Making Waves at MoMA

A short essay I wrote for India Today on a festival of contemporary Indian cinema at New York's Museum of Modern Art (MoMA) in 2022. 

'Making Waves: A New Generation of Indian Independent Filmmakers' is the largest Indian festival at MoMA since 2009, and is intended to showcase small-budget but artistically ambitious and accomplished films 

 

 

(CLICK THE IMAGE TO ENLARGE) 

Published in India Today, 19 Sep 2022.

Drives with a View - III

My Mumbai Mirror column:

Continuing our series on films about cabbies, we look at why Paul Schrader and Martin Scorsese's 1976 creation, Travis Bickle, seems so eerily prescient today

Halfway through Martin Scorsese's 1976 neo-noir classic Taxi Driver, we hear a campaign speech from a US Presidential candidate. “Walt Whitman, the great American poet, said, ‘I am the man, I suffered, I was there’,” intones the fictitious Charles Palantine. “No more will we fight the wars of the few through the hearts of the many....” Palantine's words, like most dialogue in Paul Schrader's much-mythified script, speak to -- as well as for -- the film's cabdriver hero, Robert De Niro in a career-making performance as the disturbed Vietnam veteran Travis Bickle.

Unlike Palantine and Bickle, Whitman was real. His poem 'Heroes' -- appropriately chosen by Schrader – was written in the voice of the soldier-as-everyman. “Agonies are one of my changes of garments./ I do not ask the wounded person how he feels, I myself become the wounded person,/ My hurts turn livid upon me as I lean on a cane and observe...”

Other than this, Schrader's script isn't what one might call poetic. Taxi Driver is a New York film through and through, capturing the city in all its brutal, wry, laconic glory. Unlike many taxi drivers previously discussed in this column series, a cab ride with Travis Bickle rarely involves hearing his voice. Much of Scorsese's masterful tension is based on shots of De Niro's drawn, suspicious face framed in the rearview mirror as he listens to his fellow citizens in the seat behind him – and judges them harshly.

As a cab driver, Bickle is the perfect witness to the world around him. But he does not wish to be a mere witness. He sees the city as “an open sewer full of filth and scum”, a mess that needs to be cleaned up. The post-60s and pre-Giuliani New York of the film is riding high on a wave of freely available sex and drugs, and our hero wishes someone would rein it in. He wants to save it from itself. In one memorable scene, the wannabe Presidential candidate rides Bickle's taxi. When Bickle recognises him, he tells Palantine the city's dirt/immorality needs to be “flushed down the toilet” by whoever comes to power.

“Let me tell you something,” Palantine says earlier, “I have learnt more about America from travelling in taxicabs than in all the limos in the country.” The surround-sound of the campaign lets the film unfold against the backdrop of Palantine's catch-all slogan ‘We are the people’. 

Watching Taxi Driver in 2020 feels strangely prescient: Bickle appears as an early representation of a figure that has come to dominate post-Trump American political discourse; the White everyman who thinks of the country as having gone to the dogs and himself as the morally-superior saviour. As Bickle becomes increasingly unhinged, his monologues in the mirror – bookended by the famous “You talking to me?” line – refer to himself as a hero in the making: “a man who would not take it any more... someone who stood up against the filth”.

Travis Bickle is, in fact, a precursor to much else in the American nightmare of the late 20th and early 21^st century – a mentally ill man gripped by perpetual insomnia; whose sense of anomie and aimlessness leads him to gun violence. If politicians don't seem to want to 'clean up' society, he'll do it himself. But the subtext of what Bickle thinks needs to be 'fixed' is both racist and male chauvinist (though not uncomplicatedly). Meeting a White passenger who wants to murder the wife cheating on him with a “nigger” is followed by Bickle acquiring weapons – from a preppie, White, gun dealer who chooses Bickle over “a jungle bunny in Harlem” because he only deals “high-quality goods to the right people”. Bickle first uses the gun on a Black man who's amateurishly robbing his local cornershop. In one of the film's grimmest scenes, the unfazed Italian shop-owner waves Bickle off and says he'll take care of it. He then takes an iron rod to the thief's body, shouting “The fifth motherfucker this year!”

Another remarkable subplot reveals Bickle's deeply-conflicted relationship with sex and women. The same man who complains about the city's filth – this is a Central New York full of sex shows and prostitution – takes his pristine, almost prissy, date to watch a faux-instructional Swedish porn film. When she proceeds to shut him out afterwards, his interior monologue becomes bizarre and incel-ish: “I realise now how much she's just like the others, cold and distant. And many people are like that. Women for sure. They're like a union.”

The other subplot about sex is Bickle's violent rescuing of Jodie Foster's underage sex worker – a plotline echoed in Schrader's self-directed film Hardcore (1979), in which a young girl runs away from a religious suburban family to become a porn actress, and goes back home in a strangely unconvincing last scene, like Foster's Iris.

What is truly disturbing about Taxi Driver's end, though, is that he is feted for murder. Violence, when committed against 'immoral' people, it seems, makes you a hero. That once-fictional battlefield seems eerily closer to today's reality.

 Published in Mumbai Mirror, 27 Dec 2020.

Drives with a view

My Mumbai Mirror column:

Two films set in taxis -- one a 2019 documentary, the other a cult classic from thirty years ago -- offer a great ride through a bumpy world.

A still from Philipp Majer's 2019 documentary World Taxi

Films take you travelling; that has always been true. In our Coronavirus era, when real travel is hard to come by, it is even more so -- magnifying the attractions of the road movie. In the ongoing digital edition of the Urban Lens film festival, I watched a documentary called World Taxi that's like five road movie snippets rolled into one. German filmmaker Philipp Majer lets you travel to five cities in five different time zones, each one with a different taxi driver as your guide.

Each segment offers insights into a particular part of the world, but also into the world of cab drivers everywhere.

“Your taxi is like your second wife,” says Tony, who drives a cab in Bangkok, Thailand. “If you don't take care them, they not going to take care you.” Majer doesn't link Tony's metaphorical comment up with it, but Mamadiou – the taxi driver he films in Dakar, Senegal – is actually thinking of getting a second wife. In one incredible sequence, Mamadiou actually mentions this flirtatiously with a carload of female passengers, suggesting that he might be interested in marrying the younger woman present. This leads into a full-fledged discussion, with gendered home truths flying right, left and centre. “If she [the first wife] senses that I am wooing another one, she might come back to normal,” says Mamadiou. “How will she sense it, though?” says one of the older women. “Some men have a bit on the side without the woman noticing.” “Ah, then the woman lacks intuition,” says the younger woman.

Connections also emerge between unexpected countries – like the USA and Kosovo, a much smaller territory that only declared its independence from Serbia in February 2008. Despite the vast gulf in their histories of democracy and economic status, health in both places appears to be a thing that people can't afford to pay for. In recently war-torn Kosovo, cab driver Destan Mjeqiki keeps a file full of newspaper cuttings of natural home remedies as possibilities “for people who don't have money”. Meanwhile, the cab driver Sergio in El Paso, Texas, operates in an economy where middle class people have no health insurance, which means they often go across the border to Mexico to get cheaper medical treatment than they can in their own -- technically much more developed – country.

In an online conversation with Indian documentary filmmaker Shabani Hassanwalia, Majer said that he was trying to make a non-fiction version of Jim Jarmusch's 1991 cult film Night on Earth. Majer's film has plenty of energy, but it's scattered, and feels almost slight in comparison to Jarmusch's. Other than Berlin (which gives us the documentary's only female cab driver, the wonderfully steady Bambi, who must often refuse come-ons from drunken post-clubbers), Majer shoots in places where the economy and politics are on some sort of edge. Jarmusch's film is shot entirely in European and American cities, and in a very different time. Perhaps 1991 felt as unstable as our own times in some ways, but from the distance of three decades it appears marvellously stable. Even the rule-less-ness of that time feels like some quasi-mythical truth: when the New York native persuades his lost immigrant driver to let him drive the cab instead, the driver balks and says it's not allowed. “Yeah, it's allowed,” drawls the passenger. “This is New York!”

And yet this is already a universe filled with immigrants, people forced to live and work in places a world away from where they grew up. Jarmusch's approach isn't overtly political, and it's certainly not woke in any tick-the-boxes sort of way. Instead, his juxtapositions provoke thought. The Black Brooklyn man, for instance, laughs loudly and long at his East German cab driver because he hears his name – Helmut -- as Helmet. “That's like being called Lampshade,” he guffaws. When Helmut asks him his name, it turns out it's YoYo.

Helmut is a clown – he actually worked as a clown in Dresden. But bemused as he is, he has something to teach us about listening. Meanwhile the cab driver who doesn't listen – Roberto Benigni in the Rome segment, which contains the broadest comedy of the five – can literally kill off a passenger.

A still from Jim Jarmusch's 1991 film Night on Earth, with five segments set in five taxis across the world

As anyone who's taken taxis knows, there are drivers who listen, and others who talk. Sometimes, rarely, they do both, turning taxi rides into that unusual intimate thing: a conversation with a stranger.

Jarmusch's brilliantly written set of vignettes starts with sunset in Los Angeles, where a rather surprised older woman (the unmatchable Gena Rowlands) gets into a cab driven by a rather young Winona Ryder, and learns that it's possible to be perfectly, undisturbably happy with your perfectly ordinary life. In Paris, two pompous Cameroonians learn that mocking your taxi driver, even if he has the same colour of skin as you and you address him as your “little brother”, doesn't serve you well. But also in Paris, the taxi driver learns that being blind isn't the same as not seeing. Conversations with strangers always teach you things – usually about yourself.

Published in Mumbai Mirror, 6 Dec 2020.

Shelf Life: Stitching the Past into the Future

 My Shelf Life column for November 2020:

What wartime women's fashion can tell us about the world

 

                  Christian Dior's 'New Look' was a massive departure from the clothes women wore in war-torn Europe
 

Elizabeth Gilbert's chatty doorstopper of a novel, City of Girls (2019), begins in the summer of 1940, when the narrator arrives in New York, “nineteen years old and an idiot”. Vivian Morris has just dropped out of Vassar College, judging as dull both the revolutionary young women in “serious black trousers” and the academic girls in shapeless wool skirts “that looked as if they had been constructed out of old sweaters”. While she knows nothing about the world, she knows clothes. And what makes the fashionable teenaged protagonist of 1940 different from one in 2020 is this: Vivian doesn't only wear cool clothes, she can make them.

Trained to sew by an exacting grandmother, Gilbert’s excitable heroine soon finds herself designing costumes the doddering theatre owned by her aunt Peg. It is wartime, and the Lily Playhouse is barely kept afloat by formulaic musicals: there’s really no budget for clothes. But the actors constantly need new outfits, so Vivian learns to improvise. She scours New York's cheaper garment districts and discovers the used clothes shops on Ninth Avenue, becoming a regular at a grand old shop called Lowtsky’s, owned by a Jewish family ejected from eastern Europe.

Vivian becomes adept at digging ancient dresses out of discount bins and transforming them into spectacular customised creations. From showgirls like her friend Celia, she moves on to designing for Edna Parker Watson, grand dame of British theatre stranded in New York by the war. 

 

Gilbert's narratorial preferences can try one’s patience, like addressing her novel to a young woman whose connection to Vivian is kept deliberately mysterious, to anticlimactic effect. But I enjoyed Gilbert’s enjoyment of fashion, a topic she addresses first with girly excitement and then subversive pleasure. The subversion begins with Edna who, though on first names with French couturier Coco Chanel, is no handmaiden to fashion. Her advice on how to dress—“if you dress too much in the style of the moment, it makes you look like a nervous person”, or “I want brilliant dresses, my dear, but I don't want the dress to be the star of the show”—is really advice on how to live.

 

But the book’s real subversion of fashion comes in 1950, when Vivian’s friend Marjorie Lowtksy, sharp young heir to the Lowtsky Emporium, comes up with a plan to cater to the post-war marriage boom. “[We] both know that the old silk and satin is better than anything that's being imported...” says Marjorie. “I can find old silk and satin all over town–hell, I can even buy it in bulk from France, they’re selling everything right now, they’re so hungry over there–and you can use that material to make gowns that are finer than anything at Bonwit Teller.” 

 

The USP? Their dresses “wouldn't be industry; they would be custom tailored”.

Vivian and Marjorie's business makes them rich.

The same era seen from across the Atlantic, in Eric Newby's drily hilarious memoir Something Wholesale: My Life and Times in the Rag Trade (1962) reveals a much more damaged continent. The family firm of Lane and Newby, begun by the writer’s father in the 1890s, is somehow carrying on against a backdrop of bombed-out cities and drastic rationing. Even the upper workrooms of its grand old London offices, writes Newby with brilliant British understatement, “went up in smoke in 1944”.

In some deep metaphorical way, the firm’s continuance into a post-war world now rests increasingly on an army of “outworkers”, elderly women in the suburbs. Meanwhile, their buyers still make orders conditional on unprofitable “Specials”: customised versions for women too misshapen or too snooty to wear the standard designs.

Like Europe itself, the continent's fashion business feels like a creaky old warhorse that can't figure out the new world. “Evening dresses, like the gatherings at which they were intended to be worn, were dispirited”, writes Newby. “[T]he world of fashion had ground to a standstill”. Young Newby tries to come up with new designs on his own. But just after he places his orders, in March 1947, the French designer Christian Dior shows the insanely feminine excesses of his new collection: what would make history as the New Look.

But at that moment, Newby’s creaking world isn’t quite ready. “It was thought to be absurd... a last despairing death-kick by Paris which was no longer to be the centre of the fashion world.” British wholesaler manufacturers, “[h]alf-throttled by clothes rationing”, and too afraid to implement Dior’s radical changes, just make what they have been making for seven years “with a slightly longer skirt”. Of course, nothing sells. The glossies for 1947 are filled with suggestions for women readers with wartime budget constraints, on how to drastically cut and reshape their old clothes.

European fashion, led by Dior’s bold move, slowly begins to recover. But where Europe can only move on by cutting away from its past, America—at least in Gilbert's telling—is already making money off it: repackaging the dead European past as nostalgia. The difference between alteration tailor and vintage couture is writ large onto the history of the world.

Published in The Voice of Fashion, 19 Nov 2020.

Home is where the hearth is

My Mirror column:

Carrying on from last week: how the chef film appeals to our corniest instincts, bringing fathers and sons together while serving up bite-sized doses of life philosophy.

The chef movie has emerged as a popular cinematic lens on family and fatherhood. Last week, while watching Jon Favreau’s 2014 film Chef alongside Raja Krishna Menon’s 2017 Hindi remake of it, I thought about the fact that while male chefs might have achieved near-acceptability in the West, in the Indian middle-class setting, there is still a great deal of resistance to men choosing to cook for a living.

Menon’s adaptation tries to take this fact on board, supplementing Favreau’s nuclear father-son equation with a third generational angle that’s much more fraught with social censure. Saif Ali Khan’s Roshan Kalra, we are told, became a chef entirely against his father’s wishes. Running away from his Old Delhi home at fifteen, he went first to Amritsar — where he scraped together a living as a boy-of-all-work in a local eatery — and then to the US, where he rose to become a well-known chef at an Indian restaurant.

Roshan’s attempt to reconnect with his son Ary (Svar Kamble) also becomes a way to rebuild his own relationship with his estranged Bauji. It isn’t a bad idea per se, and Indian theatre doyen Ram Gopal Bajaj is a fascinating choice of actor to play Roshan’s embittered, lonely father. But though Roshan is supposed to be introducing Ary to the chhole bhature he grew up on, he seems as much of a tourist in Chandni Chowk as his son — while Bajaj’s prickly isolation hits a much deeper, harsher note than the rest of the film.

No such tonal disjuncture afflicts the similar return-to-roots narrative of Anwar Rasheed’s Ustad Hotel. A popular Malayalam drama from 2012, the film starred Dulquer Salmaan as its hero Faizi. As with Roshan in Chef, Faizi’s choice of career is not what his father Abdul (Siddique) wants for him. Having paid for Faizi’s expensive Swiss education, Abdul is shocked to learn that his only son and heir has trained not in hotel management but as a chef. Humiliated and deprived by his father of the passport he needs to take up his foreign job as a chef, Faizi goes off to stay with his grandfather Karim (Thilakan) who runs a small but famed biryani joint in Calicut.

Ustad Hotel is wonderfully comfortable with its orthodox, often patriarchal Kerala Muslim setting, in which for instance, the birth of three daughters in the effort to produce a son incites wry laughter, not external condemnation. That comfort in its own skin extends into the film’s grasp of its social milieu, which ups the believability of the father-son battle. Rather than being a simple gendered rejection of cooking as a woman’s job, it turns out that Abdul’s angst comes from his own biography. Having grown up a cook’s son, he is now a self-made businessman. The perceived social stigma of his father’s profession is not yet a distant memory — and his son’s decision seems to mock his struggle.

And yet, becoming a chef in a fancy foreign restaurant has a certain cachet. But in all these films, from Favreau’s to Menon’s to Ustad Hotel, the lure of that position threatens to distance the protagonist not just from his roots but from the very purpose of cooking: giving people joy.

That tussle between the imaginary high-status job and the down-home eatery is also at the centre of another chef-centred film featuring a father and son conflict: David Kaplan’s 2010 indie drama Today’s Special. If Faizi in Ustad Hotel finds himself waging a war against a five-star hotel to keep his grandfather’s eatery from closing down, Samir in Today’s Special becomes unexpectedly attached to his father’s dowdy old Indian restaurant in Queens.

Today’s Special isn’t a great or even a good film. But despite a by-the-numbers romance and exaggerated gesture-laden performances from the supporting cast, it’s hard to resist the charm of food-as-philosophy. Corny as it is, this is what makes both Ustad Hotel and Today’s Special so watchable. The grandfather-grandson pair in Ustad Hotel find their match in Samir’s chance encounter with a flamboyant New York cabbie called Akbar. Akbar (Naseeruddin Shah thoroughly enjoying himself) converts the over-cautious Samir (Aasif Mandvi) to spontaneous cooking with the aid of lines like “A man who measures life never knows his own measure”. And again, in both these films, snobbery is decried and labour applauded as experience. If Samir finds himself making deliveries by bicycle, grandfather Karim turns young Faizi’s ‘book knowledge’ on its head, gently but firmly nudging him to work at every level of the business, from cleaning tables to carrying rice sacks.
It isn’t as if our heroes don’t resist. A tense Samir once snaps at Akbar, “I’m a chef. I don’t need to learn how to cook from a cab driver.” But he returns quickly, shamefaced, just like Faizi in the rice bag scene. In these times of prioritising poshness, these films are lovely lessons in dressing it down.

Published in Mumbai Mirror, 5 Aug 2018.

TV review: Thin within

A review of the new TV series Dietland, for India Today magazine. (You can stream it in India on Amazon Prime).

Alicia 'Plum' Kettle is an overweight young white woman in Brooklyn, plodding heavily through her unhappy present while keeping her inner life afloat with dreams of a thinner future. While the imaginary Alicia struts sveltely in a perfect red dress, the real-life Plum (Joy Nash), clad invariably in shapeless black, moves in a ceaseless loop between her friend Steven's coffee shop, her "sad apartment" and waist-watchers meetings led by an annoying skinny woman who calls eating a "bad habit".

Dietland is at its painful best when depicting what life as a fat person can feel like: the casual rudeness, the non-stop judgement, the angst about body image engulfing all aspects of selfhood. Obesity isn't just Plum's greatest stumbling block, it's the sole subject of her aspirations. All other goals -- career, love-life, just life-life -- are placed on hold while she saves for a gastric band surgery to free her "thin person within".

Like the 2015 Sarai Walker novel its based on, the series refuses to offer psychological reasons for fatness. "One of the things I push back against in Dietland," Walker said in 2016, "is that fat is an outer representation of some kind of inner trauma." Instead, it looks outwards, placing its heroine in the midst of a multi-pronged female fightback against constricting beauty standards.

Plum's job is answering sad letters that teenage girls address to Kitty Montgomery (Julianna Margulies), manager-editor of teen zine Daisy Chain. Plum's replies to catch the attention of Julia (Tamara Tunie), who wants to subvert "the dissatisfaction industrial complex" from inside the belly of the beast: the Beauty Closet she runs in Daisy Chain's basement. Initiated into an anti-diet self-realisation programme by the philanthropist daughter of a dead diet guru, Plum goes off anti-depressants to find herself hallucinating about sex with a man-tiger. Meanwhile, a vigilante group called Jennifer is murdering rapists, while targeting Fashion Week because it "fosters rape culture".

If that sounds like a lot, it is. Dietland has many things going for it, a heroine on the cusp of transformation, engaging feminist politics, striking women characters, but it also has too much going on. The constant segues from its bitchy Devil Wears Prada tenor -- into loopy animation, lush NatGeo-inspired fantasy, violent masked murders -- can feel choppy. Plum's unusual path, though, might successfully cut a wide swathe through the stock gender tropes of pop culture.

Published in India Today, 20 July 2018.

Post Facto: The Brave New World of Brooklyn

Today's Post Facto column is about a book I recently fell in love with.

There are books you can read all the way through without knowing what you think of them—like some people. There are books that annoy you from the word go—also like some people. And there are the rare ones that reach out and touch you, surprising you with the warmth you feel towards them though you've just met. I knew Brooklyn was one of these by page 40.

I'd only heard of Colm Tóibín, I'm ashamed to admit, when he was nominated for the Booker Prize for The Testament of Mary in 2012, and even then I did not follow up on my curiosity. But on a recent visit to a bookshop, Brooklyn leapt out at me. Bookshops, one is sadly in danger of forgetting, can be magical places. Suddenly, instead of shadow beings to be conjured into being with the guilt-ridden clicking of my mouse, real creatures beckoned from the shelves, each displaying its particular attractions: lightness or heft, honest blues or mysterious purples.

I cannot say whether it was the faceless girl on the cover who intrigued me, with her summer dress stopped from billowing by objects on either side, or whether the lovely diner-style type in which it said 'Brooklyn' in gold letters triggered in me a subconscious nostalgia for a New York five decades before I lived there. All I know is that I put away my biases – 'a book about the Irish in the 50s must be a tragic tale of poverty and I don't feel like one of those', or 'oh, an older man writing a book that seems almost entirely about a young woman character, how good could that be?' -- and bought it. 

And a novel hasn't felt so right to me in ages. You feel like you know Eilis and everyone in Wexford—and by extension, what it felt like to live in an Irish small town in the 1950s. Tóibín has a way of making his characters come alive through the words they speak, and without the use of anything so trite as adjectives. One of the first people you meet in the book is Miss Kelly, who runs a grocery shop where Eilis works part-time. Here's a sample of Miss Kelly's dialogue, as she initiates Eilis into the job: “Now there are people who come in here on a Sunday, if you don't mind, looking for things they should get during the week. What can you do?”

But Wexford is only one of the novel's locales. The other, of course, is Brooklyn. It is a fairly standard story – the family needs money, and there's no proper job for Eilis in Ireland. So her mother and sister arrange to send her to America via the good

offices of an Irish priest who assures them that it's safe. “Parts of Brooklyn,” Father Flood replied, “are just like Ireland. They're full of Irish.”

And so they are. Before long, Eilis is ensconced in a Brooklyn lodging house run by the Wexford-born Mrs. Kehoe, where her co-boarders are Irish or Irish-American, and her social life is dominated by the Friday dances at Father Flood's parish hall.

And yet this is a brave new world, where things are certainly more mixed up than back home in Ireland. At Bartocci's, the department store where Eilis works as salesgirl, a new brand of stockings in Sepia and Coffee shades is a deliberate invitation to the hitherto-invisibilised clientele of “coloured women”. Eilis' night classes include a Professor Rosenblum, who makes “jokes about being Jewish”. And after she meets Tony, her experience opens up to what is clearly the other big community of Brooklyn immigrants: the Italians. One of my favourite scenes in the book is the first time Eilis is invited to dinner at Tony's, where among the first things his little brother does is to declare that “We don't like Irish people”. As you might expect of Italians, the fact that a family of six is packed into two rooms does not preclude the serving of a magnificent meal. To read Tóibín's description of Eilis puzzling over the bitterness of the coffee, and trying to eat her spaghetti “using only a fork, as they did” is to recognize the surmounting of cultural barriers I hadn't thought of.

The delineation of Eilis's coming of age, both her growing confidence and her fears, is wonderfully fine-grained. There is an enormous sense of quiet in this book, and yet we feel each moment of Eilis's anxiety. 

Massive changes are taking place in her life, and yet we see her searching for events she can put into the letters she writes home. There is too much she cannot tell. Most obviously, about Tony. Then she goes back to Ireland, and now she cannot tell Tony...

Tóibín is a writer of great emotional intelligence, laying out in deceptively unruffled manner a young woman's gradual recognition that the shape of the man she marries is the shape of her future. The choice between two suitors and the lives they represent is of course at least as old as Austen. But this made me think of Rajnigandha, Basu Chatterjee's 1974 film. Rajnigandha moves between Delhi and Bombay, while the story it was based on, Mannu Bhandari's 'Yahi Sach Hai', located itself in Calcutta and Delhi. Eilis's dilemma is made even deeper by the near-unbridgeable gulf between continents.

Eilis's combination of determination and naivete held my interest completely. She isn't perfect, but Tóibín's delineation of her imperfections is done with such tenderness as to draw you even closer to her. I can hardly wait to read Nora Webster.

Published in the Sunday Guardian, 6th Sep, 2015.

Film Review: English Vinglish

My review of English-Vinglish:

“My wife, she was born to make laddoos!” says the grinning husband to the white boy who’s being inducted into the family. The white boy, whose name is Kevin, has just taken his first-ever bite of a moist, delicious little globe of motichur goodness produced by the aforementioned wife, Shashi, and he looks suitably overwhelmed with delight. Then the camera moves across to Shashi, and that single fluid moment, as we watch her face silently transform from happy to tremulous to brave, encapsulates everything that the film wants to show us.

What Gauri Shinde’s debut film insists on showing us is so deliberately unspectacular, so quiet and dull and taken-for-granted, that when we see it in real life (and we see it all the time), we merely avert our eyes. It is the predicament of the person whose personhood is summarily dismissed by a refusal to value the work they do—casually, perhaps without malice—but resulting in no less cruelty than if it were intentional.

Because English-Vinglish, despite its name, is not just about English. English here is a placeholder. Being fluent in English, in the sadly skewed universe of contemporary India, automatically codes you as modern, fashionable, worthy of respect. Not being fluent in it relegates you to the back room: a second-class citizen unworthy of display.

Dibakar Banerjee’s films – Oye Lucky most of all, but also Pitobash Tripathy’s character in Shanghai­ ­– have given us what are perhaps Hindi cinema’s most nuanced commentaries on English as a marker of social class. What Shinde does in English-Vinglish is very different, not just because her style involves broader strokes and a happier, more feel-good mood— but because the domain she chooses to set her film in is the family.

Shashi is, first and foremost, a wife and mother, and Shinde’s masterstroke is to create a character whose fears and conflicts and insecurities are almost never a consequence of direct assaults made by the wider social world. Her experience of the world comes to her filtered through her husband and children.

So it is Shashi’s own daughter who is embarrassed and angry at Shashi’s inability to understand her classmate’s English-speaking mother—the classmate’s mother seems, at worst, oblivious. It is the same daughter who sulks for hours because Shashi speaks to her teacher in Hindi while the Malayali Christian teacher himself seems quite charmed by this woman who unselfconsciously talks to him about banana chips and wants to know if her daughter is not just a good student but also a popular one. The loyal clients she’s built up for her high-quality home-made laddoos are glad to have a friendly chat when she makes her delivery rounds in person. It is her husband’s lackadaisical dismissal of her excitement about the day’s sales that silences her.

So it makes complete sense when Shashi, at the film’s end, describes her view of family as a little world within the wider world, a space in which you ought to be held safe from the judgements and cruelties of the wider world. It is as close to a statement of worldview as a Hindi film heroine has ever been allowed to come, and whether you think of it as beautifully hopeful, or sadly, simplistically delusional, it is unlikely that you will come away unmoved.

Because in the deliberate simplicity of its canvas—and its protagonist—lies the strength of Gauri Shinde’s film. By refusing to situate the vexed question of English in a larger socio-political context, by focusing its attention on the home, it does simplify the issue—but it also holds up a mirror to what must be the most mundane, most neglected aspects of our social lives: how we treat our mothers.

And yet, the reason why English-Vinglish is so successful is because it is careful not to underline its chosen subject too heavily. Shashi is not above the occasional well-aimed barb—“Oh, main bhool gayi, important baatein toh sirf English mein hi hoti hain na?”—but her deepest wounds are ones she hugs tightly to herself. Our sense of Shashi’s intense privacy, her shyness, helps the film steer clear of melodrama, and lends itself rather beautifully to the few moments when she does open up. It seems entirely fitting that she speaks her heart out only to a man who does not understand her words.

That besotted Frenchman (Mehdi Nebbou) is one of the people in Shashi’s English class, a cheerfully updated version of Mind Your Language that provides the film with most of its lighter moments, via a slightly caricatured but affectionately drawn collection of immigrants—a Pakistani cab driver, a Tamilian techie, a Spanish-speaking nanny, a young Chinese girl, a largely silent African man—all struggling to improve their English.

The New York segment is necessarily shot with the eyes of the dazzled outsider—all skyscrapers and downtown views— but Shinde also manages to fill it with nicely-observed moments that anyone who has ever negotiated the terrifying newness of any (Western) city will immediately identify with: the minor but life-altering trials—and triumphs—of making Metrocards work, finding your way to an interview, placing an order in a café without holding up the queue.

But eventually, it is Sridevi, with her trademark winsome girlishness of old now beautifully balanced by a new quiet dignity, who makes us experience each of these triumphs as her own. Go, cheer her on.

Published in Firstpost, here.