The Return of The Inquilab - My Thoughts on Rang De Basanti (2006)

On the 15^th of August, a few days before yesterday, we all celebrated our beloved Independence Day – all of us, Hindus and Muslims, Harijans and Brahmins, Kaafirs and Momins, all of us – We bought those sweet, gaudy-looking plastic flags for Rs. 5 a flag, put it on our shirts and our sarees, our cars and our rooftops, listened to evergreen songs by the masters of melody and verse, distributed sweetmeats, wished each other with great gusto and abandon; made throaty cries of “Jai Hind” and “Vande Mataram” and strutted about on the streets as the greatest patriots ever

And then came the 16^th, most of those beautiful flags were found flowing in the sewers and gutters, lying in heaps over the dustbins and fluttering around, courtesy the Bombay wind on the streets of Bombay – the patriots of yesterday had more important work to look at today – who would look at those flags which belong only for two days – 15 August and 26 January when you have a stomach that growls daily and a deadline that ticks hourly or even in minutes or seconds?

On a similar note, I remember the atmosphere in the theaters – the National Anthem begins – the theatrewallah has to request people to stand up ‘please’ for the national anthem; people do grudgingly and then you can see the different styles in which they take up position – some with their hands on their hips, some with their hands in their jeans pockets, some holding so-very-costly-and-important purses, so many stylish and curvaceous girls who suddenly cannot stand straight – and move their hands incessantly as if they were arms of some imaginary clock somewhere – bored by this forced respect….

I remember being asked by my colleagues and friends why I was so strict about singing the anthem everytime it played – I remember being scoffed and laughed at – been called Mr. Bharat in jest but I am fine with it … these taunts are anytime much better than when these same people would pointedly and with no qualms ask me after every riot and every blast –  why I am still here in India – why the hell I do not leave for Pakistan?

Strange, isn’t it? But then, so is life!

We – the generation of the BPO revolution have outsourced our patriotism too and we of the generation of MTV and V TV know well how to keep our prejudices alongside our patriotism too – well, we are not known for tolerance without reason, are we?

So what if a square meal a day for majority of Indians is a pipe dream, we will all remain silent. So what if education is a luxury for a majority of Indians, we will all remain silent. So what if honour killings are becoming a norm, we will all remain silent. So what if reservations are becoming a bane of our society, we will all still remain silent. So what if communal and other forces are destroying the fabric of our society, we will all still remain silent. So what if corruption has become institutionalized, we will all definitely remain silent.

The youth of the nation has fallen into a slumber, one that matches and overwhelms Kumbhkarna and his famed sleep and no amount of plea or pain can wake up the sleeping Indian.

But, there comes every now and then a film that not only succeeds in pushing you out of your slumber but also makes you ashamed of your own inertia, of your own silence. A movie that not only questions your stand but also forces you to take a stand – a movie that forces you to leave the shore and embrace the storm. A movie that refuses to give or take any quarters but openly asks those questions that makes us uncomfortable, that we want not to be asked openly and advocates a stand even if we may not agree with it.

‘Rang De Basanti’ belongs to that breed of the almost-extinct breed of films that experiment with the format of commercialism without being preachy and in the process manage to create a product that can be considered a true-blue classic. It belongs to that rare breed of movies that have a soul and talk with their souls, of their souls and to our souls  – that refuse to indulge in jingoism but dare to have an opinion.

This is a different movie, one that’s perplexing too, because it forces you to look beyond your cocoon and makes you a part of the proceedings, however reluctant you maybe. Through it’s innovative use of metaphors, the movie delves deep into the psyche of today’s youth who are as confused about their state today as they were 20 years ago or 40 years ago or 60 years ago but with the basic difference that today all the idioms of the past; communism, socialism, independence that were rallying points for another generation have all been submerged in the all-complex web of materialism and capitalism.    

To a generation that demands and expects instant gratification and I am one of those that do, the use of forgotten cult figures from another age and era and the attempt to draw parallels with their conditions in today’s completely changed world, although astonishing, is commendable and on hindsight does serve it’s purpose; though the intelligentsia may find it difficult to accept the use of violence as a means to justify the end. However, if you look at the storm unraveling, there is no doubt in the minds of any that there appears no other option but violence as the film moves towards its climax like a river out of control as it reaches the sea.

Aamir Khan – a lot has been said about this versatile actor and not without reason for Aamir undoubtedly today is one of the better actors around. In Rang De Basanti, Aamir plays DJ – a cheerful smart-alecky. The greatness and difficulty in portraying this character lies in the fact that DJ is very common in today’s world – he can be found in every campus, every university, every theatre, every joint where youngsters frequent and yet he’s not your common friend only whom you would meet and forget easily, for somewhere deep within, unlike the other vagabonds who wander aimlessly, he’s one who has seen his aim wither away and his pain is there – just behind those eyes that refuse to cry..

Look at him – is he not a part of every guy who’s trying to escape from the harsh truth that he has failed in life? Is he not someone you have met at some point of time – someone who it was felt would conquer the world but ended up being captured by his own life

Zamaane Ne Maare Jawaan Kaise Kaise

Zameen Kha Gayee Aasmaan Kaise Kaise

As the multilayered DJ, Aamir carves out one more feather in his legendary repertoire. With his infectious charm and cocky attitude, the actor steals the film from under everyone’s nose– just look at him speak to Sue about his personal demons and fears while supposedly drunk and you can marvel at an actor who just keeps adding layers after layers to his role making his character one of the most real ones etched in recent times. The actor makes for a formidable scorching portrayal and carries the film from one level to another without a hint of discomfort. 

Siddharth as Karan is brilliant in his portrayal of a man in search of an identity. His eyes are deep, his silences resonant and his mannerism a mirror image of his internal turmoil. The guy has tremendous screen presence and his every gesture is pregnant with symbolism.

What more can one say about a person whose mannerisms speak attitude but who is soft to the point of being extra-modest? Look at those eyes that speak of a silent admiration for Sonia and the face that refuses to show it; the eyes that are in search of an identity and the eyes that are shying away from responsibility – that’s Karan for you! Someone like you, someone like me – afraid of the new world but tired of the old

The scene where he breaks down in front of Anupam before assassinating him in cold blood is one of the few scenes that make you sit up and take notice of this actor of extra-ordinary potential.

Atul Kulkarni as the extremist, incorruptible political leader Laxman Pandey is excellent. Actually that makes me think – why do you see that most of those who are extremists are also often incorruptible? Whether it’s Hitler’s Nazis or Mussolini’s Fascists or Stalin’s Communists, the cadre is often and always incorruptible. Why go far, look around you, the Taliban of Afghanistan or the Hindutva Brigade of Hindustan, they are also incorruptible – on a personal level, they have a character that’s unembellished – maybe that’s what gives them that deep fervour and manic energy! Psychologists, Are You Listening?

Watching Atul recite ‘Sarfaroshi Ki Tamanna” is a treat in itself. Though the couplet has been recited ad nauseum by many a luminaries, Atul stands tall with his rendition. The fierce pride of a patriot, the incorruptibility of a martyr and the deep unconditional love of a child for his mother are all too well evident. As is also evident the pain of betrayal, the hurt of disillusionment and the final hope for redemption.

Kunal Kapoor as Aslam plays the role of the confused Muslim youth to perfection. Today’s Muslim faces a tough task. He has to wear his patriotism on his sleeve to prove his patriotism to his country or else be ready to face the barbs that come his way, courtesy his religion which remains his biggest and only crime.

Shaikh Ne Kar Diya Ailaan Ki Qaafir Hoon Main,

Pandit Aaj Bhi Kehta Hai Musalmaan Hoon Main!

As a man, exposed to and in the midst of an identity crisis vis-à-vis religion and nationality, the guy is an absolute natural. The manner in which he reacts to both the arguments of his co-religionists as well as the taunts of the fundamentalists of the ‘other’ is brilliant. I never expected such maturity from a guy in his beginning of career – Maybe the Harman Baweja and others of this world could take a leaf out of this lanky, smart actor

Sharman Joshi as Sukhi plays his role with consummate ease. Every time I look at him, I am reminded of my college chums – they were so much like him – Sharman is totally spontaneous. He’s genuinely funny but he’s not a comedian. In him, I can see so many of my days as a student in college – so effortless does he seem in his performance. Agreed, the actor does not have as heavy a presence as the others but to his credit he still manages to engage our hearts with his childlike innocence. Look at him as he cries aloud that he does not want to get killed and you can feel within you the pain and the hurt of a man who is caught in a cesspool not of his making.

Soha Ali Khan as Sonia is a revelation. The ruthless coldness of a girl who seeks vengeance, the pain and anguish of one who has lost her love and the sudden maturity of a girl who’s forced to mature in days leaves a telling impression on her face. The actress is in complete control of her character and plays the child-woman to perfection. The attraction between her and Madhavan is a sensual turn-on as also is the sensual chemistry between her and Siddharth. You can feel the air burning and sizzling in the song where Madhavan and Soha are in each other’s arms while Siddharth watches silently. My mind went back to that great scene from Andaz (1949) after watching this exchange of silent, fleeting glances.

Alice Patton as Sue brings a dash of realism to the entire story. She is the anchor-sheet that keeps all the actors glued to the reality, while simultaneously bringing them closer to the past and as such a single misdemeanour from her part could have hurt the film badly. Maybe, it still requires a foreigner to explain to us Indians, the value of our freedom and our struggle and maybe no other person in that role could have brought in that earnestness that is the hallmark of her performance.

To this extent, Alice is brilliant and maintains her silent dignity throughout the film, whether it’s the auditions, the shooting, the transformation of happy-go-lucky modern guys into the past metaphors of patriotism or the way in which she reacts to the entire scenario and the film definitely benefits due to her restrained performance.

Madhavan as Ajay plays his role with conviction. It’s very difficult to be so positive in an environment that smacks of only pessimistic overtones. But Madhavan has always been different; in the movie he brings a breath of fresh air; a feeling of hope and a feeling of assuredness – in fact, it’s his character and the injustice done to it that creates the vortex of that cyclone that engulfs them… any false step would make the entire movie a failure.

Both Waheeda Rehman and Kiron Kher are magnificent. They plan their roles with complete and total dedication. If Waheeda is dignity personified, Kiron is motherhood personified. However, Om Puri is wasted in his two-bit portrayal while Anupam Kher and Mohan Agashe look more like cartoon caricatures than the brilliant actors that they are. K K Raina disappoints with his stereotyped depiction of a corrupt politician; one that neither gains nor does it explain. Agreed, the performance is restrained, but much more is expected from an actor of his calibre.

A R Rahman returns back with yet another brilliant soundtrack. The title track with Daler Mehndi implodes with vigour and gusto. There is no two ways that Daler has never been used so brilliantly in the Cinema world. Lata as usual is brilliant in Lukka Chuppi … the pain in the song well augmented by the song as well as the performance but the song that brought me gushing was Ae Saala…what a tempo, what a style… absolutely brilliant and Naresh Iyer sings it so well…Pathshala by Naresh Iyer and Mohammed Aslam also manages to stay true to the mood of the album. After a very long time, we find a good lyricist in Prasoon

Rakesh Mehra in his second venture not only vindicates the trust and promise he showed in his debut venture but also builds up upon it. His second foray into filmmaking avoids the errors of his first effort while simultaneously building on his strengths. One of his greatest assets is the manner in which he has delineated all the different characters in the film while still subjugating the differences for a single cohesive story. Some of the scenes like the now infamous Aamir-on-a-horse scene and the scene wherein the 4 individuals are running with the rising aircraft in the background and the fence in the foreground are brilliant. Another one that stands up in the reckoning is the scene wherein the guys are all drunk and are encircling India Gate saluting it with affection, pride and attitude.

The message is clear and so is the feeling:

Watan Ki Raah Mein Watan Ke Naujawan Shaheed Ho

Pukaarte hain Ye Zameen-O- Aasmaan Shaheed Ho

As you leave the theatre to the resounding strains of ‘Rang De Basanti’, you can feel somewhere deep within you the poet Iqbal stirring up and declaring:

Na Samjhoge To Mit Jaoge Hindostanwaalon,

Tumhaari Dastaan Tak Na Hogi Dastaanon Mein….

The time has come; but the question remains have we?