'Bombay Talkies'

Celebrating cinema; deconstructing and restructuring the Bollywood dreams....
"Har kissa hai cinema ke jaadoo ka......" goes the song accompanying the opening credits, and those words say it all...... it is all about celebrating the magic of cinema, and somewhat magical was this experience of watching this anthology, this collage, of four films, for me. I believe cinema can move us, and that is why they are aptly called movies and the moving images connect with our souls, they let us relive the passion that is ever-present in our hearts. You know, my life has been a journey through films, and Bollywood has been an essential part of it. Watching 'Bombay Talkies' paralleled my personal reflections and my full-bodied association with cinema, in general, and Hindi cinema, in particular.

Four contemporary directors. Four short films, four distinctly different narratives. Connected only by their referencing of Hindi cinema, popularly termed Bollywood, and its obvious appendages and accessories. What better treat could we have asked for as a celebration of cinema, or rather a celebration of Indian cinema's hundred years, hundred years of narrating emotion, after all we are a bunch of emotional fools, and we are not known to eschew emotions..... instead, we love our cinema steeped in emotion, every cinematic frame that has been lauded and will be lauded again is likely to be characterized by the emotions that ooze out, that drench us, and enrich us at the same time. 'Bombay Talkies' doffs its hat in that direction. However, this time, as the format chosen by the acclaimed and/or popular directors being that of short films, the content is definitely non-mainstream, at least not the core kind. Yet, neither are the shorts influenced by the very much thriving and buoyant French shorts, or other European ones. At best, one is reminded of the Iranian films, especially in one or two of the segments.

Now, the question arises - how successful is the entire outcome? Is the bouquet worth celebrating in itself? Does it fulfill its objective? Does it overwhelm? Is it a definitive collaboration of creative contributors? Does the cinematic tribute relevant for the diversity and heterogeneity as much as the monolithic compulsions of Bollywood?
Well, those posers can have one debating, and tearing hair, but the answers are many. For me, the avid movie buff (movie junkie) that I am, the experience as a viewer was refreshing; I smiled, I chuckled, I shed a tear as well, and I marveled...... and I must say that I left the theater thoroughly entertained. I felt that Bollywood isn't facing an extinction threat, our films have evolved - they have come a long way indeed - and will continue to do so, despite the challenges faced by cinema in general, in this age and time.

Karan Johar, Dibakar Banerjee, Zoya Akhtar, and Anurag Kashyap - the four directors - have proved their worth...... they may have varying degrees of success, they may have faltered at places, and made us sit up and take note of their prowess in the best of moments (and moments there are aplenty that stay with us after the curtains come down)..... the makers, their outpourings, aided by superlative contributions of the cast and crew (which include talents both old and new) are what make 'Bombay Talkies' a special film for me (and I know I am not alone).

an LSD-esque grandeur

New age cinema, world cinema, experimental cinema, parallel cinema, offbeat cinema - call it what you may, but we haven't had it this good since last year's "Dev. D".
With as provocative a title as "Love, Sex Aur Dhokha", a movie-goer can well expect to be shocked. It is clearly an 'adults only' film, most would reason from the posters or the promotional stills, but what one would not easily understand is the fact that it is anything but a sleaze-fest!
It is a film that screams out loud to be included in the contemporary classics hall-of-fame. It is absolutely magical as a journey; a journey through the modern, easy to grab, free for all, technology aided back-alleys of voyeurism that makes its presence felt in our daily lives through umpteen scandalous 'breaking news' headlines that are assimilated by the entire household along with our daily dose of tea/coffee, desensitizing coverages of murder and mayhem, and the television-serials. Yet, we take nothing from them. We do not learn the much-needed lessons in sanity and sensitivity, we are the de-classed voyeurs who do not give a damn about our fellow human-being's privacy. "LSD", as a film doesn't get us high on the titillation, instead its success lies in its hitting base with the powerful reality check, without any attempt at sermonizing or moralizing.

There are three stories, incidental for the all-important concept that holds the key to the experimental narrative structure, and three couples therein who are intricately connected to one another. Without giving away much of the clever intermingling of the narratives, it can be said that each of the stories has at its centre a realistic conflict and/or turmoil involving secret recording through hidden camera. The hidden cameras are thus the dynamic protagonists, alive in their own way, revelatory and sensational. The edge film stars no known (or lesser known) actors and is entirely filmed with the digital camera. The quirky, unconventional camera angles, the jerky movements and the documentation-style 'footage' can be unnerving and unsettling for the first five-ten minutes - especially for the normal cine-goer. But the flow of events has an easy grip on our attention thereafter, and the tantalizing tales readily blend with the style or manner of storytelling.
The cast includes Arya Banerjee, Neha Chauhan, Anshuman Jha, Atul Mongia, Amit Sial, Herry Tangdi, Raj Kumar Yadav, and Shruti. The cinematography is by Nikos Andritsakis. Namrata Rao is the film-editor, Mustafa Stationwala is the production designer, and Atul Mongia the casting-director - all of whom deserve a praise. The original music of the film has been composed by Sneha Khanwalkar and Dibakar Banerjee.

Dibakar Banerjee, the creator of the movie "LSD" is a film-director par excellence.
He is the one who has been thumb-nosing at the diktats of Bollywood,
and has been conquering new vistas by daring to go beyond the "what-works-and-what-doesn't" stereotypes.
He has been the real game changer in the world of new-age Indian cinema, with his first two features, "Khosla Ka Ghosla" (it was not only a sleeper hit, but was also a true contemporary classic) and "Oye Lucky Lucky Oye", having been toasted for sheer sheer energy and raw exuberance. With "LSD", he has extended his horizons. I am thrilled beyond delight to have my faith in this new-age film-maker being vindicated. He knows his Delhi (especially the city's underbelly), he knows his craft, he knows how capable he is in executing what he believes in (the confidence makes him unapologetic in his use of cinematic idiom borrowed from world cinema, but very much moulded in his own way!) and my good wishes to him for breaking more barriers and giving us substantial films which enthrall, and thus entertain.