Pulkit Datta

Draupadi – Will My Spirit Live On?

mandy — Tue, 19 Apr 2011 08:00:00 +0000

On the heels of International Women’s Day, the Indo-American Arts Council in New York City hosted the North American premiere of a unique and thought-provoking Indian play called Draupadi – Will My Spirit Live On? Produced and conceptualized by Shivani Wazir Pasrich, and co-directed by Pasrich and Tina Johnson, Draupadi weaves a tale from the Hindu epic Mahabharata with an intense contemporary story of a woman battling her experience with sexual abuse. The play sheds light on the plight of many women suffering such abuse, connecting a mythological tale with a modern parallel, and delivers a mostly engaging experience.

The play extends the story of Draupadi (played by Pasrich), from her travails that were supposed to have triggered a great war, crossing centuries to meet Maaya (Charu Shankar) in modern day India. Draupadi is stuck between heaven and earth, pondering her fate and choices, and being guided by her confidant Lord Krishna. Maaya is a young housewife who is taken advantage of by her husband Arjun’s brother Kaurav, and is too afraid of societal taboos to fight for justice. Added into the mix is Krishna, who flits in and out of situations donning various avatars to help guide the two women in distress towards finding peace with their own respective scenarios.

One of the play’s greatest strengths is in its talented and accomplished cast. Pasrich as Draupadi exudes confidence and power in her quest for salvation and also helping Maaya out of her predicament. She does, however, remain angry throughout, thus affecting the depth of the character. Shankar plays Maaya with a dignified innocence and is quick to gain audience sympathy.

The most spirited performance comes from Dilip Shankar as Krishna, portraying a deity with an edge. He provides the comic relief in many tense scenes and dishes out ample doses of tough love that would come from any respected mentor, heavenly or human. Among the rest of the cast, Arjun Fauzdar as Maaya’s husband Arjun and Ashish Paliwal as Sukarna are both competent in their roles.

When asked about the genesis of the play, Pasrich explained, “It’s just essentially that, as women, we judge ourselves very harshly and we expect ourselves to perform so many different roles. And we do it happily with a smile. But at the end of the day we realize everybody’s going through the same kind of situation, our issues are similar, and there’s a great strength that you get out of that. So that was the reason to bring [Draupadi] into the current times because, if anyone’s had a difficult life, it’s Draupadi. So whoever today is having a tough time, it couldn’t be tougher than Draupadi’s life and if she moved on, so can everyone else.”

Draupadi – Will My Spirit Live On? is an important work of theatre for confronting through the arts an issue that plagues Indian society today. It is a show to be watched and lauded – such artistic confrontations of social plagues need only be encouraged.

Read the full review at The NRI

Written by: Pulkit Datta, April 19th 2011

No One Killed Jessica

mandy — Tue, 01 Feb 2011 08:00:00 +0000

Directed by Rajkumar Gupta

UTV Motion Pictures

In 1999 model/waitress Jessica Lall refused to serve drinks to a rowdy man in a crowded bar, who then shot her point blank in a fit of rage. That man turned out to be the son of an influential politician, but with 300 witnesses it seemed like a straightforward case. However, in an unfortunate example of the rot in the judicial system and rampant corruption, all the witnesses were either threatened or paid off, and the evidence was tampered with, leading to the release of the killer. No One Killed Jessica by Rajkumar Gupta follows the initial courtroom campaign relentlessly pursued by Jessica’s sister, Sabrina (Vidya Balan), and then the news media battle for the reopening of the case led by fictionalized reporter Meera (Rani Mukherji).

No One Killed Jessica remains obsessively loyal to the central plot of the real events; the film is about the murder case and nothing else. There are no romantic tracks snuck into the narrative, no diversions, and no subplots. Every scene is in some way connected to the main story, and this loyalty becomes the film’s greatest strength. For just over two hours, Gupta sucks you into the minute details of the case and, even if you know how it all turns out, the film makes you feel disgust for the guilty parties and root for justice. The bigger message here is the immense power of a democratic movement leading to a change in the system. As Meera questions at one point, “What would happen if power is truly given to the ordinary man?”

The structure of the film is intriguing. The two protagonists hardly have any screen time together and there is a reason for it. The first half of the film is focused more on Sabrina and her fight to ensure a solid case against the accused, Manu Sharma. Meera’s life runs parallel to provide a wider news context of the time (i.e., Kargil war, Indian Airlines flight hijacking), but she doesn’t really have a role to play in the Jessica case at that stage. The first half also moves at a somewhat slow pace, fitting in well with the simpleton personality of Sabrina’s character. The second half then sprints into more sensational and glamorized action where Meera comes to the forefront and takes on the cause. Sabrina’s role then diminishes until the latter parts, and the very moving climax.

Mukherji’s portrayal of Meera is by far the more interesting character, whereas Balan’s Sabrina becomes so understated that she comes off as dull. The most memorable performance, however, is by newcomer Myra Karn who plays Jessica. She is simply a revelation. She injects such charm and vivaciousness into Jessica that you instantly fall for her.

Hindi cinema has traditionally had a very overbearing approach to advocating social change. With No One Killed Jessica, Gupta walks a fine line between making a hard-hitting realistic film and a commercial political thriller. As a result, he tends to slip on a few occasions. However, considering that every detail of the case is already so well known, Gupta delivers his retelling in such an engaging manner that you get pulled into the chaos of the moment. No One Killed Jessica is a brave film that picks a battle and fights it until the end. It’s not just a promising start to the films of 2011, but with all the corruption scandals plaguing India these days, the timing seems even more appropriate.

Read the full review at The NRI

Written by: Pulkit Datta, February 1st 2011

Mirch

mandy — Wed, 17 Nov 2010 08:00:00 +0000

Directed by Vinay Shukla

Reliance Big Pictures

Director Vinay Shukla returns to the big screen after five years with his latest film Mirch. Starring Arunoday Singh, Konkona Sen Sharma, Raima Sen, Shahana Goswami, Sushant Singh, and a whole host of supporting actors, this film is witty, cleverly told, and has delightful performances. It addresses the issue of women’s emancipation from restrictive roles in traditional storytelling, and ends up walking a very thin line between making a profound statement about empowerment and being potentially offensive for painting empowered women as cunning. That decision is ultimately left to the viewer, and I walked out unsure about how to interpret it. Ultimately, Shukla delivers a film that is creatively narrated, makes you laugh, leaves you thinking, and provokes a discussion.

The basic story is of a struggling director/writer (Arunoday Singh) trying hard to impress a producer (Sushant Singh) to back his idea. Under pressure, the director narrates four short stories to him, each female-centric and evolving over time and in its feminist message. Konkona and Raima each feature in two of the stories he narrates, alternating from one to the other. They are supported by a very capable ensemble of actors such as Boman Irani, Ila Arun, Saurabh Shukla and Prem Chopra. One of the best things about the short stories is that each one transports the viewer completely to a new ambience and setting, and for a while you forget that you’re in a story within a story, until you’re pulled back out of it. Credit for this goes to the fluid writing and production design, which enables a seamless jump from swanky producer’s office to medieval village to Rajasthani palace to high-end art gallery to sleazy hotel room. If you’re curious about all those locations, watch the film to see what I mean.

Commenting on the evolution of the film, Shukla said, “The film is highly self-reflective, it mirrors the process I went through to get this film made. It was a huge struggle so the story is a commentary on that as well.” Shukla’s most well known film to date has been the 1999 release Godmother, starring Shabana Azmi, which won him awards and critical acclaim. It is good to see him return with another powerful script and a great line-up of talent. The film’s actual portrayal of women’s emancipation is up for interpretation, but at least here’s a film that inspires debate and shows you a good time while doing it.

Cross-posted at The NRI

Written by: Pulkit Datta, November 17th 2010

Aarekti Premer Galpo (Just Another Love Story)

mandy — Mon, 08 Nov 2010 16:00:00 +0000

Directed by Kaushik Ganguly

Cinemawalla

Rituparno Ghosh completely reinvents himself from director to actor and delivers a gripping performance in this very lyrical film by Kaushik Ganguly. Just Another Love Story (original Bengali title: Aarekti Premer Galpo) is about a filmmaker Abhiroop Sen (played by Ghosh) who makes a documentary about Chapal Bhaduri, the legendary jatra (Bengali folk theatre) actor who spent his entire career playing female roles on stage, primarily as Goddess Shitala. Thus begins a journey where director and subject learn from one another—on the one hand is Bhaduri (playing himself), who was closeted for fear of social ostracism but openly accepted as a cross-dressing actor, and on the other is the modern urban filmmaker who is open about his sexuality, but still negotiating his gender identity.

The most striking thing about Just Another Love Story is that it doesn’t make a big exhibition about its very brave subject. It’s not a look-how-path-breaking-this-film-is kind of treatment. Instead, the transgender protagonist is introduced into the story with as much casualness as any other character. Ghosh lends to his character, and the story, such a complexity that you can’t help but empathize with his struggle. The film maintains a mature and sensitive treatment throughout, never resorting to unnecessary gestures to prove its point.

The parallel story arc of Chapal Bhaduri is sensitively told and enlightening. Bhaduri plays himself with vulnerability and Ghosh playing Bhaduri in the reenactment of his younger life does a great job of switching back and forth between his character as the documentary filmmaker and a portrayal of Bhaduri. In this way the film becomes multi-layered with each element building on the other. Sen’s relationship with his bisexual cameraman Basu (Indraneil Sengupta) is also handled with maturity and complexity, especially since the latter’s wife is aware (and oddly accepting) of their relationship.

Speaking about the taboo around trans identities in India, the director Ganguly said, “Trans identities, or the third sex, have been around since the mythological times, so this isn’t a new issue at all. We think it’s new because we’re still recovering from the colonial mindset.” Ganguly’s film is an ode to the traditions of jatra, a powerful yet subtle statement on the intrinsic presence of trans identities in Indian society, and another glowing feather in the cap of the talented Ghosh, who makes a stellar acting debut.

Cross-posted at The NRI

Written by: Pulkit Datta, November 8th 2010

Monica Droga: Indie Musician, Bollywood Star, Feminist

mandy — Sat, 06 Nov 2010 08:00:00 +0000

Interview with Monica Dogra

Gone are the times when people would migrate only to the West to find better lives. Now we witness a reversal of sorts, with NRIs going back to India to seek the same opportunities that their parents or grandparents had left India to find. Monica Dogra is one such NRI who is rocking the independent music scene in the homeland. She’s one half of what is arguably the most successful indie music band in India, Shaa’ir n Func, and is also making her film debut as one of the leads in Aamir Khan's upcoming Dhobi Ghat, directed by Kiran Rao. Here’s her exclusive interview:

Tell me a bit about your background. American born confused desi?

American born desi, definitely not confused. I was born and brought up in Maryland, just outside of Baltimore. My parents had migrated to the U.S. from India. I was always a super active performer from a really young age.

How did you get into music in the first place?

My mom is a singer as well so I grew up around Hindustani classical music, going to classical concerts when I was young. And then my parents split up when I was twelve and I was raised by my dad. He was the opposite, like, be a doctor, go to business school, etc. But I still had such a deep-rooted love for music that I couldn’t deny it.

How do you balance being American with being Indian?

I think kids today are much more aware of other cultures because of examples in the media. But we were reminded of being different every single step of the way. People would ask, “Where are you from? What’s your ethnicity? Why don’t you have a red dot on your head?” Those are things that we grew up with, even though you’d have an American accent and you were born and raised in the U.S. We would reply with, “Do you mean where are my parents from? Or where I was born?” What box should I check today? I am American, but I am also through and through Indian.

What sparked the move to India?

I just decided to go to Bombay for five days to check it out and I ended up falling in love with the city, the culture, with the monetary freedom I had there. My savings could take me so far. In those five days I was free writing for hours every day. Stuff was just pouring out of me in real time. So I went back. I just had a feeling that I needed to be there.

How did you meet Randolph and how was Shaa’ir n Func born?

In those first five days, Randolph came to a party. It was a room of twenty people with no smoking, no drinking allowed. There was a saxophonist, a bansuri player, I’m a singer and a poet. There was a girl doing interpretive dance. It was so tripped out. It felt like a scene from a movie. So Randolph walked in, he had a guitar, and he started playing. I liked his vibe a lot. Our music is a combination of influences. We do heavy doses of rock, electronic music, spoken word and funk. We call it conscious dance music.

When I went back to Bombay I bumped into him and I asked him to play with me. I wrote the record, he and I recorded it, we got a distribution deal, we were getting paid to do shows, and it all kicked off. Sometimes when you do the right thing, life is like “good job, I’ll give you this.” And that just kept happening, not without a lot of sweat and hard work though.

Most of your fans are young women, which is a surprising demographic to be so supportive of alternative music in India.

I pride myself on having such a big female following. I’m a feminist and seeing these beautiful women loving our kind of music is empowering, especially in a country where it’s not easy being a woman. Every day, before I walk out of my house in Bombay, think about how I’m going to get reacted to on the streets, “Oh I need to cover this, I need to cover my legs.” My friend got her butt grabbed in the middle of the street. Those are things that are not okay. There’s still a need for feminism. I’m going talk about how there are only ten female directors in Indian cinema because it’s true. We still need to work on that. It bothers me how feminism is a dirty word. I see myself as an empowered, intelligent, sexual female. I find intelligence to be sexy. I put that into my music and everything that I do.

Do you think there’s a divide between the mainstream film-centric world in Mumbai and the indie scene?

The indie scene is so anti-Bollywood, but I’m not like that. In order to change the system you have to change it from within. Most bands are English-speaking and completely anti-traditional anything. I’ve never seen things that way. I grew up watching Bollywood movies and for me that was my only reference point for India. Another reason for this divide is the dependence on connections. “Who’s your mom? Who’s your dad? Why should I pay attention to you?” That kind of vibe is off-putting. But things are changing, more rapidly now than ever before.

That brings us to your film debut. Tell us about Dhobi Ghat and working with Aamir Khan and Kiran Rao.

It came out of nowhere. Kiran saw me in a magazine and wanted me to audition. I was touring at the time in London. When I got an email from her production house I was like “Thanks, but that’s okay.” They emailed me a couple of times. So out of curiosity, I auditioned. For my second screen test they said, “You have to come tomorrow but we just wanted to give you a heads up that you have to do your screen test with Aamir Khan!” Deep breath. Freaking out. I prepared as much as I could. I walked in, he introduced himself and then said, “Let’s begin” without giving me the chance to be struck by his star presence. The reading went well. I got the role the very next day.

What was it like working with the Kiran and Aamir duo?

Kiran is such an amazing woman. She’s so talented, so beautiful and truly unique. There’s no one like her in the industry. Aamir Khan is such a normal guy with such normal desires. I admire him because he uses his star power and does something with it. He is the only one who is really doing it and doing it well. The film has turned out beautiful and I can’t wait for it to be released.

What do you see in your future? And the future of indie music in India?

There’s a powerhouse of talent in India, a huge range. It’s my firm belief that if people are given the platform to get their talents out there, the arts scene would seriously just explode in ways that we’ve never imagined. Shaa’ir n Func is three albums old and our audience is constantly growing. We’ve done shows all over India and hopefully we’ll make more music and reach out to more people. Actually, the real goal is to write a song that I wouldn’t mind playing twenty-four hours a day, seven days a week. I want to write that song.

As a NRI who’s returned to the homeland, do you see India as your land of opportunity?

It’s odd that both my mom and dad struggled to provide me with the opportunity to grow up in the U.S. and have access to everything, and then I would have to go back to India to emancipate myself, to feel comfortable with who I am. India has become my land of opportunity because I made it that. I created my opportunities. I was willing to give up a lot of things to achieve my dreams. India, for me, has a kind of freedom that the U.S. lacks. I love that chaos, I needed that chaos. And it has helped me thrive.

Cross-posted from The NRI

Written by: Pulkit Datta, November 6th 2010

Desigirls

admin — Thu, 10 Jun 2010 16:01:00 +0000

Directed by Ishita Srivastava

Sometimes you stumble upon really small, obscure films that leave such an impact that you just want as many people to see it as possible. Desigirls by Ishita Srivastava is one such film. Filmed as a graduate thesis project at New York University, this twenty-minute documentary explores a refreshingly new topic—the South Asian lesbian community in New York City. I had the opportunity to watch the film and speak to the director afterward. Even though Desigirls is a student film, Srivastava approaches the topic with maturity and a sincerity that makes it a truly engaging film.

The film follows two women—Priyanka and ‘A’—as they discuss their sexual identities and their role within the South Asian queer community in New York, represented by two key institutions – the Desilicious parties and the South Asian Lesbian and Gay Association (SALGA) meetings. Priyanka is an openly pansexual woman who embraces her sexual identity and is an active member of the community. ‘A’, on the contrary, is living a double life, afraid to come out to her parents and secretly exploring her sexual identity.

Srivastava explores the lives of the two women with sensitivity, never intruding too much on their space. While Priyanka willingly offers herself to the camera and interacts freely with it, ‘A’ turns out to be the more interesting character to follow since her anonymity allows her to be emotionally vulnerable in front of the camera. The segment where she discusses her relationship with her brother is particularly moving. Srivastava does a commendable job of letting the characters be, without forcing much upon them or from them.

At times the film becomes ambitious in its scope, trying to accomplish too much in its very short runtime. Srivastava attempts to develop the two main characters and also explore the various events centered on the community. There’s enough in there to be expanded to a longer documentary. Of the two main events, the film focuses more on the SALGA meetings even if that wasn’t the original intention. Srivastava has the ability to make the viewer feel comfortable with what’s going on in front of the camera. The presence in the SALGA support meetings doesn’t seem intrusive, and shadowing Priyanka's and A’s lives keep the viewer hooked.

The most fascinating elements in the film emerge from the observations and statements made by the various characters. At one point Priyanka decisively states that her friends from India are far more tolerant of her sexuality than the Indians she knows who have been raised in the U.S. Meanwhile ‘A’ exhibits certain resentment in the dichotomy of never being able to come out to her conservative parents yet witnessing her brother having much more freedom in lifestyle choices than her. Thus the film effectively presents the fractures present within this very small community. All in all, Desigirls is a low budget student film for sure, but the story it tells is very powerful nonetheless, and one that desperately needed to be told.

Read Pulkit's interview with Ishita Srivastava at The NRI

Written by: Pulkit Datta, June 10th 2010