little he gets to ‘act’. Still, there is amazing dancing at every possible opportunity and that’s where ABCD 2 wins me over. There may not be much in the way of a storyline, but the dancers are superb, the choreography different from most Bollywood films and it’s packaged with plenty of glitz and dazzle. One more for dance fans, but that includes me and I’m already eagerly awaiting ABCD 3.