Chick Pea mentioned recently that there is a new film opening on Ugandan dictator Idi Amin, who is infamous amongst desis for summarily ejecting Uganda’s 50,000 Asians in 1972. Most of the Ugandan desis got out, and many came to thrive in places like England and Canada. We saw this discussed in Mississippi Masala, and it’s referenced in the writings of M.G. Vassanji. Unfortunately, the 300,000 Africans (most of them fellow Ugandans) who died as a result of Idi Amin’s various military campaigns and programs of internal ethnic cleansing did not have the same second chance. This is a man who caused untold suffering, and who led his country down a truly catastrophic path.

A new film on Amin, called The Last King of Scotland (in reference to one of Amin’s more fanciful titles for himself), starring Forrest Whitaker, recently premiered at the Toronto Film Festival, and seems to be generating a fair amount of buzz. The Washington Post reviews the film, and while it’s too early to really get the film’s slant, it’s a little bit worrisome to me that the director is quoted in the article saying how he really wanted to show Idi Amin as a “complex” character, and his actions as partly justifiable:

“A lot of the things he tried to do were very popular,” said Macdonald, highlighting even the expulsion of the Asian business leaders as something that had resonated with Ugandans who became shopkeepers and business owners for the first time.

The Asians, expelled in 1972, had formed the backbone of the Ugandan economy before Amin came to power.

“Amin made Ugandans feel proud to be African, and proud to be Ugandan. He was someone who tried to get rid of the colonial inferiority complex,” Macdonald said. (link)

That last sentence should be a reminder to people that it’s just as easy to commit injustices in the name of fighting colonialism as it is to do so the other way around. I should also note that it’s distressing to hear the director of the film speaking so appreciatively of a truly brutal dictator. (On the other hand, perhaps he’s simply trying to make the film sound non-depressing for the media.) Continue reading →

“The Namesake” had its world debut on Saturday, at the Telluride film festival [Thanks Gautham]. We first blogged about the movie almost two years ago [We also blogged the casting call, but got no couch privileges]. The trailers [Quicktime, Real, WMP] for the movie look excellent, so I’ve been wriggling with anticipation just waiting for its release.

For those of you just tuning in, this is a film based on Jhumpa Lahiri’s first book novel, directed by Mira Nair, and starring Kal Penn, thus making it a desi-American trifecta. The tagline is for the movie is “Two worlds. One journey,” a phrase so wonderful that it is destined to replace “blend of East and West” in matrimonial ads. Since Kal Penn even gets a blond girlfriend, I’m sure that at least one of the mutineers will go watch the movie for that reason alone.

I have no doubt that this movie will do well with the artsy-fartsy non-brown American crowd. Mira Nair is skillful at pushing the line of prurient exoticism just far enough to maximize general interest in the movie, while never selling out.

However, this is a movie that will do well in the states but flop “back home” in India. India loves movies like Krrish, and despite annual announcements of a new Bollywood realism, I doubt that Indian audiences will take to The Namesake. “Why is the boy [Kal Penn] not dancing?”

We can get a glimpse of what the popular response to the film is likely to be from the reactions to it while a scene was being shot at the Taj Mahal. Even though the movie stars Tabu and Irfan Khan, one person stopped a journalist (confusing him with Mira Nair) to inquire:

“Are you the director Mira Nair? Why don’t you cast (Bollywood star) Shah Rukh Khan in your film?” [Link]

Another onlooker asked:

“Why is the boy [Kal Penn] not dancing?” [Link]

That’s right – a realistic portrayal of life in two countries, and people wonder why nobody is dancing. I think that pretty much sums up how Indian audiences will feel about the film. No song, no dance, no interest.

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(Note: I swiped the title(s) of my post from Shortpurge and Amit)

In Lage Raho Munna Bhai, Sanjay Dutt has a visitation from “Bapu,” and afterwards starts trying live in a more Gandhian way. The film is technically the sequel to the superhit from 2003, Munna Bhai, M.B.B.S., but wisely goes off on a completely different direction from the first film (you don’t need to have seen Munna 1 to enjoy this). The “dadagiri” is the same (just wanted an excuse to use the word “dadagiri”), as is the “everyman triumphs against heartless bureaucracy” theme, but the story and the shape of the two films couldn’t be more different.

One of my favorite bits: at one point, Munna is getting smacked around by a security guard employed by his nemesis, the heartless builder Lucky Singh. After getting slapped once, he gamely turns the other cheek. After getting slapped twice, he gives the guy a big, “baap re baap” punch in the gut, which knocks the guy across the street. Munna’s sheepish explanation: “Bapu never said what to do after they’ve hit both of your cheeks.”

Now that’s the kind of Gandhianism I like. And indeed, this is the kind of Bollywood I like. (Manish, who is pretty choosy with regards to Bollywood, also liked it; in fact, we went to see it largely on his recommendation). The humor is sweet, the songs are energetic and relatively “traditional,” and everything is actually in good taste for once. Moreover, the Mahatma Gandhi part of the plot is the excuse for an admirable, relatively non-dogmatic social message. At the theater where I saw it last night, in Doylestown, PA, the audience all came out looking well-pleased. Continue reading →

The first time I saw the poster, I had just walked out of work and saw the ridiculousness of it all on the bus stop kiosk. “Great.” I muttered to myself. “Another frat boy comedy.” Than I looked a little closer and saw that the main face dead center in the sea of beer was in fact (un)typical and desi. “Great…”

Seriously? A desi in a frat boy comedy around beer competition? Why, it’s almost like a desi in a frat boy comedy around marijuana! The desi in this movie, Jay Chandrasekhar, is who I’m talking about and it looks like he is doing it all; starring, directing, writing and producing for Beerfest. We’ve seen Chandrasekhar’s directing before with the movies The Dukes of Hazard and Super Troopers.

I wasn’t planning on watching it but that will not stop me from reviewing the movie for you.

When their great grandmother asks them to return their grandfather’s ashes to the old country, Jan (Paul Soter) and Todd (Erik Stolhanske) Wolfhouse jump at the opportunity. It doesn’t hurt that the trip would take them to Germany during Oktoberfest… What Jan and Todd find is a secret competition in which all of the world’s greatest beer gamers and beer drinkers compete for glory: Beerfest. [link]

Director Jay Chandrasekhar (who also stars as Barry, the hustler) has plenty of good ideas to bounce into his cinematic glass but, at several points, they become too much. What seems like a “Saturday Night Live” skits winds up as “Long Day’s Journey into Night.”…Easily, “Beerfest” is an acquired taste. If you’re not into this kind of comedy, you won’t find the film intoxicating. If you are, drink up [link]

Beerfest is a movie that is funny when it goes for outrageous and farcical, but tedious when it displays the originality of a Kevin Federline rap. [link]

Ouch, a Federline diss. Read more reviews of catch-phrase critics here, watch a red carpet interview with Jay here, and Manish at Ultrabrown compiles some more reviews here. But in all my searching, I haven’t read any other desi perspectives on this movie on the blogrolls. Mutineers, have you seen the movie? What do you think? And of course, is it really a step forward for desis in Hollywood if instead of being typecasted as terrorists and silent head henchmen, we have a role like the one on Beerfest?

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We went over to the multiplex in Doylestown, PA yesterday to watch Vishal Bhardwaj’s Omkara on the big screen. It was nicely done — relatively crisp at two and a half hours (not bad for a faithful rendition of a Shakespeare tragedy), and unpretentiously shot in rural Uttar Pradesh. It was also well-acted by a group of talented actors — Ajay Devgan, Konkona Sen Sharma, Kareena Kapoor, Bipasha Basu, Viveik Oberoi (formerly known as “Vivek”), Saif Ali Khan, and Naseeruddin Shah. The standout performance is probably Saif Ali Khan’s Langda Tyagi (Iago), though I also thought Konkona Sen Sharma was quite good as Indu (Emilia).

Omkara bears some similarities to R.G. Varma’s Sarkar in that it takes the gruff realism of modern Indian gangster pictures and applies it to politics rather than the criminal world — the point being, of course, that there isn’t that much difference between the two. While Varma’s Sarkar was an allegory for the Shiv Sena’s Bal Thackeray, the “Bhaisahib” in Omkara is a rural political chief, perhaps a Chief Minister like Bihar’s Lalu Prasad Yadav (formerly known as “Laloo”). In his home environment, he commands near absolute authority and devotion from his followers, though the legal system at the Center (commanded by “Auntyji,” possibly a figure for Sonia Gandhi) is constantly nibbling away at his fiefdom. In Omkara, Bhaisahib is in and out of court, and he relies on his faithful “General,” Omkara, to handle his equally corrupt political rivals — sometimes by exposing them (via MMS video sex scandals, no less), and sometimes by simply shooting them down. Continue reading →