DUMB SLOGGED FOR YEARS
I saw two movies back to back, Slum dog Millionaire & Escape to Victory without any intention of comparing two (both movies are separated by span of 28 years). First movie I saw was by shear inquisitiveness while later by passion. However, comparison was unavoidable, since both movies hinges on idea of meta-narrative woven with “quasi real” reality. The idealism of Rousseau by means of dynamism as against static reality will against reason has been exploited in western cinema. The induction of Rousseau proposition is seemingly new to Indian “popular” cinema. The popularity of game show poised against popularity of quintessential consumption of slow degradation of existence, which seemingly obvious rather than creative and perhaps against the pan-Indian absolutism.
The first concern is that prescriptive approach over the years, exotic heroism has not yield any international validation, while conceptual deviation form standards is being criticized for showing quintessential story of slum reality. The validation is seen as rising vs. questioning which is almost analogous to miss universe/world pageants for few years.
The second concern is for need for such validation, it is very Indian to seek for global presence not for own cause but for western consumption. Isn’t that architecture discipline (if at all?) suffering from phobia of validation, visibility…? Nowhere in the world, may one find any serious form of art struggling for desperate validation than in India.
The last observation is that SDM is not a critical cinema, but depiction of struggle between reality and aspiration in popular format, which very typical Hindi cinema. Neither music, as applauded, has been appealing nor the para-characters made any effort to move away from stereo type act. However it’s a lesson for exotic dramatist, who out of shear compulsion & obligation, claiming their role of being vanguard of such endeavor
I saw two movies back to back, Slum dog Millionaire & Escape to Victory without any intention of comparing two (both movies are separated by span of 28 years). First movie I saw was by shear inquisitiveness while later by passion. However, comparison was unavoidable, since both movies hinges on idea of meta-narrative woven with “quasi real” reality. The idealism of Rousseau by means of dynamism as against static reality will against reason has been exploited in western cinema. The induction of Rousseau proposition is seemingly new to Indian “popular” cinema. The popularity of game show poised against popularity of quintessential consumption of slow degradation of existence, which seemingly obvious rather than creative and perhaps against the pan-Indian absolutism.
The first concern is that prescriptive approach over the years, exotic heroism has not yield any international validation, while conceptual deviation form standards is being criticized for showing quintessential story of slum reality. The validation is seen as rising vs. questioning which is almost analogous to miss universe/world pageants for few years.
The second concern is for need for such validation, it is very Indian to seek for global presence not for own cause but for western consumption. Isn’t that architecture discipline (if at all?) suffering from phobia of validation, visibility…? Nowhere in the world, may one find any serious form of art struggling for desperate validation than in India.
The last observation is that SDM is not a critical cinema, but depiction of struggle between reality and aspiration in popular format, which very typical Hindi cinema. Neither music, as applauded, has been appealing nor the para-characters made any effort to move away from stereo type act. However it’s a lesson for exotic dramatist, who out of shear compulsion & obligation, claiming their role of being vanguard of such endeavor
No comments:
Post a Comment