Message Is In The Medium

Nationalism in film is nothing new to be appreciated or criticized. But what is lacking in discourse is the analysis of this film nationalism. Why haven't anyone as of yet attempted to trace a pattern to this sort of Indian film making? Are we afraid? Or are we really this “nationalistic”? Well we do cry when are soldiers die? That must mean something. Shouldn't it? Kesari is the newest addition in our long list of tear jerking patriotic cinema. And I don't write this sarcastically. Kesari is patriotic. And a few other things as well. Although the plot and dialogues try everything they have to prove that 36 Sikh regiment of the British Indian army did not fight on British orders to protect British forts but to prove their valour and worth and the great sacrificing spirit of the community, the songs talk of teri mitti mein mil jaavan and the sacrifice of the soldier. Pretty much what nationalism is about in its entirety. Interestingly, the songs reflect the

It started with  Simmba , I believe, that Indian audiences began venting out frustration through revenge drama-comedies. (Dramedies?) It was triumphantly carried forward by  Uri: The Surgical Strike . The trend of the protagonist with all his swagger avenging injustice is toxic. The injustice, in the plot, is also what our hero decides and revenge, of course, is justice. It is a one-man show (reflecting politics, maybe). This trend furthers in upcoming Amitabh Bachchan starrer  Badla . Read: Is Uri: The Surgical Strike a propaganda film. (Movie Review) Read: Simmba- The great Indian aspiration of bullying. (Movie Review) There isn't anything wrong particularly in the movies due to their revenge theme. It is reflection of the society after all. But the trend in itself is quite dangerous. It speaks of the general anger and frustration in us all. Considering the earlier two movies were little more than escapist crowd pleasers, the state of people is all the more worrisome

The Great Indian Novel  by Shashi Tharoor sits on the shoulders of two mammoth Indian fables everyone discusses still no one really knows about. The epic myth Mahabharata by Vyasa and India's historical struggle for freedom, that come together in this book, are both tales so far behind in the past they might as well be the same for the  young  India of today. Tharoor binds the two sagas, dwindling between facts and myth, which feels like a fading memory or an elaborate dream, to create this masterpiece. But one must not consider it religious just because it follows the plot of a Hindu epic; the book tells the history of India. The epic myth Mahabharata provides the satirical vehicle for the story. The Great Indian Novel  tells the tale of India's freedom struggle and the subsequent culture of majoritarian democracy in the country through the characters and events of the Mahabharata. The characters in Tharoor's novel lie somewhere between their counterparts in the epi

Skimming through popular news and avoiding rampant hateful opinions, I stumbled upon a trivial news about filmmaker Tigmanshu Dhulia. He found grand success of films like  Total Dhamaal  worrying. Tigmanshu Dhulia has directed films like  Paan  Singh  Tomar  and  Sahib Bibi Aur Gangster.  He played the famous Ramadhir Singh in Anurag Kashyap's crime opus  Gangs of Wasseypur . It seemed unlikely an artist of that statute be jealous of a fellow filmmaker's talent. Yes, he could be jealous of a fellow filmmaker's bank balance, of course. So, I dug in. You see, I need to give out a long introduction for Tigmanshu Dhulia. He is not famous enough. Though, this could be a reason for him to crib about  Total Dhamaal , it surely was reason enough for the news portal to not give him even 200 words to explain his side. Nevertheless, it got me thinking. He says success of such films talk of poor state of the audiences. Poor state. Not poor taste. This instantly reminded me of my ow