The Hindu : New Delhi News : A breath of fresh air from Bollywood... .

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Sunday, Jan 14, 2007
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New Delhi

A breath of fresh air from Bollywood... .

ZIYA US SALAM

GURU

(At Delite Diamond and other Delhi theatres)

In the era of materialism it was waiting to happen. Finally, Mani Ratnam turns bold enough to put together a film that is nothing but a celebration of capitalism, a system that confers right on the individual and often equates success with the goal, ignoring the means. Said to be based on the life of an ace industrialist who started out with nothing more than 15000 rupees in his pocket and ends up redefining the limits of possibilities for free enterprise, this film is a breath of fresh air in many ways. And in some others it is disquieting, even dislocating for those married to Gandhian ideals, those who still believe in the Utopia of equitable distribution of riches.

Despite the constant espousal of capitalism, Mani Ratnam's essay is not didactic at any time. The predilections are all there, but they don't overshadow the little tale of a teacher's son who taught the world a thing or two about business acumen and free market. Never once does Mani Ratnam let you feel that he has an agenda, that he is harping on a cause, often derided for its ugly manifestations. And he is smart enough to give a suitable spin to the story: it remains fictional despite obvious reference points to the legendary Dhirubhai Ambani's life all through. Real life, after all, is supposed to fuel fantasies, even one involving Guru, the hero here, whose father told him not to dream. But that is exactly what he had in his heart -- and mind.

Starring Abhishek Bachchan in easily the most challenging role of his blooming career, "Guru" is still a director's film, a venture where the director uses the medium to the fullest. The actors are but mere tools in chiselling out a film that with slightly better editing — one of the songs at the birth of twins to the business tycoon could have easily been cut out — could have been a masterpiece. Of course for the film to rise to that level Abhishek in the title role needed to add a few layers to his work too. He has brought method, research and restrain to his craft. He needs an injection of spontaneity too. At times he is too restrained, maybe even a shade stiff.

All this is in complete contrast to Aishwarya Rai, who is a feast for the senses. The visuals please the eye, the shared words indulge the ear. And her rhythm in songs seems made for a poet. As the businessman's wife, she manages to rise above self every now and then.

Aishwarya does not have the benefit of a tailor-made role or even lengthy lines but communicates it all through her silence, and in words half spoken, half whispered.

But "Guru" is not just the story of a small town boy who found the world up in arms when he got rich. "He has flouted the rules," says one, "he has made his own rules," says another, until our man declares he did all that needed to be done to attain success. It is also about some lilting music by A.R. Rahman, Gulzar's soothing lyrics and Rajiv Menon's camerawork. Each of them is a companion worthy of a lifetime. Not to forget some delectable dance sequences where Aishwarya, partly concealing, partly revealing, extends a furtive invitation, to be savoured only by the discerning. Each one of them is a pearl, contributing to a string of success.

Mani Ratnam's film may not make for a sound essay in economics, and the purists of different streams may not nod in approval all through. But "Guru" makes for delightful cinema; a cinema that inspires the commoners even as it shares distilled wisdom with the young. Go for "Guru". There is a lesson to be learnt.

ANWAR

(At JAM, Shipra; and Delhi theatres)

One flourish does not a career make. Ask Manish Jha, who promised so much with "Mathrubhoomi" that we could barely wait for his next offering. No such luck here.

"Anwar" falls way short. And Jha is to take the major blame for having bitten off much more than he could chew.

The film ostensibly talks of Muslim alienation, and how any Muslim who takes to arms - even a little thug or a pickpocket - is labelled a terrorist with politicians of all hues out to score brownie points.

If Jha had limited himself to the story of one such man, Anwar - Siddhartha Koirala in an impressive appearance - he could well have scored. Instead, he focuses on the grey side of all beings. So we have a tough cop with a sensitive side: he is a caring father with a wife on the deathbed. We have a local politician being ditched in love by his girl; we have an artiste on the verge of madness following the loss of his love... .

It is all too much too handle, all too distracting and disparate. And "Anwar" ends up as a sad song for Manisha Koirala, who is wasted as a journalist.

BLOOD DIAMOND

(At Spice PVR, Noida; and Delhi theatres)

Finally, a punch of reality from Hollywood, and a film that is exhilarating to watch, and a treat to take home. Few sweet moments, just that gut wrenching triumph of the indomitable human will. That is what director Edward Zwick gives us. In the past he has treated us to "The Last Samurai", and with "Blood Diamond" neatly stashed up among his achievements, he may soon become the last word in authentic narration. Maybe even a gem because "Blood Diamond" screams for attention from the masses and the classes alike. A rare film that is as good as the rare stone.

The youth brigade, and those blessed with a Nelson's eye to emerging politics may just enjoy the action that is more brutal, more bloody than an average action film. And those given to measuring everything by the yardstick of universal justice might just get engaged with the story of a poor fisherman - Djimon Hounsou - taken away from his family and forced to work on diamond mines.

However, fate has other things in store for him as his story gets linked with that of a mercenary - Leonardo DiCaprio.

They are face to face with each other in a prison where the mercenary discovers that the fisherman has probably found and hidden the pink treasure. Throw in a journalist only too keen to play the smuggler's cohort in the quest and you have a film that is not just engaging but also deeply disturbing. The diamond can give one man a chance at life, another a second chance.

"Blood Diamond" is neither a relentless celebration of blood and gore nor a chastening exhibition of insufferable human greed. It is about life with all its greys. The film is eminently watchable as much for its storyline and direction as its performances. Notably those of Leonardo DiCaprio and Djimon Hounsou, who provide us with the finest exhibition of their sterling craft.

This film, set in war-ravaged Sierre Leone of the late 1990s, is still relevant today in 2007.

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