Behind barbed wires

Finally it had stopped raining, as I went for the second day of the short films in competition for the Human Rights Night film festival of Bologna. The projection started with a bit of delay as we waited for Manli Shojaeifard, the Iranian director of one of the films in programme.

If on the first day, for me the theme of the films had been crossing some kind of boundaries, yesterday I felt that stories had less hope, they were about persons imprisoned behind barbed wires. Barbed wires that were there in their own minds or were built by circumstances, but in all cases there was not much chance of getting out.

The first film was "...She was no one" (director Manli Shojaeifard, Iran, 2002, 13 minutes). It was about a saint's tomb that is supposed to cure persons with mental illnesses and where people tie mentally sick persons with a chain and a lock, presumably overnight. Manli herself explained that to avoid problems, she had visualized this film in a more symbloic form, using symbols such as green wishing-threads tied around the tomb, the rosary and the burning candles. There were no dialogues in the film.

I personally had difficulty in understanding this film and afterwards, asked Manlie some clarifications. The main event of the film was the rape of one mentally ill girl left there by her family, by the caretaker of the tomb. This was shown indirectly, when a woman living near by, finds the girl on the ground near the tomb, having convulsions and closeby she finds the rosary left by the man.

However, even after understanding the idea of the film, I had trouble in visualizing that man raping the girl, since actor playing the caretaker of the tomb seemed like a kindly elderly gnome with laughing blue eyes. Perhaps they could have taken a different actor for this role.

People tying mentally ill persons with chains and treating them like animals is probably common all over the rural world, where there are few psychiatrists and little understanding of mental illness. Both mental illness and epilepsy are surrounded by myths, superstitions, stigma and discrimination. It does happen in India and a mainstream film like "Tere Naam" (director Satish Kaushik, 2003 with Salman Khan and Bhumika Chawla) had shown it very graphically. However, I am digressing here.

The second film was Alfred (director Leonardo Guerra Seràgnoli, USA, 2008, 17 minutes) about nightmares of a man called Alfred. When he was a child or adolescent, he was involved in some war. Hit by a bullet, enemy soldiers had left him on the ground thinking that he was dead. Now he is haunted by some unseen demons, probably unable to come to terms with fragility of his life or the fear of dying.

The film has beautiful photography and actor playing Alfred (Daniel Bell) looks suitably angst-stricken, shaving off his head, toying with tablets, fighting with his pillow, contemplating the darkness in his soul. At the same time, I found the film like a glossy magazine, great looking but a little artificial and lacking in soul.

The third film was Hungry God (director Sukhada Gokhale-Bhonde, India-USA 2008, 8 minutes). It was about a young boy (Omkar Gaekwad), his face made up like Hindu god Shivji with toy snakes around his neck, going around asking for food, looking hungrily as people buy or eat food, continue to offer food to the statues but no one takes pity on him.

The film is visually very beautiful, lyrical and the music helps in that. The first shot of boy looking at his own split image in the broken mirror can be interpreted as a metafor in different ways.

Child actor (Omkar Gaekwad) playing the part has eloquent eyes and the film pulls at your emotions. Yet, the film does seem a film, little artificial, a make-believe world and not about real poverty and hunger, perhaps because it is too beautiful. The boy is too well made, clearly he had professionals doing his make up, complete with fresh flowers and eye liners and this takes away from the authenticity of the film.

There was a similar figure of the boy, dressed like a god in the riots scene of The Millionaire (David Boyle 2008). Perhaps it is films like The Millionaire that change the way we look at poverty and slums?

The last film of yesterday was "Vida Loca" (Crazy lives, Stefania Andreotti, Italy 2008) about gangs of adolescents in some countries of central America like Honduras. This film is more of a straight forward documentary with some wonderful night photography and haunting images of eyes with pupils dilating as the young gang members talk about the three dots of their crazy lives in the space between the thumb and the index finger, signifying death, drugs and jail.

The story of two gangs, Rio 18 and Mara, extending from streets of central America right up to Los Angels, about illegal emigrants, drugs trade, violence and revenge shocks because of the hopelessness of their young lives, where killing or getting killed is the only real option they have. Seen as vermin, to be crushed and violated, the brutality of the prisons, recruiting new members of the gangs in the prisons seen as the gang headquarters, show the effect of the repressive harsh ways of dealing with the issues. Social workers and rehabilitation centres show a faint glimmer of hope as some persons do manage to go out the narrow confines of the gang-thinking.

The film ends with the haunting laugh of one of the adolescent gang member, who had been talking about his lack of fear of death, that we was ready to  kill and to be killed, as he asks, "Help me to change". His heart-breaking smile and the hopelessness of his situation is what remains when the film is over.

Among the four films seen yearday, I liked "Vida Loca" most.

Crossing borders

There were five films in the short-films section of the Bolgona Human Rights Night film festival yesterday, and overall I liked all five of them. We still have another seven films to see so it is too early to speak of which of them is the best film, but already I can see how subjective it can be to decide about the best film or the best actor or actress, and in the end why some persons feel so strongly about the awards and film festivals.

The first film was Mofetas (Director Inés Enciso, Spain-Morocco 2008, 10 minutes). The word "Mofetas" means skunks, those furry animals that use bad odour as their defence, and is what the police in Tangiers calls the children trying to illegaly cross into Europe, hanging under the trucks.

The films heroes are two Moroccan mofetas (Mostafa Abdeslam and Mohamed Maltof), trying their luck once again, hiding under the belly of the truck, waiting for the crossing to Spain, while waiting, sharing their dreams. If the reality of their life is poor and dirty, their dreams are in technicolor complete with blondes and chocolates.

Newspapers in Europe regularly talk about emigrants trying to sneak in, hanging on to the trucks or boats, hiding in the freezer cells, some times dying, some times making it but then sent back. They are just numbers, illegals without faces or humanity. The film gives faces, names, dreams and humanity to them.

The second film was Viko (Director Larjsa Kondracki, Canada 2008, 17 minutes). It is the story of teenager Viko (Luke Treadaway) in ex-Jugoslavia, hoping to escape from poverty and be able to go to Berlin or London with his girl. His borther, hard and cussing, offers Viko to help in his illegal work. Viko does not know that he is getting into trafficking of Ukrainian girls for prostitution. Initially shocked and repulsed by the tragedy of girls they are violating, Viko finally reacts with violence himself, becoming hard and cussing like his brother.

The film is about a young boy reaching adulthood, losing his innocence and turning into a violent exploiter for his own survival. I think that we all want our villains to be very different from us, without humanity, so that we can hate them and feel relieved that we are not like them. The film shows that violent men who exploit poverty of young women to push them into prostitution were persons like others, circumstances and their work turn them into monsters.

There is a part of the film that is really shocking with rape and violence, I wanted to close my eyes and close my ears. It is not for the faint hearted or for children.

It is a film that makes you reflect about the scantily clad girls you can see standing by the side of the road, smiling provocatively, hoping to coax you to a room and think about how they got there and the kind of racket that exists all around to make that to happen.

The third film was Una Vida Mejor (director Luis Fernandez Reneo, Spain, 2008, 13 minutes) about three children crossing over from Mexico to America through the Arizona desert. The children get separated from their handler and the group during an attack by bandits, then alone without water they try to cross the desert. One of them doesn't make it.

Some parts of the film are very well done like the last part where the mother receives the letter from her children. In other parts, I found it is less real and more artificial, in the sense everyone and everything is too nice and beautiful. For me it lacked grit of a documentary and was more of a film.

The fourth film was About The Shoes (By Rozalié Kohutovà, Cech republic, 2007, 13 minutes) about a Rom (gypsy) slum near Slovakia. The film in black and white is told by a young woman-volunteer-teacher who wants to bring the gypsy children to school, and about the girl without shoes, who can not come to the school.

The poverty and the squallor of the gypsy campment is caught well. However, the film seems to be a outsiders look at gypsy world, the otherness of the gypsies is accentuated. It lacks their point of view.

The choice of stark images in black and white also help to create views that reminded me of documentaries about concentration camps under Nazis, that again seemed to accentuate their otherness, a feeling that it is not about us normal persons, it is about them, and they are different from us. I am not sure if director did want to convey this.

The fifth and the last film yesterday was Portuale (director Gregor Ferretti, Italy 2008, 4 minutes) about Lucio, a young boy who had died during his first day of work at the port in Ravenna. The film, a musical video, sung by Gregor (Lucio is dead, crushed like a cat), has beautiful visuals and shows the different stages of Lucio growing up, his friends, his dreams and then his body at the port, covered by a sheet.

Use of beautiful colours, nice locales and the contrasting words are pleasant even if you may have seen similar songs already on Music TV, it doesn't add anything to the understanding about what happened and why. Lack of security at work places, the theme of the film, remains more of an accident.

Overall the first day of short films was satisfying and much better than what I had expected. Viko was especially shocking and Mofetas made me reflect more, but each film gave me something to remember, and something to reflect upon. I think that is the purpose of documentary films, to make you relfect and to understand. 

As I had walked in the theater, I saw bits of a press conference of a new Italian film coming out today, Amici del Bar Margherita, shot in Bologna. There were some of the Italian stars like Pierpaolo Zizzi and the popular Italian singer, Lucio Dalla. (In the picture below with director Pupi Avati and other actors).

I am looking forward to the second round of short films today that is going to have films from Italy, USA, Iran and India. I am also looking forward to tomorrow to watching Parvez Sharma's A Jihad for Love and Ari Folman's Waltz with Bashir.

Sonagachi prostitute and the yellow turbaned Sarpanch

Have you seen the posts on India Yatra series on the Hindustan Times webpage? I think they are wonderful in getting a feel of India as it readies for the 2009 elections.

The yellow turbaned Sarpanch in the Maharashtra village has a masters degree and practices participatory democracy and development, bringing prosperty to the village and to them the national elections are not so important, the Gram Sabha is much more so.

Durbar, the NGO set up by a group of prostitutes from Sonagachi in Kolkatta is the only organisation providing support to the tribals in an area that saw starvation deaths. To those tribals, the politicians mean nothing, they only see hope in Durbar.

In UP the internet surfing farmer is a millionaire and is providing new agricutlure knowledge to many other farmers. To them the new eight lane highway that is coming up next to their village is their road to prosperity and rather than look at the Ram mandir issue in Ayodhya, they would rather look westwards to Punjab, Haryana and Maharasthra for better agriculture.

In Andhra Pradesh, the world-class road is just a confirmation of the State priority in fighting the Naxalites and it fuels the desire for the separate Telangana state. Prosperity will come with their own state, they are convinced. People are calculating which politicians are likely to support them to realise their Telangana dream.

In Bihar the bicycles for the high school girls may be another round of chess moves between Nitish Kumar, Ram Vilas Paswan and Lalu Prasad, but girls are feeling more confident and see a hope for their future.

These are some of the examples of the stories under India Yatra.

HT has 30 correspondents travelling all over India and collecting stories from places that usually are forgotten in newspapers and TV news. It gives me an opportunity to go beyond the usual media representations of India, to a more varied mosaic of the country. Great stuff and interesting as well.

Befana - Female Santa Claus of Italian Tradition

Today Christmas means Santa Claus bringing the gifts for children but it wasn't always like this. Traditionally the gifts were brought by Befana, an old ugly lady with a crooked big nose, who came flying on her broom and brought socks of gifts for children. Befana day is celebrated on 6 January of each year, it is a national holiday in Italy and marks the end of Christmas festivities.

It is thought that the Befana gift tradition also represents the gifts brought by three wise men of orient to infant Jesus.

During Christmas, many Italian homes set up their Christmas floats with the holy family and other representations of popular life. For Befana day, on 6 January Bologna holds a live float (Presepe vivente) of Christmas with people dressed in medieval clothes, who enact the birth of Jesus. 

Here are some pictures from todays Presepe Vivente of Bologna

Sexuality in Pelagio Palagi collection

Probably most persons, even if they like art, have never heard of Pelagio Palagi. I believe that the man was grossly under-rated, probably because he was born in a rich family and dabbled in lot of different things. Fact is for a long long time Pelagio Palagi was not taken seriously, seen mostly as a collectionist. (all images in this essay are by Sunil Deepak)



To be a collector and spending your riches for bringing together treasures of art and at the same time, supporting lot of artists, is not to be looked down at. Most persons with their billions, if they did that, perhaps the world would be nicer place. Palagi was a good collector and in addition, a wonderful painter and designer.

Born in a rich family in Bologna in 1775, Palagi loved art. His paintings were not considered important for a long long time. He also collected antiques and art from different places including two important collections from Egypt and ancient Greece. During those years, antiques and art were not seen as national treasures but rich persons, especially Europeans could buy what ever they wanted. Thus important scultures, documents, paintings came to the colonial powers of Europe.

Palagi left all his treasures to the municiple government of Bologna and these treasures are important parts of different Bologna museums. Bologna, a comparatively small city in Italy, has been an important centre of culture and science, and has a huge number of museums that are all free for visitors and have a rich programme of guided tours for adults and children.

So if you are planning to visit Bologna, remember to keep a few days for visiting its museums and for discovering Pelagio Palagi.

In this post I want to touch on two aspects of Pelagio Palagi's works. The first relates to his paintings. I love his portraits and I like his technique of adding the big white/pale areas in the bottom half of the portraits, that some times give an impression of part of the canvass being torn off. Below you will find two of his portraits - the first is the study for the portrait of Major Lattuada done in 1819 done for hospital of Milan; the second is the portrait of his close friend Giuseppe Guizzardi done around 1808-09.





The second aspect is related to sexuality. Below you will find two examples -

(1) the first is a 4000 years old Egyptian stele from Palagi's collection showing a man called Aku praying to male fertility god Min. At the lower end of the stele behind the god Min, his phallus shaped temples are shown that remind me of Shivalings.


(2) the second is the painting of Sappho and Rodope done by Palagi around 1808-09 - Sappho and Rodope's painting is interesting as it shows the two women in loving embrace, that has been the popular interpretation to the Sappho legend. According to the Greek legends, Sappho was a poetess while Rodope was a slave girl or a courtesan in ancient Egypt (the legend of Rodope or Rodopi from ancient Egypt is supposed to be the inspiration for the Cindrella fable), who had an affair with Sappho's brother. Those initial legends depicted Sappho as having many lovers. However, later popular legends saw Sappho as a woman in love with other women and her island, Lesbo, also acquired notoriety, giving rise to words like Lesbians.






As you can see, trying to understand the art of Pelagio Palagi can take you in many interesting directions. Art museum, archelogical museum and medival museum of Bologna have thousands of works from Pelagio Palagi collection, some are his creations and others are his collections, remember that if you ever come to Bologna.

***

Boundries of forbidden Love

I was chatting with an Italian friend. Somehow those discussions had lead to some talk about our first crushes. I suddenly remembered about the time in India when I had just started to go to university and how I had adored my cousin brother’s fiancee.

“I used to think that she was the most beautiful girl in the world and even now, after almost forty years, I still feel that she is very beautiful”, I had said.

Perhaps it was something in my voice or my expression. My friend had laughed and asked, “So you were in love with her! And did you ever get intimate with her or was it just loving her from a distance and fantasising about getting into bed with her?”

Suddenly I was very angry and offended at her question. I had not said anything to her, suddenly deciding that it was late and I had to go.

“How dare she insinuate that my adoration was not pure and that there was any element of lust in my feelings for Bhabhi”, I had thought after saying goodbye to my friend, “these Europeans they can’t have any pure relationships, they need to dirty everything, nothing is sacred for them.”

I remembered this episode when yesterday I saw “Sorry Bhai”, the new film by Onir.

There were some scenes in the film, especially the love making scene between Sharman Joshi and Chitrangada Singh in the changing room of a clothes shop, which really disturbed me and I was squiriming on my seat, trying to not to look at the film during those scenes.

There are many shades of devar-bhabhi relationship that can vary from playfulness, and naughty banter to respect due to a mother. All the Ramleelas seen as a child probably contributed, so the strongest image of a bhabhi for me is defined by Sita-Lakshman relationship as described in Tulsi’s Ramayan.

Apart from Ramayan, I think that a number of old Hindi films also helped in defining these ideas of devar-bhabhi relationships in my mind. An archetypical film in that sense can be “Bhabhi ki Chudiyan”.

“Sorry Bhai” is not the first film to explore the taboo areas of attraction and sex between devars (brother in laws) and bhabhis (sister in laws). Two brothers or close friends falling in love with same woman like in Sajaan or younger brother falling in love with the ex-girl friend of his elder brother as in the recent Mehbooba, also touched on it. What kind of relationship exists between the brother who did not get the woman and his brother’s wife is usually left out from such films. In Mehbooba, the awkwardness is avoided by killing one of the brothers.

Other films that touched on this theme from another angle, have the younger brother marrying his widowed Bhabhi like in Silsale, where Amitabh is forced to marry Jaya, pregnant girlfriend of his elder brother Shashi Kapoor. Another film that brought out this dilemma of a boy forced to marry marry a woman he has always looked as a surrogate mother was Rajinder Singh Bedi’s "Ek Chadar Maili Si", where Rishi Kappor, asked to marry his widowed Bhabhi (Hema Malini) is horrified when elders of the village ask him. “You get married to your mothers”, he replies angrily.

It is true that in Sorry Bhai, the couple are not yet married but they are supposed to be getting married in a week and the family has come especially from India for the marriage. Plus, it seems that the couple has been together for five years. So even if they are not married, in a family, the woman would be seen as a de-facto wife of the man she is going to marry. In spite of this area of unease, I liked Sorry Bhai. I like films that provoke me, that make me think about forbidden areas of my own deepest thoughts. Often we tend to keep such forbidden areas buried deep down the conscious mind.

Actually there are also a number of Hindi films where brothers do lust after their Bhabhis and try to force themselves on them like the scene from Nagesh Kuknoor’s Dor, where the young brother tries to take advantage of recently widowed Ayasha Takia, but these are somehow more acceptable to us because in such films we tend to accept that men are beasts, they can’t control their sexual urges, while the women remain pure and resist such advances.

It is Sharman Joshi who makes the character of Sidharth Mathur, a younger brother falling for his future sister in law and trying to resist it, believable. I like Joshi, he is not a conventional Bollywood hero but very likeable and good actor.

However, Sorry Bhai suffers from some weak characterizations in my opinion.

The elder brother, Harshwardhan’s character is the most superficially drawn and you never really understand his motivations and his way of thinking. He also does not seem very convincing in the pub scene as drunk, but otherwise Sanjay Suri is good, especially in the last emotional scenes. Sanjay Suri must be a nice serious guy and this trait seems to come out in all his roles.

Chitrangada is wonderfully ravishing but a bit wooden in her interpretation of Aaliya. You never really understand how did she end up in Mauritius, it is not a country known for its higher education. However she makes up for such details by looking wonderful.

Perhaps they were all retired and didn’t need to go back to work? After Harsh postpones his marriage, they all decide to stay on in Mauritius without any explanation. Or perhaps it was the period of summer holidays? The same can be said for the last part of the film where it seems that they are all still living in Mauritius or perhaps it was a Mauritius-looking Mumbai?

And why doesn’t Sidharth call his brother’s fiancee Bhabhi when he first meets her, as you would expect normal Indian younger devars to do? It may be true that rich and the high class Indians are more westernized and they call each other by names rather than as Bhabhis or Bhaiyas but he does call his brother Bhai and never by his name, and he also seems a conventional boy willing to let his mother decide about his future wife!

So there are bits and pieces of the films that are not very logical but it is made up by wonderful looking Mauritius and great performances from the ever reliable Shabana Azmi and Boman Irani, and of course by Sharman Joshi. The music is good, especially Jalte Hain and Mere Khuda.

Onir is taking on all kinds of different subjects. I had liked My Brother Nikhil, though at that time I had thought that it had taken the idea and style from a Hollywood film Jia, but had changed it by making it a man’s story in an intelligent way. I didn’t watch all of “Bas ek pal”, I had seen bits and pieces of it during my stay in Guyana where it had seemed to be a favourite of the cable walla. But I had liked those bits and pieces.

And now Sorry Bhai, that could have been inspired by Love according to Dan, but that is not so important since he does take only inspirations of the basic idea, does intelligent work on it and makes the subject his own. Most important, he does not go whole hog in copying something and then claiming creative ownership over it.

In any case, as people say about Mahabharat that all stories are already told there and all playwrites must copy or get inspiration from some where. What matters is how one deals with those ideas and Onir seems to do it quite well. I am sorry that the film got sidelined due to the Mumbai terror attacks. It must have been hard on all those persons who had worked on the film.

***

Bollywood in Italy

Lazy, hot summer days of August. Olympics are on. I wish I could watch some badminton and table tennis matches at the Olympics but I don't think that I will get to, since both games are not a priority for Italy and so they are focusing on games that are more popular here and games where Italian teams are playing.

Last night, on the Italian national TV channel, they showed "Cheeni Kum" at prime time, dubbed into Italian. It was an absolute first for Bollywood here. One arty channel had shown films like "Kagaz ke phool" and "Pather Pachali", in late night slots. Another private TV channel had shown "Lagaan", starting it around midnight and finishing it around five in the morning. So I don't know how many people had actually watched those films.

Thus "Cheeni Kum" was a pleasant surprise. The film, quite urbane and witty most of the time, without any naach-gaana, was quite European (except for the scene of loud crying at Qutub Minaar by Amitabh Bacchan and his melodramatic running between the pillar and his mother, near the end of the film), so probably they thought that this one Bollywood film could be shown to normal Italian audience or does it mean that Italian TV is going to give more space to Bollywood in the future, remains to be seen. (BTW, Chinese films have been on prime time TV for many years now).

However there are lot of Bollywood fans here and there is a market for Indian DVDs that is not being tapped now. Actually it is partially being tapped by friendly neighbourhood pirated Asian DVD shops, but since even they do not have Indian films with Italian subtitles, so I am sure that there is scope for doing much more.

Every month I get two three enquires about how to buy Indian DVDs with Italian subtitles. Since I have been writing articles on Bollywood cinema and doing film reviews in Italian (on the Italian part of my website), people often come to me to ask "expert" advice. "Taare Zameen Par" got so many enquiries including persistent enquiries from an association of Dyslexic children, who want to use this film to create awareness about Dyslexia in Italy (if Aamir Khan is reading this please do something about it!). It would be easy to take the film and do Italian subtitles and distribute a few copies, but that would be illegal and I personally don't want to get into that. Last year, we did do Italian subtitles for small parts of different Indian films (Chameli, Umrao Jaan, Veer Zara, Bombay, etc.) for a women's festival but we didn't make any DVDs out of that experience.