I don’t understand why “Bombay Talkies” is hailed as a
celebration of 100 years of Indian cinema when it strictly has short stories by Bollywood
directors. How great it would have been to see regional short films with
subtitles and truly celebrate the diversity that exists even within Indian
Cinema? Perhaps the producers didn’t want to completely risk the film’s
commercial potential – an innately “bollywood” trait. Sigh.
Having said that, the films do not pay “tribute” to 100 years
of Bollywood either, but present the new face of bollywood with a subtle
reference to cinema (or its influence) in each story. Take this - Karan Johar’s
direction come “out of the closet” – Now that's a first for bollywood and a A-list
director.
For me Johar’s “Ajeeb Daastan..” and Zoya Akhtar’s “Sheila
ki Jawani” are equal as the third best films of the lot; lead closely by Anurag
Kashyap’s “Murabba”. While each of these films achieve a standard above the
Bollywood median, it is Dibakar
Banerjee’s “Star” that is by far the best film of the lot for me, by a HUGE
margin. (I do not remember the last time when 20 minutes of cinema has worked
for me at so many levels!)
***
Have you read Satyajit Ray’s Short story “Patol Babu”? It is
the short story that Dibaker Banerjee has adapted into the ~20 minute short
film in Bombay Talkies, titled “Star”.
Dibakar takes the essence of the short story and reinvents
it with riveting details. Patol Babu becomes Purandar. It takes you a long time
to realize he has been an unsuccessful actor – something that Ray’s short story
starts with. Dibakar instead, lets the audience watch his struggle. We see an
insomniac man reminded by his alarms that he longer needs to pretend that he is
peacefully asleep. Life must now resume.
We meet Anjali, the emu, we meet his neighbours who cant
mock enough at his failures. We see his sick daughter who isn’t amused with his
stories anymore. We also see him reach a tad bit late and lose a job as a
watchman – (which he graciously (?) lets go).
Dibaker does not let us sympathise with the character but
simply shows us a slice of his life. So when he is picked from the crowd to
play an extra-role at a crowded movie location, or when he hopefully unfolds
the paper to read his dialogue, the audience is simply laughing at the
simpleton. Amused at what fate offered him today, just another day.
But it isn’t just another day. This isn’t just another
nameless cameo in a film. Certainly not a meaningless one – for there is
nothing meaningless in theatre, in films or in life.
Purandar almost gives up on the role that only requires him
to say “Ae!” on colliding absent mindedly with the lead actor, he walks away
when a voice stops him and asks him, “Not enough, this dialogue for you, eh?”
It is only after we see him in dialogue with a ghost (from
his past), we learn that Purandar is a failed actor, who failed to struggle,
who waited for something bigger to come by. When his tragic flaw is exposed,
the audience is torn between the melancholy of his failures and the opportunity
and hope of the present. Will he be the underdog? Will he find himself? (Not to
forget that in his brief role as the ghost from the past, we rediscover Sadashiv
Amrapurkar, who finds himself in the most dignified 5 minutes on celluloid of
his career – a great actor, who never got his due amid all the villains he
played.) But the film belongs to Nawazudin’s Purandar.
The audience is left to see what transpires of Purandar. New
found hope, improvisations, make-up – he is suddenly a “performer”. While the
renowned actor needs a few takes for the perfect shot, Purandar is a
single-shot wonder. It’s a take!
But what happens to him after the shot? Poor he may be, but he
doesn’t wait for his payment, for he has found something far more precious.
Could the drums beat any faster on his way back home? Could
he fly home? He is in a trance, enthused, possessed by the idea of appreciation
- a rediscovery. Like someone with a fading memory suddenly remembered
something special. Like you found something that you had lost hope of finding.
The last few minutes of the film are filled with silence and
expressions – a simple flute plays and lets you watch the performance after the
performance. Infectious spirit of Purandar lights up the room, brings smiles.
Purandar’s accomplished theatrics cajoles his daughter into a peaceful slumber.
Not much has changed in his life – but tonight Purandar will sleep in peace.
***
In it’s structure, treatment, content and execution – the
director leaves no doubt that he is on top of his game. If god lies in the
details, this film is a temple – in cinematography, art, costume, dialogue
–this is a heartfelt effort – worthy of every superlative. Do not miss the emu
in the background of the ghost sequence, the patchy make-up of the ghost, and
so on..
I am moved, inspired and in awe of Dibaker Banerjee’s Star –
way above the other three films in Bombay Talkies and a great piece to
celebrate 100 years of cinema – aptly bringing back some Satyajit Ray touch
back to the cinema – via Bollywood!
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