Retuning The Indian Screen Malvika Kala This year has seen the Indian entertainment scene really come into its own. The arrival of international streaming services like Netflix and Amazon Prime Video has added a complete new dimension to the Indian entertainment industry. The last such upsurge was perhaps the advent of cable television in India in the early 1990s. It definitely was a more palatable alternative to the basic fare served by the homely public broadcaster Doordarshan. The influx of shows and films on the Indian Idiot-cum-Smart box caters to an intelligent viewer that was largely weary of the conventional and sometimes incongruous plotlines and sought to widen his horizon. This has led to a paradigm shift in the Indian viewing sensibilities. No more are we to be subjected to mind numbing and runof- the- mill narratives, knee deep into ‘plotholes’. Rather, we can sit back and let ourselves be charmed by the allure of different genres and exciting new content. Hard not to understand why this trend has pervaded that film churning machinery, we call Bollywood. From period biopics such as Padmaavat and Manto to buddy dramedies like Veere di Wedding and Sonu ke Titu ki Sweety, the Indian cinematic panorama has never been more expansive. In this issue of the Doon School Information Review, we have tried showcasing the wide range of television shows and films that have bucked the trend this year and have garned critical as well as commercial success. There is a lot on offer in the 2018 Founder’s Issue. We have a thorough review of the game-changing Netflix show Sacred
Games and a special feature on Amazon Prime’s Comicstaan - a nine episode standup comedy competition series. Besides that, there are reviews of socially relevant films like Raazi, which provides a different take on the concept of patriotism and love for your family. It’s raining Biopics in Bollywood what with six already out and four more to go and we have featured a couple of them. If you are one of the few who hasn’t watched Sanju, you could benefit from Kushagra’s critical reconsideration. Manto deals with a particularly turbulent time in the writer’s life and Ansh has come up with a carefully balanced analsyis of Manto’s life story against the backdrop of the Partition. Then there is Nirvair’s mature dissection of the anthology Lust Stories and Kushagra’s delightful take on the endearing 102 Not Out to look out for in the new issue. We end with an obituary for the actor Kavi Kumar Azad best known for portraying Dr. Hansraj Haathi on the immensely popular Hindi sitcom Taarak Mehta ka Ooltah Chashma. Our talented writers have been at it, burning the midnight oil, glued to their laptop screens, scanning the reference material and composing their thoughts. I could not have asked for a better team - an extremely dedicated Chief of Production, an unassuming Editor-in-Chief, a devoted Editorial Board, including the horde of steadfast “minions” who kept sending us hourly reminders. I am grateful that they made my first year as Master-in-Charge of a widely read publication very memorable. I look forward to many more years of collaboration and mutual learning with the upcoming
contents
7 SANJU 8 MANTO
kushagra kar
ansh raj
NOT 10102 OUT 14 SACRED GAMES
kushagra kar divyansh nautiyal & karan sampath
16 LUST STORIES 18
nirvair singh
COMICSTAAN karan sampath
20 RAAZI 22
kabir subbiah
DR. HAATHI ivor ismail
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Editor’s Note Aayush Chowdhry Pop culture has always been a refuge for me; when academic pressure is too much, House responsibility is overwhelming, or simply, when I can’t seem to catch a break, I have often found solace in the world of Frank Underwood, Kendrick Lamar, or Christopher Nolan. Gloria Steinem effectively sums up the importance of writing in my life when she says, “writing is the only thing that when I do it, I don’t feel I should be doing something else.” Hence, my four years on the editorial board of the Doon School Information Review have been a near perfect escape from the strenuous everyday life of School. To a certain extent I may not have done justice to my post, as more than a responsibility it was a getaway, and as you move forward with your School life, the opportunities to break away from the tediousness of School lessen. Notwithstanding, the DSIR is still the most awaited, most popular, and most enjoyed secondary School publication and quality isn’t something that we compromise on. With the editing experience and proficiency of senior members like Kushagra Kar and Lakshaman Santhanam, the quality of this DSIR is unparalleled. In this year’s first issue, we explored a rather broader spectrum ranging from Indian TV to foreign, Hollywood to Bollywood, intense drama to popular fiction, and western classical music to Indian maestros. This provided for an issue with a vast appeal. However, I
felt we stretched ourselves a little too thin. Therefore, for the second issue we chose to explore a theme closer home. There’s no denying that 2018 has been a revolutionary year for Indian entertainment. There were blockbusters of various types: from Sonu ki Titu ki Sweeti and Stree to Sanju and Padman. The Indian entertainment progressed leaps and bounds in the areas of standup comedy, movies pertaining to social issues, movies about the youth and the conflict between liberal and traditional values. This change has been tangible and very promising for the industry as it has shown that our nation has the ability and talent to constantly adapt with time, while preserving the uniqueness of Indian theatre.The expansion of Indian cinema in the domain of the internet forms our special section with the usual engaging activities and critical reviews of popular hits. As the present SC form comes out with its farewell issue, on behalf of everybody, I would like to thank our Master-in-charge Ms. Malvika Kala and our former Master-in-charge Ms. Anamika Ghose for their roles in our growth and the invaluable memories made working together. Personally, I would like to thank the entire editorial board for all the laughs over pizzas and the ‘work’ they have done in the publication room or in my study. I hope we have done justice to the publication this year, and as always, happy reading!
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SANJU
A Guideline on What Not To Do With a Biopic By Kushagra Kar The premise of any modern biopic is to characterize figures of public interest in a manner that appeals to ‘ordinary folk’. The entire point of these films is to make the individual more accessible, if not relatable. On the very outset, therefore, Sanju fails to deliver as a biopic, considering all promotional material for the film promises, “a true story you won’t believe.” Sanju, starring Ranbir Kapoor, chronicles the degenerate life of Bollywood star, Sanjay Dutt. Kapoor does justice to his character, who is undeniably multi-dimensional and complex. He carries the film forward; thankfully considering his responsibility as the titular character. To his credit, it takes a lot to grip the audience even in the presence of veterans such as Paresh Rawal and Boman Irani, both of whom are impeccable in their roles. Unfortunately, Kapoor’s acting, for all its flair, isn’t enough to save this travesty from complete failure. The supporting cast, riddled with A-List Bollywood names, is flat and entirely plot convenient throughout the film. To begin with Jim Sarbh’s Zubin Mistry, Sanju’s drug dealer and companion in early parts of the film. Deciding to continue with his now certifiably ruinous accent, Sarbh offers very little in range of acting. His progressively fewer appearances over the course of the film mirror his progressively pathetic acting; considering his inability to shift from a source of comic relief to an intensely dramatic character like the rest of the cast. Elsewhere we have Anushka Sharma, the overly emotional and oddly fictional journalist who decides to write Sanju’s story. Her role in the film is literally Rajkumar Hirani’s way of offering flashbacks to the audience as a mode of story-telling. The character itself is given no backstory, making her all the less believable. Given that Winnie Diaz, Sharma’s character, is actually
Ranbir Kapoor as Sanjay Dutt in Rajkumar Hirani’s ‘Sanju’. a fictional creation of Hirani and his screen-writers, it is disappointing that she comes across as exactly that, with no apparent effort being put into integrating her into the world. This leads me to Hirani, the director, himself. New to the non-fictional world of film, Hirani carries forward many of his directorial troupes, including one most problematic in a biopic: the lack of any negativity. For all the degenerate activity shown in the film, Hirani settles to absolve Sanju of any wrong, instead blaming his actions on circumstance and poor company. In essence, Hirani chooses to cast Sanju as a near angelic and altruistic character, if not for some bad people in his life. This is inherently problematic, because as far as characterization goes, any lack of a gray area in morality distances the character from the ordinary aspects of human nature. In essence, even the titular character has been written as someone who is more than ordinary, and as a result, unrelatable to a general audience. We may still sympathize with him, but it is exceptionally difficult to empathize with him. Nevertheless, Hirani does a fair job in most other respects. Where he lacks in characterization, he accounts for in visuals and cinematography. His depictions of drug usage represent his impeccable artistic capabilities, and all dance and musical set-pieces are lively and enjoyable. Sanju would be better watched on a lazy Sunday afternoon on cable television than anywhere else. Unlike some of Hirani’s other films which offer a greater cinematic experience, Sanju is a poorly scripted and constructed film with no overall artistic appeal. With occasional moments of brilliance, it seems as though the film which could have been was abandoned for a cheaper, relatively more mainstream cut of the story.
Picture Credits: Magzter
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MANTO
The Story of the Man Who Chronicled The Partition By Ansh Raj In recent years, Bollywood filmmakers have become obsessed with the genre of the biopic. Although biographical films are not new to the Indian screen with Shekhar Kapur’s “Bandit Queen” (1994), Tigmanshu Dhulia’s “Paan Singh Tomar” (2012) garnering critical and commercial success, biopic as a genre has really now come into its own. In 2016 alone, sixteen biopics were released and 2018 has already seen six with four more to go. While many biopics are produced to celebrate the lives and contributions of reputed individuals, few biopics have also been directed in an attempt to espouse and promote certain individuals and beliefs. The well-received Dangal, which championed feminist ideals, falls into the latter category. That brings me to “Manto” that just released in September. The beautiful part about this film is that it gives the viewers of today an authentic insight into the life of an individual who lived in a different period but whose life remains as relevant today, perhaps even more. The film revolves around the life of writer Saadat Hasan Manto played by Nawazuddin Siddiqui during the period of partition. It begins at the point of time when the writer is at his career’s peak- he is leading an affluent life working in the Bombay film industry and enjoying the company of the social elites. Soon, however, the terror of Partition starts stirring the political and social fabric of the country, and Manto’s downfall almost reflects this turmoil.
Eventually, the communal tension catches up with Manto’s own peace of mind, and a communal jibe from his close friend and rising actor Shyam Chaddha, and he immediately decides to leave for Pakistan. The departure to Pakistan turns a new chapter in Manto’s life, quite literally. The “obscene” plots revolving around the miserable lives of sex workers soon developed became interspersed with the themes of partition and communalism.At the same time, the conservative fabric of Pakistan proved to be the biggest hurdle for Manto, and as the film heads towards its end, Manto’s life drowns in fighting court cases against censorship and crumbling family life. Manto is a carefully balanced synthesis of the two aspects of biopicsit celebrates the life and works of Manto, and attempts to give the fight for artistic freedom a new face. The credit for this should be given to the highly acclaimed actor and director, Nandita Das, who has an excellent track record of acting and producing in films that are highly evocative. In one of her interviews about Manto, Das said that she wanted to focus on ‘Mantoyiat’- the desire to be fearless and speak the truth, which Manto stood for. Powerful dialogues of Siddiqui as well as the screen time devoted to his fight against censorship echo this sentiment in the movie. However, what manages to foreshadow these two illustrations, and really champion the director’s cause of artistic freedom, is the inclusion of adaptations of Manto’s
The film’s depiction of Manto at work.
Picture Credits: Left World, GQ India
The Doon School Information Review Siddiqui as Saadat Hasan Manto. The poster highlights the pain of partition, much like Manto himself. most powerful stories in between the film. The directorial finesse allows these adaptations to transition smoothly into the plotline of the film, and the effect is haunting, to say the least. The movie begins with the adaptation of “Das Rupaye”, and “Khol Do” is shown just as Manto is settling in his new life in Pakistan. Finally, “Thanda Ghosht” is shown just in pretext of the Manto’s life-turning court case, where he finally loses everything. All these adaptations contain unfiltered content on the misery of sex workers- undoubtedly, a bold step to take in Indian cinema. Das also attempts to chronicle Manto’s life in the backdrop of Partition and the consequent communal tension. In fact, she cites “the current issue of identity politics” as the reason why she chose to release the film at this point of time. Striking instances in the film like the conversation between Manto and Shyam Chhadha in the train, which perfectly exemplifies the growing Hindu-Muslim tension at that time, helped to steer the plot forward. The film also ends with the adaptation of Toba Tek Singh, a sorrowful tale of a lunatic who could find his abode in neither Pakistan nor India. The only shortcoming which could be identified as Das tried to maintain the balance, was the end scene of the film. Endings are important for filmsmore so for those which are trying to promote a cause. While partition was a prevalent theme in the film, it was not what Manto stood for. His was a cause which talked about things that the society would frown upon. Under these circumstances, using the adaptation of Toba Tek Singh as the ending of the film, while the film majorly revolved around artistic freedom and censorship, came across as slightly incoherent. At the end of the film, the audience was not fully convinced if the director was protesting for artistic freedom, or showcasing the horrors of Partition. It is upsetting to know that Manto did not set the cash registers ringing at the Box office. It’s a must-watch- not just because it recounts the life of one of the subcontinent’s most gifted writers, but because it sends a strong message against censorship, and the politics of identity.
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102 NOT OUT A Glimmer of Hope for Bollywood Comedy By Kushagra Kar If Amitabh Bachchan and Rishi Kapoor were to play father and son, bringing to the table their years of joint cinema experience, the product would be expected to be nothing short of incredible. Director Umesh Shukla’s 2018 storytelling masterpiece, 102 Not Out, starring the veteran actors was just that, and a proper homage to the experience and history of the duo. For starters, the obvious elephant in the room was the concept of the script. Dattatraya Vakharia (Bachchan) is a 102-year-old man, who seems to still be at the peak of his youth. His son, Babulal Vakharia (Kapoor) is a man in his seventies, and behaves that way too. The film very aptly contrasts the characters in its opening scenes, as Kapoor very solemnly takes a 14-minute
shower, and Bachchan dances through the streets of Bombay, chatting with autowalas. While the premise, and title, of this film might seem absurd, it allows itself to make a very profound point within the first few minutes alone. The notion of submitting to old age comes across as a choice: one that Bachchan’s character prefers not to make. With this knowledge of D. Vakharia’s profound understanding of life, it becomes easier to trust his later judgements. Of course, the characters were written in such a manner that it almost feels tailor made for the respective actors. Besides increasing the film’s believability, the characters themselves feel more compelling. The core cast is supported by a lesser known Bollywood actor, Jimit Trivedi,
Down: Amitabh Bachchan as Dattatraya Vakharia.
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Up: Dattatraya (right) inspiring Babulal (left) to dream out of the box, and properly live his life.
Picture Credits: Biz Asia
whose next most notable film would be Bhool Bhulaiya starring Akshay Kumar. Trivedi gives an endearing performance, portraying a dimwit with a heart of gold. Nothing short of the quintessential village idiot, Trivedi’s character serves as the medium of transfer for Bachchan’s arguments. Yet, as we near the end of the story, Trivedi successfully allows his character to evolve into a bolder incarnation of his earlier self. Whereas initially, he had decided to not question the choices of Bachchan’s character, he begins to openly challenge them later, failing to see the reasoning behind them. This growth and evolution under the circumstances gives him an edge unlike the other two characters in the film. Indeed, the film’s highlight was his performance, striking even more so because of him being a relatively unknown artist. Stellar performances all around manage to amount to some absolutely genius moments in the film. Bachchan’s odd accent, coupled with Kapoor’s perpetual expression of disgust and disdain, create some truly whacky moments. In fact, my second favorite scene from the movie sees Bachchan
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reading a ‘love letter’ written by Kapoor, and coming to a sudden stop as the tone of the letter becomes exceedingly rude and verging on profane. Bachchan’s indignant expression towards the sheepish Kapoor, not to mention the guffawing Trivedi, had my entire theatre off their seats in laughter. It’s comedy like this, slapstick without raising a finger, which appeals to the masses, and truly entertains audiences. Not to say that the film is a ‘no-brainer’. Much to the contrary, the film packs an intense emotional bundle in its third act, and successfully avoids the trope of a ‘happy-ending’, with a bitter sweet note feeling far more appropriate. So, is it their best work? Not at all. Yet, it might just qualify as one of their most memorable works, because one thing was clear: the idea that life is what you make of it. With incredible music, acting, storytelling and cinematography, it truly was an enthralling cinematic experience. Bollywood’s comedy department could really take a page out of Shukla’s book on direction, with the hope that more films like this make their way to the silver screen.
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SPECIAL SECTION
SACRED GAMES Revolutionising the Indian Television Industry By Divyansh Nautiyal and Karan Sampath Bhagwan ko mante ho? Opening lines in Bollywood are of a vast variety, some are introductory to the character, while some are expository in nature. None, however, has asked the audience something particularly deep and personal. In this simple question, lies, according to me, the essence of Sacred Games: a paradigm shift like no other and one that India can hopefully, embrace and more importantly, celebrate. The show in no way attempts to waste time, and immediately plunges into a countdown, with both protagonists Sartaj Singh and Ganesh Gaitonde being introduced in quick succession. The standard shallow plotline of an honest-to-God cop being set on a criminal chase marks itself out towards the end of the first episode, when the protagonist- Gaitonde, -commits suicide. The suicide is not standard; it’s one which has been orchestrated right from the beginning. It is what we call an anticlimax, which thus sets the stage for a spiraling narrative of a riveting story.
The on-point writing and direction, coupled with background scores that maintain a constant sinister undertone affirm that this is a product of years of deliberation. Direction is an art like no other, because it is one based on comparison. The best directors are able to prioritize the imagery effectively, but what is more significant is, that they capture the message that is conveyed in relation to the other aspects of the story. The dual-direction of the series, by renowned directors Anurag Kashyap and Vikramaditya Motwane is another experiment, as most things in this series are. Every Sartaj scene has a suspensefilled, raw feel to it, and one can notice a different prioritization order for the Gaitonde scenes. Those, on the contrary, are unbridled in nature, as if the director has chosen to let the story out of its cage; this can only happen with a strong script as the backbone. Ganesh Gaitonde, a truly impressive character, who in theory is a criminal, but is actually portrayed to possess perceptive as well as moral depth. Sartaj
Picture Credits: Deadline
Opposite page: Saif Ali Khan as Sartaj Singh. Down: Nawazuddin Siddiqui as Ganesh Gaitonde, second from left, along with with members of his gang.
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Singh, on the other hand, is someone who comes off as not having the ability to rationalize and think in a nuanced manner. But more importantly, the character Gaitonde evokes admiration, because the actor is portraying him in a manner that is unseen of on the Indian television screen. Nawazuddin Siddiqui has this uncanny ability to fit in that persona: from the extroverted arrogance to the accent, marks him out as one of the bright stars in a Bollywood industry marred by nepotism. Saif Ali Khan, on the other hand, fails in bringing more to his character, and seems lackluster at best. Sacred Games does not shy away from sensitive topics either, particularly those concerning gender and sexuality. It is probably the most honest and real portrayal of the constant and systematic suppression that Indian women endure. The portrayal is stark in another way, with the real power and influence of Indian women: not at gatherings or functions, but in bedrooms and dining halls. The long struggle for emancipation is present in another narrative, of the ‘damsel’ herself: the transgender Kuku. Imagine having to live one’s life as an object of someone’s sexual pleasure, while simultaneously being forced to not reveal ones’s sexuality. Kuku’s story is poignant and forces the viewer to confront the difficulties of the LGBTQ+ community. Like any other successful TV show, Sacred Games, too, is set against a powerful setting and timeline. Along with Sartaj’s race against time to save Mumbai, the viewer also gets an insight into the world of Gaitonde and his rise to power. The narrative of Gaitonde’s rise is underpinned by events like the demolition of the Babri Masjid and the Bombay Riots of 1992. These developments are intertwined in the plot and apart from making it more dynamic, the portrayal of these events also highlighted the gravity of the crisis that wreaked havoc in India. However, the powerful handling of religion and faith in the show was also reflected through the names of the episodes. Every title (borrowed from the Hindu mythology) drew a parallel with the narrative at hand. Moreover, it gave the viewer a chance to look for the link between the title and the episode with much anticipation. One aspect of the show which faced
mixed responses was the portrayal of nudity. Nudity in the show was a part of the plotline and probably made it more realistic. However, it was never meant to titillate the viewers. The portrayal of such nudity also plays a bigger role by normalizing issues of sex which are still a taboo in Indian society. A reference to such issues is needed, and India cinema has certainly left a deep vacuum in this area. No censorship in the screening of the TV series also significantly changed the dynamics of the show. In various interviews, the actors stated that they had achieved newfound freedom with a greater space and comfort level to act within. The implications of the same could certainly be seen in the form of better acting and screenplay. On drawing a comparison, it’s not hard to discern the restriction of freedom and artistic expression in Bollywood due to a strict and politically biased censor board. Ranging from the cuss words to the gross realities of the underworld of Mumbai, ‘no censorship’ allowed Sacred Games to give a much truer rags to riches story to its viewers. Central to the story are also the themes of corruption, politics and bureaucracy that have infested our system across all levels. Sartaj and constable Katekar struggle their way across the dirty bureaucracy of the senior Police officers. The corrupt allegiance between men in uniform and politicians vividly reinforces the theme. Moreover, the power and sway of religion has also been boldly depicted in the show. The naming of the episodes to the portrayal of the Bombay blasts in 1992 strongly reflects the religious undercurrent and its hold on the masses. Gaitonde massacring eighty Muslims in a day and getting the Hindus on to his side gives the viewer an insight into the politicization of religion in India and the violence that often accompanies it. What also arises with TV shows such as Sacred Games is the explosion of online streaming in India. With the prevalence of free data, online streaming giants like Netflix and Amazon, and minimal censorship, artistic expression is to find a new outlet. With viewers already drawing parallels between Sacred Games and the Game of Thrones, it can safely be said that the dawn of a new age of Indian TV industry is upon us.
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SPECIAL SECTION
LUST STORIES Allowing the Hidden Story to Break Free By Nirvair Singh Four directors: Zoya Akhtar, Anurag Kashyap, Dibakar Banerjee and Karan Johar, came together to reveal certain issues that have always been behind the veil in Indian society in Netflix’s latest Hindi film anthology– ‘Lust Stories’. The film is divided into four parts which tell four different stories in the unique style of its respective director. The directors explore the unexplored- when they look at sexual desires and relationships from the lens of women and picture their journey to assert their sexual identity in our society. From possessive professors to sexually unsatisfied housewives, ‘Lust Stories’ covers it all. The first chapter, directed by Anurag Kashyap, tells the story of Kalindi (Radhika Apte), a married professor who is sexually involved with her adolescent student-Tejas. As their casual affair carries on, Kalindi grows ever more possessive, obsessive and fiercely dominating; she is seen keeping a tab on him and monitoring all his interactions. Kashyap beautifully portrays the confusion going on within Kalindi with
her contradictory monologues and the constant hysteria in her voice. He highlights the issues of consent in sex, power dynamics in relationships and the lengths we go to, to fulfil our desires. Banerjee, in his film, shows us a glimpse into the affair of a woman (Manisha Koirala) who strives to get away from the monotony of motherhood and monogamy. Circumstances change when the audience learns that her partner, Sudhir, is actually her husband’s best friend. Banerjee subtly explores the issues of ennui in marriage, loyalty among friends and the concept of being free of societal pressures for women. This chapter was very rushed and didn’t give the audience much opportunity to develop context and by the time it did, it was already too late. Johar, in his typical style, shows us the ignorance of men towards women’s sexual desires and their bewilderment towards low blouses and bare stomachs. This film comes in two folds. The first fold shows us the life of a school teacher who is proud of her body and
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Left: The show revolves around four different storylines, each directed by a different director.
flaunts it in her manner of dressing. The other is about a coy bride whose husband doesn’t care for her sexual pleasures. The two cross paths that lead up to a series of events wherein the bride’s mother- in-law catches her in a compromising position. This chapter deals with very real things that we as a society tend to stigmatize like self pleasure and the clothes women wear. The real sense of taboo comes in Akhtar’s film where we see the sexual relationship between a bachelor and his maid. Initially, purely sexual, their relationship takes a turn when his parents come into town and start looking for a girl for him to marry. As the girls’ families come and go, the maid, jealous and shattered, serves them chai. This particular tale had a lot of gravity, considering it highlighted the
segregation of classes and expressed the idea of forbidden love; however there was insignificant character development leaving me with a feeling of incompleteness and longing for more. This collection of films encompasses the hardships faced by women in all contexts and classes in trying to explore their own desire. It is quite admirable that after ‘Bombay Talkies’, which was released in the honour of Bollywood and the city of Mumbai, the quartet has returned to sensitise the society with a novel look at sexuality. Netflix provides the perfect uncensored platform to pass on this message to the audience. Hopefully, this acts as a stepping stone towards an India where both men and women can freely discuss their desires and passions.
Picture Credits: Hindustan Times, W3 News Live, IMDb
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SPECIAL SECTION
The Stepping Stone for Modern Indian Stand-up By Karan Sampath The ability to make people laugh is probably one of the most difficult skills one can master. It requires one to not only be able to converse in a lively manner, but also to have a personalized understanding of one’s audience- a terrifying prospect for any comedian. The West has seen comedy flourish for a few decades now, with comedians ranging from the vintage Dave Chappelle and Jon Stewart to the newer generation of Trevor Noah and Hasan Minhaj. Regrettably, India has been slow to catch up with this wave. However, of late there seems to be a shift in public outlook. Spurred on by young Indians appreciating and encouraging criticism, comedy might have finally found a home here. Modern comedy in India began mainly in films and with stand-up comedians like Johnny Lever, being primarily focussed on Indian idiosyncrasies. In the past decade, there has been an explosion of interest in the stand-up scene, fuelled by both the prevalence of cheap data and an abundance of streaming platforms, which ensure that a stand-up comic has an exponential reach and can access more viewers than those within the room. There has also
been a liberalization of upper-middle class thinking, which has allowed comedians to explore genres and variations which would be previously unheard of. The second wave of comedy was spearheaded by groups like AIB and EIC, which parodied Indian societal traditions and norms, as well as Indian stand-up comedians like Kanan Gill, Biswa Kalyan Rath and Kenny Sebastian. Interestingly, the show I will analyse is not based on this second wave only, but is a representation of a transition of sorts, not of another wave as a whole, but of pushing boundaries to a further extent than ever before. Comicstaan, as the name suggests, is a place for comedy, both viewers and practitioners. It is meant to be a breeding-ground for future comedians and genres. In truth, Comicstaan manages to do this par excellence. There is a comprehensive evaluative process, with videos of prospective candidates initially being reviewed, followed by stand-up sessions in certain metropolitan cities, finally culminating in a nine round competition. The structure of how the contestants are judged ensures that the show is
1st Row (Sitting L to R): Kenny Sebastian, Sapan Verma, Biswa Kalyan Rath, Kanan Gill 2nd Row (Standing L to R): Sumukhi Suresh, Naveen Richard, Tanmay Bhat, Kaneez Surka, Abhish Mathew
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Up: Contestant Prashasti Singh
Picture Credits: Amazon, IMDb
relatively unbiased compared to others in the same vein. Secondly, Comicstaan both introduces and delves deeper into several new comedic genres. From ‘Comedy of Terrors’ to ‘Improvised Comedy’, viewers are often forced to take a leap of faith and explore this unknown art form. It tests comedians, and uniquely gives viewers the opportunity to observe both superlative as well as abysmal renditions of each genre. Due to this hit-and-miss concept, where not every second leaves one rolling on the floor laughing, viewers are forced to persevere through the more unbearable parts. Although this might not seem appealing, the appreciation one has for the art-form as a whole substantially increases. One is exposed firsthand to the terror comedians endure every day: worrying every minute whether their punch line will stick and there being no method to verify it. However, the show tended to have more minutes of silence than laughs, which in a large part can be attributed to one flaw: the structure of the show. Both in terms of the time contestants got to prepare (one week) and the time they got to perform (four minutes). Both of these demonstrate a fundamental lack of understanding of what comedy actually is: a career which is built on sudden waves and thoughts, and is not a reservoir of knowledge that can be drawn upon when one wishes
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to. More importantly, the wave has no time limit, and imposing one often leads to roughly cut jokes with abridged punch lines. In the show, this looks like contestants often being unable even to perform their poor jokes completely. Finally, on the comedy itself. What marks Comicstaan out is the frequency of layered jokes: jokes which assumed a certain level of audience knowledge, and built upon that, which is perhaps a signal of what the third wave of Indian comedy would be about. Contestants joking about their own inability to make jokes, something I call ‘awkward comedy’, was also frequently observed. Due to a relatively diverse pool of contestants, strongly feminist jokes as well as jokes on South Indian traditions were a welcome sight as well. However, all contestants stayed away from any politically-charged or socially polarizing content, which is perhaps a poignant reminder of the culture of fear that continues to exist in our country. Comedy has the ability to entertain, inform and unify. India has just begun to experiment with this long shunned art form, and is beginning to experience its veracity and influence. With Comicstaan, India has taken one step forward, and the vision of a country which respects and admires the comedic art-form continues to become brighter.
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RAAZI Redefining Patriotism By Kabir Subbiah “Watan ke aage kuch bhi nahi, khud bhi nahi” (Nothing comes before the nation, not even oneself)”. Whilst the above quote does sum up the essence of the message that Raazi attempts to convey, the movie also showcases the consequences of clinging to certain nationalist sentiments. It also seems quite relevant, considering it is set during the Indo-Pakistan War in 1971. Directed by Meghna Gulzar and produced by Karan Johar and Vineet Jain, Raazi manages to depict the horrors of war, without taking a unilateral, overdramatized stance- a feature that is rarely included in today’s movies. Much unlike the stereotypical spy film, Sehmat (Alia Bhatt) isn’t portrayed as a strong, invincible character but rather the diametric opposite – a delicate schoolgirl. In fact in her introductory scene, she is seen saving a squirrel from being crushed under a car, which portrays her as sensitive and caring. It is scenes like these that sow seeds of doubt in the spectatordr’s mind about whether Sehmat will have the strength that her nation requires of her. Her duties begin when she is married into the family of Iqbal (Vicky Kaushal). Iqbal’s father is a brigadier in the Pakistan army and Sehmat gradually begins her job of spying on the family, collecting as much information as
possible and communicating it back to India. With the characters of Meghna Gulzar’s film spewing nationalist jingoism, we are left to side with either country. Interestingly, contrary to what one would expect, Raazi doesn’t demonize Pakistan. In fact the Pakistani community that Sehmat lives with is portrayed as kind and welcoming. Rather, it paints India’s attitude towards the war as unsympathetic. The song “Ae Wataan” is said to encapsulate the true spirit of patriotism and is of great significance in the movie. It is sung by both Sehmat and Pakistani school children and therefore becomes a means to show both Indian and Pakistani points of view. The entire soundtrack with other melodies like such as the heartbreaking ‘Dilbaro’ and the title song ‘Raazi’ keeps one humming long after leaving the cinema hall. Towards the end of the film, a wholly new idea is introduced, one that is incompatible with the entire plot of the movie so far- one of unity between the two countries. This was seen as anticlimactic in the eyes of many a critic but for me, this was a twist that just made the movie more engaging. As we infer from this, the passionate patriotism for one’s country was overcome by unity in blood and the start of a family.
Top: Alia Bhatt as a spy, as featured in many promotional materials of the film. Below: Alia Bhatt as a bride.
Picture Credits: India Today, Glit Street
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The Doon School Information Review
WORD SEARCH Bollywood Classics 1. Released in 1965, this romantic drama film starring Dev Anand is based on the book by R.K Narayan and features legendary music by the composer, S.D Burman.
7. The third Indian film to be nominated for the Academy awards, it portrays how people in a small village stake their future on a game of cricket against their ruthless British rulers.
2. Directed by Rajkumar Santoshi in 1994, this comedy film stars two of the three Khans of Bollywood and is a famous cult classic.
8. A remake of the Bengali film Pasher Bari, this 1968 movie features Kishore Kumar, Sunil Dutt and Saira Banu and is considered to be one of the best comedy films in the industry.
3. This Indian filmmaker, writer and graphic artist is the recipient of the Bharat Ratna and directed the Bengali drama film, Pather Panchali.
9. This famous 2000 cult classic is a remake of the Malayam film ‘Ramji Rao Speaking’ and features an eccentric trio played by Paresh Rawal, Sunil Shetty and Akshay Kumar.
4. This acclaimed Indian poet is the director of Aandhi and Mausam and the TV series Mirza Ghalib and is the recipient of the Dadasaheb Phalke award.
10. This legendary actor plays the role of the ‘angry young man’ as an anti-hero vigilante in the movie Deewar.
12. Played by Amjad Khan, this role was written by the duo Salim-Javed and is infamously known to be the dacoit who loots and plunders the villages in the region of Ramgarh. Picture Credits: Pire
7. Lagaan 8. Padosan 9. Hera Pheri 10. Bachchan 11. R.D Burman 12. Gabbar Singh
6. Directed by Aditya Chopra, this romantic film is the longest running film in the history of Indian cinema and is known for the characters Raj and Simran.
11. One of the most established music directors in Bollywood, he rose to prominence with the musical hit ‘Kati Patang’ and was nicknamed ‘Pancham’.
1. The Guide 2. Andaz Apna Apna 3. Satyajit Ray 4. Gulzar 5. Madhubala 6. DDLJ
5. Often compared to Marilyn Munroe and known as the ‘Venus of the Indian Cinema’, this actress became extremely famous for her role in Mughal-E-Azam.
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DR. HAATHI Remembering a Legend Ivor Ismail Picture Credits: India Today
Recently, Hindi television lost a stalwart, Kavi Kumar Azad known for playing the role of Dr. Hansraj Haathi in the show Taarak Mehta ka Ooltah Chashmah. He was known for being a jolly doctor and a liberal parent on the show. His many troubles caused by his weight (such as getting out of an auto) left the audience in splits. Not Ironically, it was this very weight that led to his untimely demise. He was advised to go for bariatric surgery, but he refused saying that he would be out of work if he did that. His weight resulted in the fatal cardiac arrest that took him. Mr. Azad migrated from Bihar to Mumbai like everyone who dreamed to make it big in acting. Following some minor roles here and there, he finally got his big break with Taarak Mehta ka Ooltah Chashma. He played the role of Dr. Haathi for 9 years, before his death. He was a method actor who got into the skin of his role. In real life as well, he was a warm and friendly person who was an inveterate foodie. The other cast members of Taarak Mehta were also distressed by his sudden death. Mandar Chandwadkar, who plays Bhide in the same show, also reacted to the news:
“It’s so shocking. This morning we all were supposed to shoot for a sequence together at Filmcity. But then we came to know he is unwell so we decided to let him rest and go ahead with the scene without him. I will only say he completed all his work before leaving us. This was a fresh scene which we were supposed to shoot. He didn’t leave anything incomplete.” His dedication to his work was apparent when before every scene he would rehearse without the camera. His death also throws light on the negative aspects of Indian cinema and television, where an actor is expected to play only one type of role. Thus, heroes play only heroes and villains only villains. Kavi Kumar Azad risked losing his job if he lost weight and this, in my opinion, led to his death. I personally believe, that a good actor can fit into more than one mould and should not be restrained by a single perception that people have of him/her. With that I end my eulogy to this amazing actor, Kavi Kumar Azad who with his inimitable wit brought a smile to many a face.
Editorial Board Editor-in-Chief Aayush Chowdhry Chief-of-Production Kushagra Kar Head of Design Lakshman Santanam Editors Armaan Verma Devang Laddha Associate Editors Aarsh Ashdhir Ansh Raj Divyansh Nautiyal Karan Sampath Karthik Subbiah Special Correspondents Nirvair Singh Vir Bhatia Correspondents Kabir Subbiah Ivor Ismail Faculty Advisor Malvika Kala
Cover Design by Kushagra Kar Printed by Sterling Preferred Printing