An exercise in self-actualisation -- Eklavya
LAVISH CANVAS: Eklavya
A chap called Abraham Maslow once said that as humans meet their basic needs, they seek to satisfy higher needs that occupy a set hierarchy physiological safety, social, esteem and finally self-actualisation.
If Vidhu Vinod Chopra's `Eklavya' is any indication, the man who gave us `Parinda,' `1942- A Love Story' and `Mission Kashmir,' seems to tell us that he's done fulfilling all the first four needs including esteem.
Only a filmmaker who does not care a hoot about what people think about his films would set out to do something like `Eklavya' — an exercise in self-actualisation. When dying queen Rani Suhasini Devi (Sharmila Tagore) utters the name of the royal guard Eklavya (Amitabh Bachchan) on her deathbed, the king Rana Jaivardhan (Boman Irani) is enraged.
The guard is the keeper of a secret about the birth of the queen's children Harshvardhan (Saif Ali Khan) and Nandini (Raima Sen).
As the queen dies, the stage is set for a drama that would've made Shakespeare smile.
Chopra's `Eklavya' is that thumb a student of cinema would offer his masters, for everything that cinema has taught him. A Shakespearean script laden with heavy-duty drama (duty also because it's about the royal guard and his dharma), a top-notch ensemble ranging from stars to actors, indulgent story-telling, an old-world setting very painstakingly etched out with elaborate cinematography on a lavish canvas, stylishly edited, and composed visually and aurally with great passion.
It's an expensive film to make. But a filmmaker has to do his duty.
Bachchan, of course, anchors the movie with great restraint and simmering intensity, using his eyes to depict his inner turmoil and steely resolve.
Saif is splendidly effective in yet another serious role, holding his own against the veteran, with natural flair and underplayed majesty.
Cinematographer `Nutty' Subramanian's camera makes the most of the huge cranes, giving us some of the most spectacularly framed visuals seen in recent times, with due credit to the locations and art director Nitin Chandrakant Desai. Chopra camp regular Shantanu Moitra turns in just one song and props up the rest of the film with a magnificent score to punctuate the visual poetry.
But then, this is also not the type of parallel cinema associated with Ray, Benegal, Adoor or Nihalani. This is more a Tarantino kind of celebration of pop cinema churned out with complete conviction, indulgence and John Woo-ish flamboyance.
Despite what he's been inspired by, Chopra makes sure the film wears his own signature nods to elements from his own movies, cross-referencing, repeating old favourites and even a direct insert of a clip from `Parinda.'
However, when you see how he ends the film, you can't help but get the feeling that commerce might have just got a little better of Chopra. The pre-release marketing sent out all the wrong signals. The slickly cut trailer promised a racy thriller. Big stars meant bigger theatres. The result has turned out to be disastrous. As the first few days in the halls have demonstrated, the restless crowds aren't patient enough to appreciate the indulgence.
`Eklavya' is clearly an up-market multiplex film for a niche audience. If you plan to go for a movie, take a rain check. If you're in the mood for serious cinema, make sure you just don't miss it.
SUDHISH KAMATH
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