‘Syriana’

A long way from Lake Como

Syriana is a new film about the oil industry, Middle East politics and Beltway meddling, by Stephen Gaghan and Steven Soderbergh, the guys behind Traffic. It’s also the first major movie I’ve seen which deals with the shabby treatment of desi workers in the Middle East.

The trailer is cut like an action thriller, but it’s actually a thought-provoking, 2Å“ hour-long film on the moral ambiguity of America’s oil dependency. The thrust of the story, based on a nonfiction book called See No Evil: The True Story of a Ground Soldier in the CIA’s War on Terrorism, is that the U.S. uses the CIA to set up pliant dictators in oil-producing countries instead of those who might promote democracy. A Texan oil CEO utters this similarly realpolitik line (paraphrased): ‘The Chinese economy isn’t growing as fast as it could because they can’t get enough oil. And I’m damn proud of that.’

The movie opens with a shot of desi oil workers struggling to get onto a crammed Tata bus. Later in the movie, a shady oil company merger triggers layoffs. A Sikh foreman gets on a megaphone to Pakistani workers, telling them they’ve been fired, they must surrender their badges, and unless they find another job soon they have to report to immigration within two weeks and be deported.

Casting sees desis’ brown skin as closer to the popular conception of a terrorist than light-skinned ArabsThe Urdu-speaking Pakistanis are portrayed as naïve young villagers who just want to make a better life for themselves. Two of the young men become radicalized after racist Arab security guards beat them. They end up in a madrassa limned in sympathy, in stark contrast to the unwelcoming society around them. A striking-looking Arab evangelist preys on their insecurities and inevitably turns them into C4 fodder.

If you think that’s a spoiler, you haven’t been paying attention to desi roles in the movies these days I’m noticing an odd trend at the movies. Like The War Within, they pick Pakistanis rather than Arabs to portray suicidal terrorists. It doesn’t at all fit with recent history as most Pakistan-based suicide attackers have focused on India. They don’t seem as attached to pan-Arabism as, well, Arabs, and 2nd gen idiots in London notwithstanding, they’ve got nowhere near the presence of Arabs in global terrorism. It seems more and more like casting sees desis’ brown skin as closer to the popular conception of a terrorist than light-skinned Arabs. On the other hand, perhaps this casting was driven by simple plot imperative.

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Hari Puttar: Attack of the Clones

Young’uns Shefali Chowdhury and Afshan Azad play Parvati and Padma Patil in the latest Harry Potter movie, the one with a goblet of masala pani. They’re Harry and Ron Weasley’s backup dates for Hogwarts’ Yule Ball:

Born in London in 1989 and brought up in a conservative Muslim family, Shefali is of Bangladeshi origin. Her parents had migrated to England from Sylhet, Bangladesh… She plays the role of Parvati Patil in the Harry Potter and the Goblet of Fire film. Prior to that her only recorded film appearance was an uncredited role in Kannathil Muthamittal in 2002.

She plays Harry Potter’s Yule Ball date in Goblet of Fire. Daniel Radcliffe, who plays Harry Potter in the film… told This Is London: “I had a dance scene with Shefali. She was completely gorgeous.” [Link]

I counted ~8 British Asian kids in the movie, one with a long closeup. Somewhere between installments two and three, casting got the diversity clue.

This movie was lovely and lots of fun, it held my attention. Numbers three and four have both been much better than the slow, dumbed-down numbers one and two. Favorite scene: underwater with the merpeople. What is it about smart girls named Emma? The movie obliquely referred to 9/11, King Kong and being misquoted by the press. The over-the-top reporter reminded me of the purring, Eartha Kitt-like gossip maven, Kitty DaSouza, from Bombay Dreams.

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Come on, Naureen

In Wedding Crashers, actress Naureen Zaim plays the credulous babe on the other end of this exchange:

Hindu woman: French Foreign Legion?
John Beckwith: Yeah, we lost a lot of good men out there. [Link]

She soon falls into bed, bouncy and topless, with Owen Wilson. Like Yasmeen Ghauri and Rhona Mitra, she’s part desi, part white:

I am originally from Chicago. I am half Pakistani, and 1/4 Irish, and 1/4 German. [Link]

She has an advanced degree in glass blowing, like mine in home ec and underwater basket weaving:

I blew glass at University of Illinois, and actually received a degree in it. [Link]

After teaching the The Republic by Plato at an Ivy League university, she shoots a TV show: model boxing.

· · · · ·

Also from Wedding Crashers, actor Neil Patil’s resume shows Hollywood offers desis lots of ground-breaking, non-stereotypical roles without accents:

  • Terrorist
  • Cabbie
  • Limo driver
  • Valet
  • Indian wedding groom
  • Exchange student
  • Waiter

So here we’ve got Hollywood’s gender-specific treatment of desis neatly encapsulated in a single movie. Desi women are cast as random babes, men as servants and terrorists. It’s tribal: kill the men, fuck the women. About the only role I remember where the desi guy was neither mocked nor feared was Kal Penn’s in the little-seen A Lot Like Love.

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Pipe dream

Serendipity is a pretty lame romantic comedy that’s a staple of cable reruns, where I had the misfortune of running into it this morning. Like Bollywood, it peddles soft-headed romantic fatalism in a one-joke script.

It does, however, do a very funny New Age parody. John Corbett (My Big Fat Greek Wedding) hams it up as Lars, a self-absorbed New Age musician. This schmuck in a silk kurta plays an instrument ubiquitous at Indian weddings while his hype men play tabla and sitar.

As Lars watches the cheesy, Yanni-like music video his record label put together, he complains, ‘You can’t fight off an army of bloodthirsty Vikings with a shehnai. It’s illogical.’

This little fudge cake of brilliance is probably the only shehnai joke in Hollywood history, and definitely the only one involving Vikings.

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The browning of Netflix

Bollywood films constitute roughly 50% of all new films added by Netflix this week!

This week alone, Netflix announced 79 new Bollywood releases

in their All DVDs Releasing This Week section. That’s more Bollywood films than films of any other sort of individual genre, probably almost as many films as released in all other categories combined. To give you an idea of how significant this is, just imagine if half the new releases at Blockbuster were Bollywood flicks!

The new films are pretty eclectic, with movies from the 1950s to the present, including golden oldie Shree 420 and compilation DVDs like Dance Songs Forever.

This comes in the same week that GV Films announced their intent to create a legal Bollywood (and Tamilwood [is that even a word? – ed]) film downloading system:

Film buffs worldwide will soon be able to download digitised versions of Indian movies from an online channel that will be launched in Mumbai in 2006. Movie lovers can download the movies by paying between $1-5 a movie, depending on how old the film is and whether it was a big hit — apart from its running time. GV Films is known for hit productions in Tamil like Mouna Ragam (1986), Nayakan (1987) and Anjali (1990). It has also bought rights of hundreds of other movies in various other Indian languages. Though the production house has a large library of nearly 6,000 films to pick and choose from, it is in the process of acquiring more movies. [Link]

What’s going on here? While GV films is targetting their offering specifically at NRIs, it’s not entirely clear to me who is renting the Bollywood films from Netflix. Is this clear evidence of the mainstreaming of Bollywood as “serious foreign film” or are these suburban uncles and aunties who don’t want to drive to little India to rent their desi DVDs any more than they want to drive to Blockbuster to rent their American films? One way or another, it’s a fascinating trend. For those of you interested in Bollywood (I’m afraid I rarely watch the movies, so the titles mean little to me) the list of films is below the fold.

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Panjabi having a very ‘Good Year’

Actress Archie Panjabi has a small role in a new film with Russell Crowe:

Panjabi in another film, Yasmin

Archie Panjabi, to my mind the best Indian actress in Britain, is currently filming in A Good Year, which is an appropriate title because she has had a pretty good year. The film, directed by Ridley Scott and based on a book by Peter Mayle, is about an investment banker (played by Russell Crowe) who swaps London life for a vineyard in France. [Link]

An Englishman (Crowe) inherits a vineyard in Provence. Upon arriving at his new property, he meets an American woman who claims that the land is hers. [Link]

The film co-stars French actress Marion Cotillard. Here’s the book upon which the movie is based:

The caper in A Good Year revolves around a mysterious small-batch cult wine that never makes it to the wine store and trades as an investment. [Link]

Panjabi’s last project was a tawdry teledrama about former British Home Secretary David Blunkett:

… Archie was in A Very Social Secretary, a television dramatisation of the events surrounding David Blunkett’s affair with Kimberly Fortier, the American publisher of The Spectator magazine… An outraged Blunkett tried unsuccessfully to stop the broadcast on Channel 4 on the grounds that his privacy was being invaded. [Link]

Related post: The spy who loved me

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He got game

Waris Singh Ahluwalia is the young actor and Urban Turban designer last seen in, and airbrushed out of the ads for, Wes Anderson’s The Life Aquatic. He’s currently shooting Spike Lee’s The Inside Man, which also stars Denzel Washington, Clive Owen, Jodie Foster, Willem Dafoe, Chiwetel Ejiofor and Christopher Plummer (thanks, zimblymallu):

The Inside Man tells the story of a cop (Washington) who must outsmart a professional bank robber (Owen) during a bank robbery turned hostage situation. [Link]

As negotiations grow more strained, a powerful lawyer with mysterious ties (Foster) becomes involved in the crisis… Dafoe will be playing the role of a police captain while Ejiofor plays a detective… [Link]

Waris plays a bank clerk… there you have Spike Lee wearing House of Waris. In the end he bought the horn ring and the enameled skull. On his right hand he is wearing the white gold and diamond skull ring. He’s totally decked out in House of Waris. [Link]

The movie, parts of which were shot at the Brooklyn Naval Yard, is due out March 24 next year. What fresh hell is this, to be green-eyed man-meat like Clive Owen and yet be cast opposite Waris ‘the S. is for sexayyy’ Ahluwalia

Related posts: Wes hearts Waris, Waris’ star turn: The Life Sikhquatic, Sikh fashionista in ‘The Life Aquatic’

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No Bollywood for You!

HemaMalini3.jpg

I have watched phil-ums that made me want to gouge out my eyes with hot forks of displeasure, but I’ve never felt homicidal because of celluloid. According to my beloved Beeb, I OBVIOUSLY have nothing in common with Somali militia men:

Calm has returned to the Somali capital Mogadishu after 11 people were killed and 20 wounded in weekend fighting.
The clashes pitted militia belonging to the Islamic courts against owners of cinemas showing dubbed Bollywood films.

Obviously this horrible violence has nothing to do with the quality of a flick, but an extreme culture war over the qualities of the films and the activities related to them:

The Islamic courts have been attempting to control the activities of the cinemas – accusing them of fuelling crime, drug abuse and immorality.

Somalia has essentially been lawless for 14 years. What’s a little more immorality on top of THAT?

Last month, the court’s militia stormed a studio where Bollywood films were being translated and destroyed equipment.

I’m not quite sure what the honorable chairman from the state of fundamentalism means by the following quote:

Sheikh Sharif Ahmed, the chairman of the Islamic courts, says they open from early in the morning showing “scandalous movies to children even not allowed by producers in their home country”.

First and last of all, what scandal? The flouncing around gardens, peeking out from trees, getting close enough to sniff your dance partner but not kissing them even though the cut to a flower blooming might suggest exactly such fornication? Sheikh, please. Continue reading

Proud of ‘Prejudice’

Did you expect me to rejoice in the inferiority of your timing? From the first moment I met you, your derivativeness made me realize you were the last movie in the world I could ever love. But I’ve come to make confession: you have bewitched me body and soul.

I entered the new Pride and Prejudice movie with extreme prejudice and exited a believer.

Nimbooda in a wig

As cultural crossover, the new flick has outdone Mira Nair: it’s the new Vanity Fair, it’s British Bollywood. It’s truer to the form than Bride and Prejudice, which was preoccupied with Stiff White Guy and tongue-in-cheek cultural mashup. Namely this: A family with five daughters must spend its time snaring men. One daughter’s elopement means utter family ruination. Musical interludes. Cheesy picturesque cliff scenes. Melodramatic mom. Full-on bawling. No kissing. Its own Johnny Lever. All it needed was an item number.

The producers were going for Gone With the Wind, but they ended up with Hum Dil De Chuke Sanam. It’s the same Bollywood lighting, the same night scene with the romantic leads sitting before water, lit in gold. British group dances were like dandia raas and served the same virtuous end, hooking up the young’uns. The dance scene was like that amazing, flirty song in in HDDCS, Aankhon Ki Gustakhiyan.’ Keira is sharper, Aishwarya prettier. Rai with that John-Cusack-lookalike-in-a-wig would have been ideal.

HDDCS was more emotional, but this was definitely lump-in-throat territory. I rarely see intelligent romantic sparring any more, the last was Clooney and Zeta in Intolerable Cruelty. And the gender role inversion at the end is delicious. The beseechers and hand-kissers are not whom you’d expect.

Elna Bannat and Dharsi sahib

This film left me misty-eyed despite the ’70s Bollycheese: the man walking through morning field in fog, a near-kiss with sunrise strategically positioned between the lips. It had showy, fluid camera work reminiscent of Brian De Palma. Its memorable piano theme was repeated in variations through the score, another Bollywood signature. Balle balle, they’ve out-Bollied Bolly! I rarely feel anything human in mainstream Hollywood flicks, they’re afraid of mashing the emotional buttons. This movie pulled me out of my life entirely.

Someone stop me before I play some South Park Chef.

Watch the trailer. Here’s the A. Lane review, less snarktastic than usual.

Related posts: Ivy jive, No runaway ‘Bride’, Fisking the ‘Bride and Prejudice’ campaign, The UK crowns a new Queen, ‘Bride and Prejudice’ trailer

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Indo indie

The NYT takes a look at new wave Indian cinema:

Being Cyrus

Lately, a third type of Hindi cinema has emerged. It’s composed of smaller, offbeat films that are more realistic than Bollywood tales and edgier than art-house ones. The films have an urbane, uniquely Indian sensibility. Many, though not all, are in Hinglish, the hybrid of Hindi and English that is spoken in metropolitan India.

These films have none of the overt glamour or sunny disposition of mainstream movies. Emotions are messy, characters have pasts and endings aren’t always happy. But neither are the movies treatises on social issues far removed from the filmmakers’ own experience, like so much art-house cinema was… Grimness is no longer box office poison, however. The first hit of 2005 was “Page 3,” the director Madhur Bhandarkar’s scathing look at high society in Mumbai. It featured pedophilia, drug-fueled rave parties and unabashed nastiness… [Link]

Distribution is key:

But the current crop of Indian independents can count on far wider release, thanks in large part to the arrival of more multiplexes. The first Indian multiplex, the PVR Anupam, opened in New Delhi in June 1997. Until then most filmgoers patronized cavernous theaters with 1,000 to 1,500 seats…

After the PVR Anupam opened, some state governments announced entertainment tax exemptions and prompted a multiplex boom. There are 73 multiplexes in India, with 276 screens and about 89,470 seats. The numbers are expected to increase to 135 multiplexes with more than 160,000 seats by the end of 2006…

The more affluent multiplex viewers have given filmmakers new fiscal and artistic freedom. “A film is a conversation,” said the director-producer Ram Gopal Varma… “The multiplex gives me flexibility and enables me to have a conversation with my intended target audience without worrying about small towns and villages…” [Link]

Related comments: Third I film fest

Related post: ‘Everybody Says I’m Fine’ playing in NYC

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