MAY ISSUE, 2019 EDITORIAL KARAN SAMPATH
Art is a form of expression, an act of voyeurism and a moment of liberation. This year, the Doon School Information Review aims to bring that experience to you: through the culmination of Pop culture which had an impact on our community, both in terms of magnitude and diversity. Avengers: Endgame was a watershed in the power and effect that pop culture can have even today. Hamilton, a play about the American forefathers, played by coloured actors, is a reflection of the changing times we live in. The power of pop culture is on full display here and the review brings out the strong message about the society being a collective whole. Apart from diversity in terms of meaning, the DSIR this year has striven towards diversity in terms of language, with a review of the Spanish film Roma, to Dharavi based Urdu-Hindi films like Gully Boy. Across genres as well, there has been a concerted effort to represent Books, TV shows, Music as well as Cinema that defined the year, from No Easy Day to This is America. Our special section this year is a deep dive into the movies and works of Christopher Nolan, a visionary and pioneer of filmmaking. Within it is a distinct emphasis on the cinematography and thematic nature of these movies. It is an attempt to look at the deeper connotations in the story, more than just the plot progression itself. Ultimately, we here at the DSIR are movie buffs in every sense of the word and hope that through the course of reading this magazine, you begin not only to appreciate the art a bit more, but also celebrate the impact it has had on society.
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Gully Boy By Moulik Seth
Bird Box By Shreyan Mittal
Black Mirror By Pragnay Nevatia
Made In Heaven By Matthew Raggett
Roma By Nirvair Singh
Glover’s World By Armaan Batta
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Hamilton By Kabir and Karthik Subbiah
The World Of Nolan By Kushagra Kar
The Prestige By Aarsh Ash
The Dark Knight Trilogy By Divyansh Nautiyal
Interstellar By Karan Sampath
Dunkirk By Agam Bhatia
Disney’s Diversity Problem By Vir Bhatia
Stan Lee Tribute By Agam Bhatia
Gully Boy
Moulik Seth pens down his thoughts on a film that explores the uncharted genre of Indian rap, Gully Boy. Picture Credits: News Nation, Deccan Herald, Charmboard
“Apna time aayega.”
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hese words echo endlessly in your subconscious, as you sit in awe and utter fascination beholding the ever so intricately carved world that Zoya Akhtar creates- of dreams, of reality and of loving what you do. Akhtar’s last outing revealed to us an elitist world marred by rich businesses, luxury cruises and of course, conflicted family relationships. Gully Boy, however, promises a completely polar reality, one, which, honestly portrays the underground rap and hip-hop subculture in Mumbai. From the slums and gullies of Dharavi to the escalating skyline of modern, bustling Mumbai, this movie creates magic onscreen with its
carefully created characters, powerful writing, soul-stirring rap and near-perfect acting. Murad (played by Ranveer Singh) is the quintessential neighbourhood boy, who has dreams of rising above his circumstances and finding his passion, and with that, his identity. His house is representative of a typical gully side domicile, housing an extremely conservative Muslim family. Murad’s father (Vijay Raaz) is an abusive, dominative figure in the house and as the movie progresses we see Akhtar normalizing the Muslim community and their orthodox traditions. This is a world Murad despises, but nevertheless faces with sheer determination, with his kind and helpful mother by his side. This multilayered narrative unfolds
further, with each such layer symbolic of a different world which Murad faces. Murad’s relationship with his quirky, hot tempered and extremely possessive girlfriend Safeena (Alia Bhatt) is a crucial subplot to the narrative and comes across as electric and particularly lovable. He meets her secretly in old, dysfunctional trains, over bridges and outside second storey windows, just like a fairytale love story. There is a line which perfectly encapsulates Safeena’s love for Murad, when she says, “ Tujhe joh karna hai, tu kar.” Alia Bhatt has a small yet deeply impactful role. She pulls it off with impeccable ease, nailing the fiery eccentricities of Safeena, while proving to be the perfect lover to Murad. In all honesty, Murad’s life truly transforms when he meets MC Sher and enters the world of rap and hip hop. The lyrics fascinate him, the music lifts him and the idea of singing ignites a passion only Murad can understand. MC Sher recognizes this and nurtures Murad like his very own, making him every bit that Sher wasn’t. Siddhant Chaturvedi aces this role with a nuanced and layered performance. He molds the character of Sher into every bit of the large, fierce man that he is, yet maintains the emotions he feels, the battles he faces and enjoys every bit of the role.
As Murad rides on this camaraderie, he hits big when he gets a job with an American artist, ‘Sky’ (Kalki Koechlin). They sit down, talk about music and there is a genuine appreciation of talent that occurs. ‘Mere Gully Mein’ is a energetic remake of the original, by the same name, by Divine and Naezy and it feels just like the perfect hip hop song that can get you dancing. During this time, Akhtar touches upon the serious issue of class conflict and an inherent sense of subjugation that underprivileged people face. The song “Azadi” ( Inspired by Kanhaiya Kumar’s JNU speech) perfectly encompasses this fight, showing Murad, Sky and the other artists roaming around the city during midnight, vandalizing beauty cream advertisments, writing graffti on the walls, laughing at the ultimate absurdity of all things alone and finding their moments of ‘Azadi’. Murad’s dreams are immediately shattered when he is made a driver. With a straight face, sharply ironed shirt and pants, Murad goes around dropping passengers, feeling completely broken inside, for he knows that he’s more than what he has to be. Murad decides to leave the job and go for a local rap competition. He knows this is what will bring him closer to his dreams
and you can almost feel his dreams becoming yours. The event is fully charged, with close competition at every step. When MC Sher is knocked out, he walks up to Murad and says, “Jwala hai tu, tera time
Gully boy promises a completely polar reality, one which with all honesty portrays the underground rap and hip-hop subculture in Mumbai.
aagaya.” You feel for this larger than life man, for his simplicity and love for the art. In the end, it feels as if Murad comes home, when he erupts, like ‘jwala”, and raps to the tunes of “Apna Time Aayega”. The
rap is hard hitting and Murad feels every breath and word of it. He jumps around with all the energy in the world and becomes who he always dreamt of becoming. In the end, you truly feel for this world. Ranveer Singh comes out with a career-defining performance, layering his acting beautifully. He was born to play this character, and he completely dissolves in the skin of it. His twinkling eyes, his anger, his ever-brightening smile and his passion all match what is asked of. Vijay Varma too, comes out with a significant performance, playing the close friend of Murad. Vijay Raaz is brilliant in the role of the abusive father, delivering every dialogue with the breath of complete dominance and character. As you walk out of theatre, you can’t help but feel a sense of satisfaction. Zoya Akhtar and her team have produced a gem of a movie, which even to the last minute, reverberates in the soul of every sitting member in the theatre.
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Shreyan Mittal comments on the existentialist Netflix original film, Bird Box. Picture Credit: Netflix
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he highest grossing movie on Netflix of all time, Bird Box is a horror-thriller, an adaptation of the novel by Josh Malerman. Set in a post apocalyptic world, the plot revolves around a family of three trying to escape a mysterious beast, of which little is known. What’s strange about these creatures is the fact that not only do they take on the image of the thing that the person exposed to them fears the most, they are invisible, rendering the ability of sight useless. Even one tiny peek at them and you are doomed. They are a brilliant addition to the movie and really help in creating an aura of mystery, since the audience
“Bird Box is a horror-thriller, an adaptation of the novel by Josh Malerman.” is given no details about them, so much so that even the characters just call them ‘the creatures.’ It is this very antagonist that creates that atmosphere of mystery and suspense that is much needed in a film like this. Alternating between scenes from the past and back to the present, the timeline is a little hard to follow in the beginning but becomes crystal clear by the end. Throughout the movie, we see how differently people react to a situation at this scale, and just how far they will go to live. While some go crazy, to the extent of trying to force other people to see the ‘creatures,’ some try to trample others just to protect themselves. Interestingly, only a few manage to keep a calm head and use their minds to outsmart the creatures and survive the ordeal. The acting,
too, was brilliant, with Sandra Bullock putting up one of her best performances in recent times as ‘Malorie Hayes’ with the help of her supporting actors, especially Sarah Paulson and Trevante Rhodes. The main character, Malorie, is also an important part of the film. Throughout the movie, we clearly see Sandra Bullock’s character undergo various changes. From timid and shy in the beginning to open and cheerful after meeting the love of her life. From gloomy, harsh and overprotective following his death and finally a motherly figure after survival, the movie reflects the stages of life that nearly every person goes through. Not only does it help the viewers relate to the film, but also adds that element of emotion in between. There are also various parts of the film that attack vices of society, like Mallory naming her kids Boy and Girl. Other problems like fear and selfishness are also portrayed throughout, one notable example being the time Mallory was ready to sacrifice a child to save her own.
humiliation at the hands of its ‘Originals’. They bought billboards, advertised the movie on
While the movie in itself is good, it’s nowhere near worthy of being the most watched movie on Netflix. The reason for Bird Box’s unprecedented success solely relies on the massive popularity that it has gained online. Whether it be tons of advertising and hype brought on by Netflix or the barrage of memes on every social media platform, it is all thanks to the Internet that Bird Box has become so popular. Even before the movie had come out, fans had been skeptical of the movie due to its likeness to ‘A Quiet Place’ and also because it was a Netflix original. It was at this moment that Netflix really kicked the gear into full, clearly not wanting to suffer any more
In conclusion, the movie is refreshingly different. An inspired diversion from Netflix’s pattern of producing unimpressive stories for its subscribers. Sandra Bullock and her peers brought the script to life which, when helped by immense social media sensationalization, gave the film the necessary attention it needed to be successful. Personally, I felt this attention was unwarranted, but nonetheless, it may be the start of a new era of improved Netflix Originals. Here’s hoping that this is a step in the right direction.
“An inspired diversion from Netflix’s pattern of producing unimpressive stories for its subscribers.” social media websites, the director and cast gave various interviews and the film was even showed on the big screen one week prior as an exclusive. Campaigning of this scale was a first for Netflix, and naturally got many excited, as they too grew curious. Shortly after the movie’s release, jokes on the movie began to pop up on nearly every website. There were memes made, featuring moments from the movie made into something hilarious. Videos were made too, with celebrities such as Jake Paul attempting the “Bird Box challenge”, involving people wearing blindfolds and attempting everyday tasks.
“What’s strange about these creatures is the fact that not only do they take on the image of the thing that the person fears the most, they are invisible, rendering the ability of sight useless. Even one tiny peek at them and you are doomed.� Page
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Agam Bhatia writes about the film on DC’s first aquatic superhero, Aquaman. Picture Credits: DC Extended Universe Wiki, The Daily Edge
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fter disappointing movies like Dawn Of Justice and Suicide Squad which received vast amounts of criticism from the public, one seemed to be well aware of how much pressure there was on DC to save their universe. Fortunately, they then delivered with Gal Gadot’s Wonder Woman. Though, the situation was far from better. The superhero universe needed something more, something that would be entertaining while simultaneously having unique fight scenes that would keep you on the edge of your seats. Thankfully for DC fans, Jason Momoa’s Aquaman provides exactly this and much more, with its amazing visual effects and cheeky one liners, topping it off with Jason Momoa as a charismatic protagonist,and not to forget its aquatic fight scenes, which contribute to making this movie one to savour for the ages. Aquaman’s first appearance was in Justice League, but before all of this Aquaman didn’t seem like a typical superhero, especially like the ones that exist on land. He seemed more like a fairytale mermaid of sorts, mainly because this was how he was shown as in mainstream pop culture and comic books. However in the movie Aquaman, he takes on a life of his own. The same character is characterized as a much brasher, more Herculean version of his comic book self. Directed by horror meister James Wan, who has previously directed high octane nightmare fuelled thrillers such as Saw and The Conjuring, his direction in Aquaman provides a nice contrast and has its own moments of pure joy and entertainment, not to leave out Momoa’s stylish action scenes and hairography. But what’s really unique about Wan’s direction is his inventive use of space in the aquatic fight scenes,which makes these scenes much more clearer and easier to understand, and they don’t appear rushed, where you don’t know whose hit whom, a mistake DC had made earlier. Undoubtedly, Jason Momoa gives the character this muscular, meaner and a much more fierce look. The
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writing compliments him with cheeky one liners. Of course, his strength is exaggerated, especially when he lifts a whole submarine out of water on his shoulders, but then time and again, you remind yourself that this character seemed like a mermaid at first, and then you see Momoa, you see his strength, his charisma and you see that this is what an iconic hero looks like.
This idea alone, I think is enough for one movie, but Aquaman is no nowhere near done yet. However,when you have a swarthy, underwater superhero who can talk to fish,you don’t necessarily need a complex and winding story to support this, which is where I find Aquaman fails to find a balance. Credited screenwriters Davis Leslie JohnsonMcGoldrick , and Will Beall have created a superhero adventure story that somewhat hints at the idea of the Sword In The Stone with the main character Arthur Curry (Aquaman) struggling to become the king Atlantis deserves, and in his quest for glory, he has to deal with his own past and history, very similar to what happened in Wonder Woman. But all of this doesn’t come that easy for our hero Arthur. He has to deal with his own half brother, King Orm, who wants to make Atlantis great again. But along with the surf, he wants to command the turf as well, as he believes humans on land are threatening the oceans by polluting them and killing innocent sea creatures. This the where the race to become ‘Ocean Master’ begins,
as Arthur hunts for a trident and in the process, he gets by with a little help from an aquatic princess Mera (Amber Heard). Orm on the other hand, has to form an alliance with the other kingdoms of the surf, with or without their consent. Adding on to all of this is a long history about how Arthur was born and how he trains with his teacher Vulko (William Dafoe) and much much more in between,which contributes to the movie’s vast exposition. No doubt the plot becomes overburdening then, and you get this sense that the makers took it a bit too far when they decided what kind of storyline this movie should have.You see,there is no one central theme around which the movie revolves,instead there are various ideas, and not one of them is explored fully. As a result the movie is two hours and twenty three minutes long, which is a particularly long time for any superhero movie, aquatic or otherwise. In spite of this, I think Aquaman still fulfills its role of being a fun, entertaining and memorable movie. The creative characters in the movie and its aquatic visual effects are certainly commendable but for me, this movie is a complete Momoa movie, and it did not need much more, just a better villain, story and of course, a better sense of humour.
Avengers Endgame
Kushagra Kar reviews the latest movie in the Avengers series, Avengers Endgame. Picture Credits: StickPNG, Deviant Art
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n the eleven years since we first met them, so much has happened. Wars have been fought over New York City towers, megalomaniacs have been toppled, friendships have been forged and broken, and people; people have grown. At the molten core of the Marvel Cinematic Universe is that growth, and every year since 2008, our beloved characters have grown closer, and more prepared to face their greatest threat yet: Thanos. Avengers: Endgame follows up on the devastating conclusion to last year’s Avengers: Infinity War, and in more ways than one, feels like a sequel and prequel to every Marvel Movie ever made. Elements of the film have been woven together to create a grand tapestry of everything Marvel, giving us a definitive and entirely worthwhile conclusion to the Infinity Saga. While we know there is more to come, there was a lot riding on this film to satisfy the needs of longtime fans of the series. The movie had to pay homage not only to the exceptional characters it has developed over the years, but also to the dedicated fan base that has invested so much in it. The question is: did it? Certainly,
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cost. Occasionally, and I mean in the rarest cases, events would take place out of the blue, with no prior indication or coherence to the overarching plot. While this is certainly not enough to spoil the film, it does raise enough inconsistencies to shatter parts of the plot. To think about it enough would birth a plethora of other questions, but for the sake of keeping the neatness of the ending, I wouldn’t recommend asking those questions. So long as you are willing to ignore some continuity errors, and presumably, consequences, it’s alright.
crowd pleasing moments scattered regularly throughout the film. These moments were undeniably some of the most incredible scenes in Marvel History, featuring quality cinematography and an effective use of the iconic Avengers score. It is difficult to walk away feeling anything but giddy with excitement at having seen those characters finally do certain things, or say words that we have waited since the original Avengers to witness. The Russo Brothers spared no expense at servicing longstanding fan wishes, but at an unfortunate
The benefits of taking that risk though, are phenomenal. The film is entirely character driven, and it is clear from the very outset that the directors and writers were focused on paying proper tribute to the original six heroes. The focus never shifts from them, and it truly does feel like Tony, Cap, Thor, Hulk, Nat and Barton are at the center of the story. Their relationships and interactions are at their best in Endgame and all credit is due to the actors who have delivered the performances of their careers this time around. The history and chemistry we feel with these people is very real, and their emotions and motivations are completely understandable after all these years. With the exception of the Hulk
an appearance, however short, felt needed and appropriately handled in the context. However, I feel Rocket could have been given more importance and plot attention, but we can understand how that was difficult to do, given everything else going on.
a n d Thor, every character is written to it’s best, and wherever they can, the actors make up for the lack of proper plot development. Luckily Hemsworth and Ruffalo, whose performances were altogether too good to have been subject to such poor writing, will definitely be continuing with their characters in future films; as announcements from both individuals prior to the release of this film have already confirmed. This focus on the original six did mean some lack of screen time for the various supporting characters. Served in adequate amounts, no one felt particularly missed: something which saved the film from feeling crowded and messy, unlike Infinity War. The most important people were evidently in the spotlight, and it felt alright to occasionally bat an eye towards tertiary characters. I know I was worried about Captain Marvel being given too much importance in the grand scheme of things, but the Russos handled the overpowered being with surgeonlike precision and accuracy. In fact, they actually fixed certain aspects of her character by placing her alongside all the other women of the MCU. In one incredible moment of solidarity, strength and compassion, the scene captured the immense talent of all the actresses and left me quite breathless. Likewise, every character who made
Without revealing crucial plot details, it goes without saying that the film is an emotional one. There are moments that pack even tougher punches if you remember t h e references, but it is possible to adequately appreciate the film w i t h o u t them. At times, things become significantly more complex and difficult to follow, but if your understanding of the Marvel timeline is somewhat in place, you should be fine. However, if you are willing to invest the time, in the hopes to maximizing your enjoyment of the film, I would recommend doing a once-over of The Avengers, Thor: The Dark World, Guardians of the Galaxy, Iron Man, Captain America: The First Avenger and Ant Man and The Wasp. A d d i t i o n a l l y, while there is no postcredits scene, I would highly recommend sitting through the complete credits, right t o the final black o u t . Somewhere along the way, it feels as though even those final seconds of the credits add to the legacy of one of the most
beloved characters in film history. From splendid dialogue to grand cinematography, the film is a theatrical gem. Flush with highly nostalgic music and locations, you will no doubt walk away feeling all of the MCU pumping through your veins. Keep a box of tissues on hand, and brace yourselves, because Avengers: Endgame is a hell of a ride.
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The Ministry of Utmost Happiness REVIEW Moulik Seth presents his views on Arundhati Roy’s magnum opus. Picture Credit: Amazon
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How to tell a shattered story? By slowly becoming everyone? No. By slowly becoming everything.” After nearly twenty years, Booker Prize winner Arundhati Roy returns with her latest novel, The Ministry of Utmost Happiness. The five word title ignites a spark within you and urges you to explore this magical saga, with unanswered questions floating around like lily pads in a pond, strewn here and there. If the dried leaves perched around the gravestone on the cover don’t intrigue you, then the shattered stories will. The first impression Roy creates is majestic, with the protagonist Anjum sitting in a graveyard alongside the walls of Old Delhi. Bewildered and devastated, Anjum holds her “Fort of Desolation” between two graves, and often ambushes bereaved families who come with grief to bury their loved ones. This is the gift so strongly associated with Roy, to make the simplest of acts the most enchanting. The plot digresses to the time when Aftab is born, into a family which desperately wants a son. To their surprise, an infant with
vivid boy parts, under which lies nestled a girl’s part, is born. In no time, little Aftab turns into Anjum, a transgender. Secrecy seems to be an anathema for Anjum who is shaped by her courage as much as her body. Roy beautifully uses Anjum as a character who is of constant change, exploitation and dismissal. As the story progresses, Roy brings up the Khawabagh-The House of Dreams into which Anjum moves. Living with other hjiras, Anjum finds the Khawabagh to be her “ultimate destiny”. She is taught that hjiras are god’s gift and that the Almighty “made” them in his spare time. In the Khawabagh, Anjum meets Zainab, a fellow transgender with whom she develops a varied bond. At this part of the story, Roy slowly starts to slice around grand events that have taken place in history and effectively layers them around the main plot. She has made an effective attempt to incorporate a variety of subjects like the transgender community, gender discrimination. Travelling on a pilgrimage, Anjum gets caught in the Hindu-Muslim riots and upon returning, changes her behaviour immensely. Zainab seldom talks to her and in this part of the story, we see self-denial as a key theme. Throughout the novel, Anjum is immured and is extremely low on self-confidence. However, these are the virtues which expand this novel far beyond all horizons. From Delhi, we travel all the way up to the ‘quiet’ valley of Kashmir, marred by war, conflicts
and amongst this, Roy coats an odd love triangle, centred on a diplomat. Even though the transition of stories from Anjum to Tilottama seems abrupt, the two look to be connected by a chain of stereotypes. Her journey around the valley of Kashmir and her encounters with various people including her three lovers comprise one of the most powerful sections of the book. Roy has dealt with this love quadrilateral with ease, issuing the most thought-provoking and rich conversations which are completely void of any romantic talk. Tilo is an artist, and an activist wanted for terrorism. And with her dark complexion and her unattractive looks, she never fails to garner attention. Eventually, Tilo retreats from the war that wages between the Hindus and Muslims and joins a community built by Anjum, in the graveyard, consisting of all the people who ever fit in, and weren’t meant to either. Roy has taken the life of two people, rejected in their worlds and has conjured a tale which weaves around the intersection of their complexities and reality. A patchwork of narratives, it integrates the aspects of pain, love, humour here and there and essentially the idea of stereotypes. The individual sacrifice, the need to positively assert yourself in society and not live in a shadow is felt throughout and at the end, you are left with a wire of knowledge hanging in the middle of your brain and thoughts that drift endlessly in all directions.
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NO EASY DAY
Gurmehar Bedi puts forth his view on the controversial book: No Easy Day Picture Credit: Pinterest
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he novel “No Easy Day” centers around the assassination of the world’s most wanted man, Osama Bin Laden. The man who was responsible for thousands of deaths, tearing families apart. Although dead, his soul and deeds linger on in the hearts of the people whose lives he ruined. This book, based on his capture and death, is a fast-paced adventure. A first-hand account of the intense life and training of an American SEAL. The book begins with the author, Mark Owen, vividly describing his transition from a little boy full of aspirations to becoming the backbone of the Navy SEALs. The pace of the narrative quickens with the progression of the plot. It builds up to a point where the smallest of changes would make it anti-climatic. The beginning gives us a taste of the excruciating and unfathomable hardship a SEAL undergoes. The book enables us to observe their lifestyle from their locus standi. Something which truly amazed me was the fact that people from all walks of life, full of ambition, came together to form an elite counterterrorist organization. The novel reflects on the bonds which they formed and the blind faith they had in each other by the end of the training. Their success depended solely on this faith which they had in one another, something which
lacks in organisations around the world and leads to their downfall. They are truly an inspiration for us and their courage and zeal is second to none. Mike Owen has described his experiences beautifully. We are able to see different aspects of the lives of the SEALs. Their warm hearts are hidden behind cold and tough exteriors. The rigorous training which the SEALs undergo which puts them in a pitiable condition, but that, according to me, strengthens the bonds which they share with each other. Training is something which the SEALs do not take
Although dead, his soul and deeds linger on in the hearts of the people whose lives he ruined.
lightly and due to this, a replica of Bin Laden’s compound was specially built for them where they were trained. Owen’s diction is instrumental in heightening the suspense as the story progresses. His ability to showcase the best in the SEALs immediately comes to my mind when I think about ‘No Easy Day’. He describes the fact that the SEALs can adapt to any situation with a fair amount of ease. After the mission successfully ended, the SEALs mentioned in their official statement that Bin Laden made no attempt to defend himself. This is something that struck me the most in the book. According to the SEALs, his weapon lying next to him did not have a single bullet, something which speaks volumes about his character. The author, Mark Owen, has mastered the skill of building tension with ease throughout the book and that is something which has truly fascinated me. After reading this book, I am intrigued by the various adventures which these daring men embark upon, and I am sure that innumerable children will be inspired to lead an adventurous life, just like the courageous SEALs depicted in the book.
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Pragnay Nevatia talks about Netflixs’ futuristic TV series, Black Mirror. Picture Credit: IGN
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ooking forward to the future? Watching the anthology series Black Mirror will definitely provide a glimpse of what the society will be like in a more tech-savvy world. Created by Charles Brooker, each episode entails a different idea or technological innovation that would ultimately dehumanize the world. The series is a satire on how humans’ propensity to move towards convenience is proving contrary in the long term. Mostly set in the country of Great Britain, this series is divided into four seasons. With each season, the episodes get more intense and darker. Imagine a world where people cannot make independent decisions, where they are told who to sleep with or are regulated by ratings to do what is in the best interest of the society, where they can be ‘blocked’ and erased from existence or where they cannot make the distinction between dream and reality. Black Mirror deals with such situations and many more. It wants all the viewers to reflect and have a realization about the direction society is going in. This reflection makes ‘Black Mirror’ such an apt name for the series. The word ‘Black’ simply connotes that there is no turning back now. The humanity in people is going to end. Even if someone acknowledges the truth, it is not possible for them to change what is going to happen in the future. What is even scarier is that these situations have a high probability to coexist together. In contrast to horror movies and shows, watching Black Mirror makes one feel uncomfortable because the
content can prove to be true in the future. The truth about the imminent threat to society challenges our beliefs and values. One of the concepts the series explores is the construction of identity. Today, participation on social media and general activity on the Internet
The word ‘Black’ simply connotes that there is no turning back now.
plays a major role in constructing one’s identity. These instruments of mass communication are creating the ideal self and influence others to transform themselves into this identity. They are also providing the platform for individuals to create false or hidden identities and use them to blackmail a real person. The latter use of the platform is the idea behind the very first episode of the series, where the Prime Minister of the United Kingdom is forced by pressure from social media platforms and news channels to perform an indecent act on national television. As concluded at the end of the episode, it was just to make a point. This sets the required understanding of the severity of the various situations in different episodes.
The effect of technological advances can cause a major change in one’s character. The last episode of the fourth season, Black Museum, explores one such case. A device had been made which allows a doctor to feel exactly what the patient is going through without any real damage to the doctor’s health. The doctor, who was using this device, started treating pain as a form of ecstasy. Once, the patient that the doctor was connected to, died because the doctor stopped the operation to enjoy the pain. When the patient died, the doctor experienced death until he was disconnected from the device by the others present. This was the cause of a major turn in his life. He started hurting himself and others for pain, thereby causing harm to everyone around him. Such is the severity of the implications of technology. Such is the inhumane hunger that technology has the potential to create. The series has global significance today because technology is taking over the planet. Even the people living in the most underdeveloped nations can establish a connection to it. It uses the different landscapes of snow mountains, dry deserts, and urban cities to show that technology is becoming universal to humanity. It tells us in one episode ‘Hang the DJ’ that the slightest and the riskiest path of escaping such a future is to unite and stand up against what is happening. Maybe, within the crack in the Black Mirror logo, there is a way to stop such situations from happening.
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Mr. Matthew Raggett comments on Made in Heaven, the TV series that has marked a paradigm shift in indian cinema. Picture Credits: Outlook India, News18
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s a student of India I am looking for experiences, books, films, documentaries and people who help me understand more about what is going on under the surface and behind the facade of society. Made in Heaven, the Amazon Prime series created by Zoya Akhtar, Reema Kagti and Welhamite Alankrita Shrivastva, served up everything I could dream of in its exploration of family life, power, love, sex and business through the eyes of Karan and Tara, the two wedding planners who run Made in Heaven. The characters are inviting and beautifully developed over the nine episodes of Season 1 (work has already begun on Season 2). As we are introduced to them and their lives, assumptions are both challenged and then put to the test with each of the situations
they find themselves immersed in through their work, family and private lives. The writing is honest
What begins as hopeful unions in each of the episodes evolves into another lesson: that every family has its secrets and that everyone has their price. and the dialogue both lively and human; the friendship, loyalty and love being the subject most deeply
dissected. The choices of the protagonists become questions that we ask ourselves as they respond to the requests and demands made by their clients. What begins as hopeful unions in each of the episodes evolves into another lesson: that every family has its secrets and that everyone has their price. What would you do in that situation? What about the other members of your family? Is doing the right thing more or less important than maintaining an image, reputation or future? What would your price be? What’s more important to preserve; legacy, inheritance, dignity, honour, respect? Many of the contradictions of our society were explored as the series evolved and some of the most current social issues were blown open for the first time in an Indian
series. Tara marrying into a family that others consider ‘above’ her, Karan’s experiences as a young gay man and the incomplete life he leads as a result, Jazz’s search for herself through the eyes and arms of others, Kabir’s hopeful and empathic observation through his lens that becomes the narrators eye in the series. Some of the themes were challenging and some scenes may have made viewers uncomfortable or been seen as salacious, but there was nothing gratuitous about them. Art is supposed to push boundaries and the series was quick to get in and follow the Zeitgeist around the #MeToo movement and the Supreme Court’s decision to correct the wrongs of the past with its judgment on Section 377. As layers to history, façade and hurt reveal themselves to us, our understanding of the characters deepens and that wonderful, imperfect complexity that is Delhi can be found in each of them. The lengths that Tara went to get what she wanted, the self deception that Karan and his neighbour have had to practice for years to get through their livers, the ghastly consumption of people projecting their status to the world, the expectation of parents, the
What would you do in that situation? What about the other members of your family? Is doing the right thing more or less important than maintaining an image, reputation or future? What would your price be? What’s more important to preserve; legacy, inheritance, dignity, honour, respect? entitlement of children and the superstition that surrounds life’s rites of passage are all there. In taking on some of the more unpleasant hypocrisies of Delhi society, and again I stick my hand up to acknowledge that I’m still learning, I thought the writing and the series were brave. The actors were also putting themselves into a role and a project that would not necessarily receive easy acclaim. Although none of us like having a mirror help up to our worst features, we are fascinated by the disasters and tragedies of others and
that will have helped viewers stay along for the ride. Somewhere at the bottom of every episode there was love hiding in one form or another, reminding us that with all of life’s difficulties and challenges, it is those who love us that hold us together and help us make it through the worst of times so that we can enjoy the best of times. There was something in the series for a viewer at any stage of life and this will add to the appeal of show, especially for families with older teenagers to watch and talk about together. The opportunity is there to talk about almost anything and sometimes we need a little catalyst to do that. I wonder if it will help parents to take up conversations that might otherwise be awkward to start. As Dawson’s Creek did for its viewers in the late 1990s, Made in Heaven has set out the issues of the day in an intelligent and real way that allows us to see the beauty and flaws of all those passing through our field of view. It was good to see two Doscos amongst the cast as they make their way in the world; Aditi Joshi played the bride in the first episode and Neel Madhav played Karan’s younger brother in two episodes. Having shared the series with friends who have visited India I know that it transcends language and culture to make a compelling watch in the US, Germany, the Netherlands and the UK; another great Indian export that the world will love… now I have to find something else to watch while I wait for Season 2, suggestions please.
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REVIEW Nirvair Singh scrutinizes the Oscar Winning spanish Netflix film, Roma. Picture Credits: LA times, Entertainment Weekly, Rogers Movie Nation
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et in 1970’s Mexico, a period of civil unrest and instability, Alfonso Cuarón’s Netflix drama film- Roma- has amazed audiences around the world with its impeccable cinematography and direction. The film, being in Spanish, transcends all language barriers making the same impact with subtitlesin various languages. It’s social message and struggle is common to most countries worldwide and the film has managed to fully use the platform of Netflix to convey it. It is set at a time where Mexico is evolving from an authoritarian state to a modern democracy. The film records the experiences of a Mexican live-in maid, Cleo, and those of her white employers, in this backdrop, primarily highlighting C l e o ’ s
personal struggle. While talking about Cleo’s personal struggle, Cuarón portrays her to be representative of the struggle faced by her entire community at the time. He employs various techniques to bring out these diverse facets of the film, making the audience relive that time and feel empathy for all those who suffered. The reason why Cleo faces so much hardship is because she is made to take on various roles by Cuarón- each one forcing her to be brave and never give in. Firstly, she plays the role of a girlfriend, to a paratrooper- Fermín, and this relationship leaves her in a bad place. As he abandons her when she reveals her pregnancy, here onwards Cleo is left helpless and she searches the whole city for him- finally discovering him to be a member of an extremist rebel force. Unfortunately, her baby dies while she is in labour and she slips into depression. It is at this point that s h e takes on her second role of treating her employers’ y o u n g children as her own due to their parents facing
an acrimonious separation - they remain under her care. The notion of class is no longer of consequence as Cleo now becomes like family to her employers as she, selflessly,
One of the more prominent elements used by Cuarón was making the film in black and white - this enhanced the gravity and seriousness of the still shots... helps them navigate through troubled times. She finds solace in being with the children and they help one another, directly or indirectly, through their individual hardships. Cleo acts like a rock in a turbulent time- despite her own circumstances- making the audience respect and admire her while sympathizing with her simultaneously. Cuarón uses certain cinematographic elements in this film which further emphasise the issues and themes he intends to highlight. Right from the opening credits Cuarón creates a sense of
gravity by introducing the notions of division and class with the help of brilliant directing tehniques, like soapy water running to and fro over some tiles and then zooming out into Cleo, wearing an apron and holding a broom in her hand; a quintessential depiction of domestic help. Further on, as her employers large family is introduced Cuarón uses panoramic and slow movement of the camera to depict an ordinary morning at their house- establishing the setting and helping the audience get their bearings. Similar cinematographic techniques are used to depict their neighbourhood, roof and the city itself- all reeking of poverty and civil unrest. Even at the end of the film, when the closing credits are displayed, there is a still shot of the very long staircase up to Cleo’s quarter, where she is seen walking up slowly. This image remains audience and all her various struggles and burdens come to mind- losing her child, being abused and abandoned by her boyfriend and her mothers’ land being taken away. In this impactful shot the staircase, to me, acts as a metaphor for all the hardships she has faced and leaves one
impactful still shots, as a part of the cinematography, to portray all this and much more. The image of newborn babies dying in the incubator as an earthquake strikes the city,
at one another, before he runs off, yet again, leaving Cleo stuck in a narrow alleyway going into labour- alone- this shot is forever ingrained in my memory. One of
the whole family along with Cleo hugging one another on the beach and that of Cleo holding her dead child on the hospital bed along with many others come together to give the context, storyline and Cleo’s personal struggle more gravitas. However, there are a few moments in the film that remain with the audience much after the film is over as well. One that personally impacted me was when Cleo was out baby-shopping and the famous Corpus Christi Massacre took place, in all the confusion her water happened to break in the middle of the street which was filled with
sympathizing with her disposition. This intense story of an ordinary maid and her struggles carries many important social messages and Cuarón uses some very
gunshots and shouting. One of the soldiers was Fermín , the father of her child who abandoned her, and he sees Cleo’s water break, there is an intense shot of them looking
the more prominent elements used by Cuarón was making the film in black and white- this enhanced the gravity and seriousness of the still shots that had great impact on the plot. Furthermore, this made the backdrop much more convincing than a colour film would have as it did more justice to the setting of the formidable Mexico City. Despite the film being in Spanish it has been widely recognized around the world including at the Academy Awards and the Golden Globeshaving been nominated for various awards and winning the Oscars for Best Director and Best Cinematography among many other awards. In conclusion, Roma is one of those rare films that effectively brings to light more than one issue, while seamlessly bringing out the context of the time- not giving any aspect direct emphasis. Moreover, Cuarón does this through the eyes of one maidthe struggle she faces represents what Mexican families, like Cuarón’s itself, faced in the 1970’s- a truly unforgiving time for the people of Mexico- Caucasian or Hispanic, rich or poor, strong or weak- it encapsulates it all and it does this so well that one barely realises that the movie is in a foreign language.
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Glover’s World
Armaan Batta explores the connotative meanings of Childish Gambino’s energetic songs.
Picture Credits: Songkick, Vulture
‘It seems the more I’m trying to connect with the world, I am feeling even more alone than I ever have.’ Releasing two songs that received worldwide acclaim due to their unparalleled depth and a message that both of them had. A duo of musically enriching songs, which send across a message, make a statement. Donald Glover, popularly known by his musical identity, Childish Gambino, has taken the world of music by storm. The ex-stand-up comedian initially released ‘This is America’ which was the winner of several accolades, Glover then went on to release, one of my personal favorites, ‘Feels like Summer’. These singles, both of which have a deep meaning, an implied meaning under the cover of their musical beats, have peaked on many charts and have impressed many critics. While analyzing or praising Donald would be an ordinary task, the more interesting task would be presenting to one and all the meaning behind these songs. What was Glover’s motive? What
did he try to get across? What was the secret behind his popular releases? In this article, we’ll shoot through ‘This is America’, and try not to sing it while we’re at it. The famous first scene shows Glover gunning down an anonymous man, who strums a guitar harmlessly, and his body is dragged away as Glover starts singing the first few lines of the hit single. This conveys that the person who was shot, could’ve been anyone. This chilling visual represents the race violence aking place in America on a daily basis. This is not only enough to scare the toughest of the lot, but can make youfreeze in your tracks as the song progresses, with addictive beats, yet a disturbing ‘between-thelines’ meaning. The very popular spectacle of Glover dancing with the children in the uniform, is said to be a method of masking the violence that erupts behind the troupe. As the quite evident violence takes the back-stage in these scenes, Guthrie Ramsey, a professor of music and history, says that this scene explores how the
black art (such as black people’s music and other performing arts) are used as mere highlights to mask the racial discrimination, violence and hate they face on a daily basis. While we, even as Doscos, believe that music is a place where we can escape, Glover makes us understand that there is no place to hide or escape. The viral shooting scene, where Gambino kills nine singers in a choir, is a representation of a massacre that took place not long back. In the closing moments of the video, Glover is seen running in the dark, away from pursuers, while in the background we hear vocals that read, ‘Just a black man in this world/ Just a barcode, ayy.’ This line is impactful enough to give anyone the chills, if heard with the visual playing in front of you. One line displays a history which is terrifying, about the racial violence, the lynching and the killings that go on to this very day. Is this the ‘American Dream’? Was this the world that numerous leaders were looking forward to centuries ago? Childish Gambino makes a point. One that shakes our roots to the core. This song is much more than just a combination of beats and vocals. It is a representation of society. It is today. It is our world. The violence and killings are petrifying to hear about, Glover made a song about it, which has spread the idea like a wildfire. Has Glover affected us as Doscos, not necessarily to teach us a lesson like any other master, but to give us perspective. To give us an idea of what society has become and what a certain sect of people have to go through just due to their caste, creed or color. Donald Glover said, ‘I’ve lost all hope of a happy ending.’ But now, it’s up to us, if we as global citizens choose to prove him right, or take a stand and make the world a better place.
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HAMILTON
Karthik and Kabir Subbiah put down their thoughts on Lin Manuel Miranda’s revolutionary musical, Hamilton.
Picture Credits: Financial Times, Foundation for Economic Education
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in-Manuel Miranda’s ‘Hamilton: An American Musical’ has taken the world by storm, performing to packed halls since its inception at the Public Theater in February 2015. Based on Rob Chernow’s biography of lesser-known American Founding Father Alexander Hamilton, both the musical and its soundtrack are as revolutionary as the characters and context they depict. While it is focused around Hamilton’s life, the musical manages to deal with areas ranging from gender inequality to the American Civil War, its impact intensified by the amalgamation of innumerable musical styles that these issues are imposed on. Hamilton’s true power lies in its exposé of issues that were as relevant in the 18th century as they are now. Set in pre-Independent America, Hamilton begins with the titular song “Alexander Hamilton” that outlines everything that happens in the play. Following this, it tracks his rise from an unknown immigrant orphan to one of America’s Founding Fathers, and finally his inglorious fall from grace. It is a sung-through musical, so there is no dialogue. You can gain a complete understanding by listening to the soundtrack, an eclectic mashup of rap and hiphop fused with elements of R&B,
soul, and pop. Unlike any musical till date, most audiences that watch Hamilton already know the lyrics to most of the songs. You may ask,
The most unique aspect of Hamilton, is its juxtaposition of mixed political and musical history. why do people watch the musical if they already know the story? From personal experience, watching it in theatres is truly mesmerising. I cried, I laughed and experienced a flurry of mixed emotions. And that’s an effect that only a live performance can achieve. The songs are the same, but the energy that they are delivered with, completely changes the experience. The wildly original choreography and the largely coloured cast portraying exclusively white historical figures also contribute to the exhilaration. This hints at the play’s primary message – that America is fundamentally a melting pot of cultures. And
immigrants are an integral part of it. With recent developments from Trump’s presidency to the underlying wave of xenophobia, this message is more relevant than ever before. When US VicePresident Mike Pence watched Hamilton, the cast articulated this message more explicitly - “We, sir, we are the diverse America who are alarmed and anxious that your new administration will not protect us … and uphold our inalienable rights, sir. But we truly hope this show has inspired you to uphold our American values and work on behalf of all of us. All of us. Again, we truly thank you truly for seeing this show, this wonderful American story told by a diverse group of men and women of different colours, creeds and orientations.” The choice of Alexander Hamilton, an immigrant himself, as the central character is also instrumental in conveying the play’s core message. The most unique aspect of Hamilton, however, is its juxtaposition of mixed political and musical history. Both rap and hiphop, the two genres that are used most often, have historically been mediums of dissent that have been used by poorer strata of society to speak out against injustice. However, it is also seen as crass and
unsophisticated. Broadway, on the other hand, is considered highly sophisticated, even bordering on elitist. The groundbreaking use of rap in a Broadway play shatters these constructs, and what it symbolises is incredibly important. The unbridled energy of some of the best rap songs in Hamilton like the Cabinet Battles and Guns n’ Ships is truly powerful. The Cabinet Battles are unprecedented. They depict debate in the form of rap battles between Alexander Hamilton, Secretary of the Treasury, and Thomas Jefferson, Secretary of State in the US Congress. The first Battle evaluates America’s economic system and Hamilton’s unprecedented idea of establishing a national bank (the Fed). Replete with witty lines and comic savagery, it still manages to deliver complex nuances of the vested interests of the South and the issue of slavery, hinting at the eventual Civil War between the South and the North very subtly. In contrast to energetic rap songs like these, there are other, equally brilliant songs like ‘The Room Where It Happens’ that fuse elements of R&B and soul. This song portrays the nuances of negotiations between Hamilton and Jefferson. The contrasting use of rap/hip-hop and other, more melodious genres establish a clear distinction between Hamilton’s professional and personal life. One of the reasons that Hamilton is so unique is its use of recurring musical phrases. The phrases of ‘My Shot’, ‘Alexander Hamilton’ and ‘Rise up’ recur throughout the play. These phrases are woven seamlessly into songs that seem almost completely unrelated by adding merely a line. Lin-Manuel Miranda also lightens the mood occassionally by infusing elements of humour into the play. He does this through a comical depiction of King George, who doesn’t play a direct role in the happenings but views American
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action with a critical eye. His biased point of view and sarcastic, ruthless attitude are incredibly amusing. It is hilarious to hear the astounded monarch sing ‘I Know Him’ as he discovers that democracy involves the rotation of leaders. Another important issue that Hamilton deals with is gender inequality. Although Hamilton rarely calls for change directly, the musical draws attention to the issue, using prevalent stereotypes and witty lines. I believe that it showcases the need for change. One such stereotype can be seen when Angelica Schuyler says “I’m a girl in a world in which my only job is to marry rich”. These lines highlight the narrow roles that women had to conform to. They show how individuals were walled in by social constructs, and how females were pressured to fill the shoes that society crafted. The systemic oppression of women does not go unmentioned. Referring to the Declaration of Independence, Angelica states “... listen to my declaration: ‘We hold these truths to be self-evident That all men are created equal’ And when I meet Thomas Jefferson, I’m ‘compel him to include women in the sequel!’ In these lines, Angelica explicitly demands change, criticising the government’s failure to deal with gender inequality. The musical is intended to shed light on the efforts made by a figure who simply doesn’t receive enough credit. In fact, the last song ‘Who lives, Who dies, Who tells your story’ features his rivals awarding him credit. President Jefferson says ‘his financial system is a work of genius’ and President Madison accredits him for taking America ‘from bankruptcy to prosperity’. President Madison even goes to the extent of saying that ‘he doesn’t get enough credit for all the credit he gave us’, a reference alluding to Hamilton’s brilliant financial system
that has been the bedrock of America’s success. Judging from the popularity of the musical, it is safe to say that this aim was achieved, but the musical attempted to serve other purposes too. Its unique satire of important issues and its presentation of Hamilton’s life story, all deftly woven into beautiful music, set in a charged political context is what makes Hamilton such a revolutionary Broadway production.
NOLAN
I think audiences get too comfortable and familiar in today’s films. They believe everything they’re hearing and seeing. I like to shake that up. Picture Credit: Reddit
A deep dive into the world of christopher nolan COMMENTARY
Kushagra Kar recalls the history of Christopher Nolan’s nuanced directing style. Picture Credits: Collider, Alamy
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hen Christopher Nolan approached Heath Ledger for the role of the Joker in The Dark Knight, he hadn’t anticipated the lengths Ledger would go to while preparing for the role. The result was a posthumously awarded Academy Award for Best Supporting Actor for Ledger, as well as one of the most riveting characters in film history. Of course, The Dark Knight would have been nothing without Nolan’s decision to take risks; the biggest of which being to not direct entire sequences. Nolan appreciated the fact that Ledger knew his character better than anyone else, and allowed him to create his own footage for those horrifying videos of his kidnap victims. The story, the very substance of the film in fact, was in the hands of Nolan’s actors and characters. A bold move, if ever.
Nolan i s ,
without a doubt, among the most influential the first time in contemporary film, Nolan and definitive directors to make films in used the medium of cinema to enhance the the 21 st Century. As a story-teller and film- implications of the plot, allowing the viewer maker, few individuals have explored such to engage with the concept more closely experimental territory, and fewer still have simply by curating footage in a manner delivered with such quality. More than similar to how the protagonist sees the his desire to take risks, it is his ability and world. Not only a thoroughly complex film, composure to be able to let go of aspects but an intensely gripping one to bookmark of the production, and still tie everything as a must watch from the turn of the century. together in a tight narrative. The best With his debut film, Nolan changed the way example of this is his debut film, Memento film-makers viewed the nature of ‘moving (2000). A basic enough plot, if followed pictures’; making them more than just a way in a chronologically sequential form. The premise was that the protagonist BB: “It’s not who I am underneath, but suffered from the inability to make shortwhat I do that defines me.” term memories, and therefore could not establish context outside of a 15-minute TDK: “You wanna know how I got these scars?” time frame. In the hands of a less daring director, the film would still have TDKR: “You merely adopted the darkness. I been gripping enough, with convincing was born in it, moulded by it.” characters and powerful screenplay. Yet, Nolan wasn’t satisfied with something so run of the mill, so mundane in comparison to of telling a story, but a tool in and of itself to what he envisioned possible. enhance the impact of the tale. Drawing inspiration from the cult classic, Before changing the world with his take on Pulp Fiction, Nolan theorized a narrative The Dark Knight, Nolan worked with Robin out of sequence, with various intercuts Williams and Al Pacino on the psychological between past and present, only revealing the crime thriller, Insomnia (2002). Showered beginning of the story at the end of the film. with positive reviews, the film set the With each passing vignette, Nolan revealed stage for Nolan’s entry to the big leagues more information about each character, of directors. In 2005, Nolan released the using the color palette and shot composition first superhero film of its kind, Batman to distinguish between time stamps within Begins, with it redefining the way livethe narrative. Using this form of intercutting action superheroes were perceived. Taking and seeming randomness, where the bare a more grounded approach, Nolan made minimum of information is revealed within a his characters plausible in the real world, sequence, and fresh relevance is introduced making each installment of the series feel exclusively to that scene, Nolan manages as though there were actual consequences to mirror the nature of the plot itself. For to fear. We know now how truly powerful
Nolan’s take on the character was, inspiring in the end, uses them to present a moral years later, Nolan approached Zimmer all directors thereafter to develop their conclusion about the consequences of each again, this time, with only one page of a stories not just about superheroes, but if left undeterred. Inception (2010) was far script. With nothing more than a general as people. The formula, as we have seen, less concerned with duality and conflicting description on the location of the story, could so easily have been botched, as the morality, instead focusing on basic emotion Nolan requested Zimmer to compose a DC Extended Universe can stand testament and its psychological manifestation. Morality theme for Interstellar (2014). Once again, to. Making these people internally consistent becomes secondary in an equation where love putting his faith in people he had grown with their own moralities and narratives, is concerned. Besides being a phenomenal accustomed to work with through past choosing to define the characters as film in terms of its cinematography and experience, almost exclusively the people exceedingly human as opposed to anything screenplay, Nolan succeeded in executing a Nolan works with, the world was graced with more, was a genre defining choice. Batman highly conceptual plot while still prioritizing the organ based grand space opera from Begins gave moviegoers faith that superhero character motivation and development. the Interstellar Theme. Accompanying the film properties could be executed well, Recognized for its incredible technical classic character driven arcs Nolan has made with no shortage of critical acclaim to boot, prowess, Inception made away with Academy his trademark, we once again focus on the finally giving Marvel the courage to begin Awards in Sound Editing, Sound Mixing and power of love, and the conviction of a person production on Iron Man (2008). The Dark Visual Effects. It goes without saying that the fueled by it. Of course, both Inception and Knight marked the single highest number Interstellar are ideal representatives of of Academy Award nominations (with “His every artistic choice contributes the scale of cinema Nolan is now known 8 as compared to Black Panther’s 6) for towards a more wholesome cinematic for. Little can be said about the grandeur a comic-book movie, and is recognized of the cinematic experience these two almost universally as the greatest stand- experience, making each of his films an films have to offer, simply because they alone comic-book movie ever made. occasion of enjoyment, awe, curiosity and represent the beauty in cinema itself: to While The Dark Knight Rises failed to intrigue. If not this, then what is quality express that which words cannot. garner as much critical acclaim as the What makes Nolan a revolutionary cinema?” previous two films, it did manage to create director is his stubbornness to stick to a subtle niche for itself among other films his guns. Yet, when a man’s go to tools of its kind. The one undisputed fact of the sound direction was impeccable, with the are faith in the talent of his coworkers, a trilogy, though, remains that each film is legendary Hans Zimmer behind the powerful daring attitude and boundless imagination, home to some the most iconic dialogues in themes used throughout the film. While the only thing to stick to is the courage to let history. If nothing else, the resonating power Nolan and Zimmer had teamed up prior to them work themselves. What Nolan has to of these dialogues stand testament to the this for the Batman Trilogy, it was only with offer, however conceptual and complicated, highly character driven nature of the trilogy, Inception that Zimmer’s true colors could is finally organic. His every artistic choice not to mention the sheer iconography within finally shine. With overwhelming work on contributes towards a more wholesome it. the piano, accompanied by lilting deep cinematic experience, For as much grounded realism Nolan has had bass and percussion undertones, Time is making each of his to offer, he has reality shattering mayhem. one of the most emotional films an occasion Starting with The Prestige (2006) Nolan soundtracks to of enjoyment, began experimenting with the very fabric of come out of awe, curiosity reality within his stories. He began strafing the Zimmer’s and intrigue. realms of reality and science-fiction, melding production If not this, then the trademark grittiness with outlandish house. what is quality twists very alien in nature. The Prestige eased Four cinema? its way into this, becoming supernatural only in the final act, serving primarily as a plot twist to the relatively streamlined plot. Despite this though, The Prestige remained a story about desperation and conviction, and their capabilities as motivators. He crafts an opposition between the two primal instincts of humanity, and Page
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“I have no short-term memory. I know who I am and all about myself, but since my injury I can’t make any new memories. Everything fades. If we talk for too long, I’ll forget how we started. I don’t know if we’ve ever met before, and the next time I see you I won’t remember this conversation.”
Ansh Raj explores the psychological thriller, Memento. Picture Credits: Wikipedia, Christopher Nolan Wiki - Fandom
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isclaimer: No movie deserves to be spoiled; the axiom should particularly be respected for psychological thrillers. While the author has made every humble effort to avoid them, the second-last paragraph may have few give-aways. Read them at your own risk! “I have no short-term memory. I know who I am and all about myself, but since my injury I can’t make any new memories. Everything fades. If we talk for too long, I’ll forget how we started. I don’t know if we’ve ever met before, and the next time I see you I won’t remember this conversation.” As five minutes into the movie elapse and the audience hopelessly attempts to find meaning in whatever it has seen, Guy Pierce, playing the lead character of Leonard Shelby, explains his condition and lays the foundation of one of the most highly acclaimed psychological thrillers. Directed and written by Christopher Nolan, who is a renowned authority on the themes of memory and time, Memento is a movie which promises to keep its audience spellbound till the last second, only to leave it mentally content and emotionally unsatisfied. Leonard Shelby suffers from anterograde amnesia, a condition in which he has “no short-term memory”. He tries to locate the murderer of his wife, who is also responsible for his condition, through an intricate system of Polaroid photos and indelible inking on his body and the photos. Two prominent characters who are aware of this system, and at different points of time act as Leonard’s aid, are Natalie (Carrie-Ann Moss) and Teddy (Joe Pantoliano). The movie is able to exhibit the best of Nolan’s
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directorial faculties as the movie unravels in a well-crafted syuzhet, or film structure. It is structured as symbiosis of two timelines: one in colour, which follows a reverse chronological order (although not shown in rewind); and the second in black and white, which is interspersed in the movie with the coloured ones, following the chronological order. Thus, the movie begins in colour with the chronologically last scene being played out, and rolls backward. Scenes of black and white feature in between, beginning with the chronologically first scene of the movie, and transitioning forward in interspersions. As is natural with such a structure, the movie ends when the black and white beautifully merges into the coloured. Not surprisingly, this transition also serves as the moment of realisation, finally explaining the storyline. After a rigorous mental exercise, the audience finally gets the answers. Although Memento was a low-budget film and consequently lacked A-list actors, the three main actors put up a stellar show, who grew into their characters with the development of the film. In the black and white scenes, where Lenard Shelby is narrating the background through voiceovers, Guy Pierce struggles to create a convincing environment in the beginning; the pauses in the monologue appear superficial. The same G u y Pierce,
however, delivers a heart-rending monologue as he drives blindly on the road in the end- perhaps as an overwhelming consequence of the film with the background music also contributing to the setting. A distinctive feature of almost all psychological thrillers is an unreliable narrator. Many films (including Shutter Island) use the unreliability as their plot-twister (spoiler alert!). Memento uses this unreliability as its premise, and develops to a climax that has distributed the movie into two segments. However, with the progress of the film, the audience gets accustomed to Leonard’s handicap, finding sorrow in his misery, and letting his rage be the guiding force. As outrageous as this may sound, even the star-studded Shutter Island, to my mind, pales in comparison to Memento, all because of the latter’s sheer brilliance. A must-watch for anyone who wishes to feel unsettled yet fulfilled at the end.
INSOMNIA
Nirvair Singh discusses the riveting and unconventional murder mystery, Insomnia Picture Credit: SlashFilm
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nsomnia, a murder-mystery film directed by Christopher Nolan, discusses themes that are unconventional in comparison to other films directed by him- it doesn’t discuss time or space-like Inception or The Prestige. It is the classic murdermystery plot with more emphasis on the perspective of the detective rather than the perpetrator, characterizing detective Dormers’ (Al Pacino) journey through the investigation in intricate detail, almost making the murdermystery narrative a sub-plot. Having explored this genre before, Nolan has made Insomnia rather differently, experimenting with different forms of direction and cinematography to produce a quick thriller that keeps the audience rivetted till the end. In order to introduce the protagonist, detective Dormer (Al Pacino) and the context of the film, Nolan uses shots rather than dialogues. The multiple focused shots of Dormer’s eye movements and those of the suspects’ portrait in his hands, both in quick succession, make his occupation as a detective evident to the audience only seconds into the film. Moreover, a zoomed in shot of a newspaper headline describing Dormer’s homicide case sheds light on the subject of the investigation. He uses nothing more than
certain recurring images to introduce the film in a seamless manner. Through the film, Dormer’s memory is visited and revisited by Nolan to recreate what appears to be the image of the crime scene, one specific one that is flashed multiple times is that of blood spreading on a surgical glove. Other images of the night of this murder, of a teenage girl in Alaska, are flashed on screen during the autopsy, when Dormer observes a scar or a
intensity of the thriller and help build up the climax. Soon, any object Dormer focused on, appear to resemble the same surgical gloves dripping of blood and this is where the film started to become eerie and the title ‘Insomnia’ became especially relevant. Through the course of this investigation, Dormer seemed to be suffering from acute insomniahe exhibited an overbearing desire to remain in the dark along with his chewing of gum - these “His speech started slurring, his incessant were emphasized on by Nolan and eyes begun to fog up and he even therefore impacted the storyline and begun hallucinating, almost landing the audience as odd. At later stages, his speech starts slurring, his eyes himself in an accident.” begin to fog up and he even starts scratch-each one’s story is depicted by hallucinating, almost landing himself in the flashing of different shots of the an accident. All sounds began to irritate crime scene for a split second. Nolan his ears, coming across as amplified also used the literary technique of and shrill, a particular instance of this is pathetic fallacy, making the weather when the movement of the car wipers compliment the mood and disposition causes a noise that is deafening to both of the characters, for instance when Dormer and the audience- these sonic the team of detectives were chasing elements also accentuate the presence the murderer through the woods- the of his insomnia. mist, lack of light and thunder helped By characterizing his illness in such develop suspense in the scene. These detail Nolan adds to the stimuli of the cinematographic ongoing murder elements mystery. This helps in setting it apart amplify from others in the genre like L.A. t h e Confidential and Shutter Island and gives it that uniqueness Christopher Nolan is famous for.
THE
Prestige
Aarsh Arshdir examines the magical film, ‘The Prestige’. Picture Credit: Wired
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The magician takes the ordinary something revenge and one-upmanship. and makes it do something extraordinary” Hugh Jackman reveals magnificent depth in his performance. He precisely executes the The premise of the film is pretty layered role of the Great Danton who is to the straightforward. Two extraordinarily world a charismatic showman, but beneath talented and obsessive magician are pitted that, he is a sour man deeply fixated on his against each other in 19th Century London. hatred of Borden and his own insecurities. The result, however, is a gripping, jarring Christian Bale thrives in his role with his and magnificently unnerving film that is dark, lurking shadow -like demeanor and icy characteristic of Nolan. coldness. Noteworthy performance is also The Prestige is atypically dark for a movie given by Scarlett Johansson as Olivia, the about something as congenial as magic. The assistant who is caught up between the two movie begins with death and proceeds with a rivals. Rebecca Hall, who plays Borden’s wife, clipped narration, played out like a magic act has a particularly complex role, balancing itself. In a world where magicians are given her husband’s love for her and his obsession near pop-star status, we are introduced to with his craft. The ever-reliable Michael Robert Angier (Hugh Jackman) and Alfred Caine effortlessly hoodwinks us with his Borden (Christian Bale). What starts of as a wise, advisory presence so that we don’t see friendship between the two soon becomes a the full breath of the story unfolding before bitter rivalry, sparked by an onstage accident us. which caused the death of Angier’s girlfriend. The storyline is gripping till the very end, Before long, their deep-seated hatred moving from one puzzle to another. Like an manifests itself in form of a desire for illusionist, Christopher Nolan draws his audience in as close as possible. The more we’re concentrating, the more effectively “The movie begins with death he works his ultimate misdirection. It is and proceeds with a clipped very difficult to pigeonhole ‘Prestige’ to any narration, played out like a particular genre. The extraordinary attention paid to the detail of set and historical accuracy magic act itself.”
makes it feel sometimes like a period piece. The intense built, dark theme and hazy camerawork gives it a horror flick like feel. The convoluted storytelling, interconnected twist and intellectual sleight of hand lends it a phycological thriller like structure. The greatest strength of this film however, is that it presents the people for the first with the unromantic image of the lives of magicians. In Borden’s words, “Sacrifice is the price of every good trick.” The Prestige beautifully shows the destructive price paid for fame and retribution . The end of the film has been criticized by some for being too unrealistic and too imaginative for its own good. However , it is important to understand that in movies such as these, just like in magic , suspension of disbelief is essential to fully cherish the creative genius of the film.
“The more we’re concentrating, the more effectively he is working his ultimate misdirection.” Indeed , The Prestige is a reminder of what make Nolan one of the most venerable directors in Hollywood. Nolan constructs small, intricate, characters every bit as well as he blows up buildings and brandishes gory deaths. Just as you believe you know the trick you are about to see, Christopher Nolan rolls up his sleeves and you discover it’s a ruse. As the film warns you with it’s very first line, you’d best be paying close attention. Believe me, it’s worth it.
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INCEPTION Karthik Subbiah explores the concepts of space and time in the film Inception.
Picture Credits: The Independent, Gigazine, The New York Times, The Guardian
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aking a look at Christopher Nolan’s mindbending film. Christopher Nolan took ten years to write the screenplay for Inception. Anyone who has watched the movie will understand why. A magnificient combination of a sensational plot and dazzling cinematography come together to convey a seemingly simple message - the infinite power of the idea. The entire movie is built on the notion that dreams are a medium for ideas, and that ideas can be stolen, or even planted, through them. Dom Cobb (Leonardo Di Caprio) redefines corporate espionage. Instead of physically spying to extract company secrets, he enters the deepest recesses of the minds of business magnate to do the same. Until he meets Saito (Ken Watanabe), a billionaire worrying that his rival will become too powerful, Dom has only stolen ideas. Saito wants him to plant one. Essentially, he has to ‘perform Inception’. His incentive? If he is successful, Saito will ensure that Dom is reunited with his children. In a fashion reminiscent of every heist movie ever made, Dom proceeds to assemble a team to help execute the operation. Ariadne, an architecture student, is the team’s newest member. Why would the team need an architect? Each dream is meticulously engineered, down to the last detail, to suit the team’s needs. As Dom explains, this is possible because we never remember how our
dreams begin. We just enter them. The increasingly complex dream settings that Ariadne manages to construct are also the perfect way to manifest Wally Pfister’s brilliant cinematography. From a freight train barreling through a city street to the entire Parisian metropolis rolling back like a sheet, Inception’s incomprehensible cinematography can only be matched by that of Dr. Strange. Like in many of his movies, Nolan keeps adding layer upon layer of complexity.
“A magnificient combination of a sensational plot and dazzling cinematography come together to convey a seemingly simple message - the infinite power of the idea” Initially trying to steal ideas from peoples’ minds, the final task of Inception can only be executed by entering a dream, within a dream, within a dream. At each level, the boundaries and conventions of space and time are stretched past breaking point. An additional twist is added because the target, Fischer, has received training to protect his mind from
the likes of Dom. This training manifests itself in the form of armed troops within Fischer’s subconscious, making the movie even more riveting. Certain tasks must be performed on each sub-level of the dream, with the sole purpose of introducing a mere seed of an idea into Fischer’s head. In Dom’s own words, “An idea is like a virus - resilient, highly contagious, and the smallest seed of an idea can grow”. The idea (no pun intended) is that this crude idea will have to grow organically within Fischer’s mind for him to be truly convinced that it is a good one. Once again, the movie is powered by its cinematography, which takes us from claustrophobic, rainy cities to breathtaking vistas of the Alps. One of Nolan’s greatest gifts as a director is his ability to make his audience think about his movies. Inception is t h e best example of this. Throughout the movie, the line between dream and reality b e c o m e s increasingly blurred. By the end, it ceases to exist, subtly begging the question - Is there really a difference?
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t has been seven years since the last part of the Dark Knight Trilogy, the Dark Knight Rises released in theatres the world over. Limited to only seven hundred words, I would try my best to do justice in reviewing a trilogy which till date remains one of the best superhero trilogies ever made. Directed by Christopher Nolan, the trilogy features Christian Bale as Batman with Liam Neeson, Heath Ledger and Tom Hardy playing the roles of the three main antagonists – Ra’s al Ghul, The Joker and Bane whom Batman faces across the Trilogy. In support are actors like Morgan Freeman, Anne Hathway, Michael Caine, Gary Oldman and the others forming the backbone of the trilogy. Set against the backdrop of the city Gotham, Batman entails the story of a child whose parents are killed by criminals and one who takes upon himself to fight against injustice in the city of Gotham. A leading example in the world of vigilantes, while Batman fights with super-advanced firepower backed with a Batmobile and Batpod, he also makes a mark in the real world as the owner of Wayne Enterprises.
which are characteristic of every hero but rather it focuses more on what a superhero would or should stand for in such troubled times. It is Batman’s fight for justice with the reminder of his parents’ death which adds gravity and intensity to the character. It is not mind-blowing action sequences that make Batman what it is, but the choices he makes, the steps he takes and the symbol that he ends up becoming for his people. With the end of Dark Knight, one notices the Batman taking the blame for Harvey Dent’s death. At that point of time in the movie, Batman readied himself to live in the shadows as the city’s villain, if it meant saving the city from the anarchist Joker.
antagonists who match the same level of depth and complexity. With the failure of the Batman films starring George Clooney, Nolan raised the bar with ‘Batman Begins’ and earned the movie much hype and fan support. The second movie ‘The Dark Knight’ produced ground breaking results and the ‘Dark Knight Rises’ did not fail to meet the expectations being the final movie of the trilogy. For the trilogy itself, Nolan changed the dynamics by introducing Bane with his superior physicality and skilled art of guerrilla warfare which pushed Batman to his limits as he fought back from the dead to save Gotham from the League of Shadows.
By the end of the trilogy, Nolan has moulded a Batman for the viewers who is fighting not just in a war for his city but one with himself too. Constantly hounded by questions as to whether he should reveal his identity, challenged by his limitations and faith as he makes the “It is not mind- own climb up the well for one last time without blowing action sequences a rope to save him, Batman evolves into a that make Batman what it is but the symbol of hope and incorruptible morality. choices he makes, the steps he takes It is these elements carefully crafted and together by Nolan which make and the symbol that he ends becoming brought What has made the Dark Knight trilogy so the Dark Knight trilogy what it is. To end terrific is its direction led by Christopher the review with tremendously iconic lines Nolan and an equally strong cast led by the Unlike the previous Batman movies, Nolan in pop culture from Commissioner Gordon versatile Christian Bale. The sound track by brings darker themes of anarchism, power, which sum up Batman for us – ‘He’s the Hans Zimmer fits the intense backdrop of vengeance, corruption and morality into play. hero that Gotham deserves but not the one it the movie beautifully. Added to that is the The role of Joker played by Heath Ledger needs right now. So, we’ll hunt him, because constant setting of the trilogy in the fictional (which earned him a posthumous Academy he can take it. Because he’s not our hero. city of Gotham, a city torn apart by a rising Award) received appreciation from fans and He’s a silent guardian. A watchful protector. tide of crime accompanied with a greed for critiques alike. The Joker is one antagonist A Dark Knight.’ power and corruption infiltrating the ranks of who does not want to fight for money or bureaucracy in the city. A figure like Batman power, but one who wants to watch the becomes the beacon of hope and faith for world get torn apart. The Joker ruins and the people of Gotham who have lost trust in exploits people’s morality and wants to bring the place that they live in. the worst out of them. With such deep and multi-layered themes, Nolan’s Dark Knight The Dark Knight Trilogy sets itself apart from trilogy stands out for the dynamic approach the other movies in the DC Comics and it takes to show the fight between the good Marvel Comics Universe due to the nature of and the evil. Putting the trilogy with its three the protagonist and the themes that feature antagonists into a direct comparison with in the films. The superhero trilogy doesn’t the other superhero films in the MCU and depend on the flashy superhuman powers the DC, it becomes terribly tough to find
THE DARK KNIGHT TRILOGY Divyansh Nautiyal reviews the AWE INSPIRING Dark Knight Trilogy Picture Credit: Fanpop
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Karan Sampath explores the spirit of scientific discovery in the space odyssey Interstellar Picture Credit: HD Wallpaper
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n a context not too different from our own, Christopher Nolan’s Interstellar explores the depths of human imagination, and asks the deeper questions about life and existence. When faced with rising dust levels, changing weather, the inability to grow essential crops (climate change anyone?) our protagonist, Coop, played by Matthew McConaughey, must go on a cosmic journey to find another cradle for the human genome. Through a movie containing minute but profound father-daughter relationships, to all-
“There are very few films out there which can even claim to rival the cinematography and visual effects of Interstellar.” enveloping black holes, Nolan forces us to reflect, and contemplate, so that in the journey of thought, we may find those qualities which truly define us. Ironically, the most poignant parts of Nolan’s story are not the expansive black hole, or the experience of moving through the wormhole. Rather, it is the human interactions, especially between the father and daughters in this movie, which we remember. Whether it be Amelia, played by Anne Hathaway, hearing her father’s messages broadcasted across distances spanning light years, or (quite literally) Coop touching his daughter’s life while in a black hole. This dramatic irony, where we know things the characters do not, is effectively used by Nolan to ensure we are emotionally invested in this story. Perhaps it is a reflection of his own genius, that the emotion we carry out of this movie is lesser of admiration for the spirit of scientific enquiry depicted, but of sympathy for
the characters in it. The concepts and themes in Interstellar are core to the ethos of the film. The exploration of the space-time continuum, while keeping it as factual as possible as evidenced by the keeping of Caltech physicist Kip Thorne as an executive producer, shows us the importance and relevance of scientific enquiry. In a world caught in a surge of rhetoric questioning the profession and the value it holds, it is increasingly important we support our scientists, especially those daring to venture further than ever before. Love, and that too its metastasis over time, is also explored in depth. The conundrum that Coop faces, where he is forced to make the impossibly difficult choice of whether he should stay for his daughter’s childhood or attempt to safeguard her future, is an apt description of the question Nolan aims to ask us. Love’s dynamic nature, and how important trust is ensuring it is static, is the most underlying and powerful theme in this saga. Our love for our parents, and their love for us, is constantly at war with time, and Nolan ensures we remain cognizant of this. There are very few films out there which can even claim to rival the cinematography and visual effects of Interstellar. The construction of a black hole, four years before even a crude
“Interstellar is for the big, brave, the confident, and for the meekhearted, the shy, the broken, and the helpless.” photograph of it could be produced, and that too in a scientifically accurate manner, is a feat to be admired.
More importantly, the fact that that each planet (including Earth), has a unique texture, atmosphere, and feel to it, means that the visual effects team under Nolan was not only proficient, but inventive. Ultimately, this cosmic odyssey shall go down in history because of its groundbreaking work in bringing human imagination to the screen. Interstellar is for the big, brave, the confident, and for the meek-hearted,
“Nolan, an auteur in every sense of the word, has given us a masterpiece to cherish for generations to the shy, the broken, and the helpless. It is not for any one person, but for all humanity, as the questions it asks are fundamental to our existence. Nolan, an auteur in every sense of the word, has given us a masterpiece to cherish for generations to come.
Christopher Nolan’s
Interstellar explores the depths of human imagination, and asks the deeper questions about life and existence. Page
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DUNKIRK
Agam Bhatia reviews the movie based on the historical events at Dunkirk Picture Credit: Daily Motion
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hen 330,000 British and Allied troops were miraculously evacuated from Dunkirk, it immediately caught attention of the public at that time and became a glorifying symbol of victory and inspiration. So, unsurprisingly, the battle has been featured or has formed the backdrop for several films, most notably in the 1958 movie Dunkirk, the 1964 French film Weekend at Dunkirk, and the 2007 Atonement. However when Nolan approached this story, he perceived it as much bigger than just a historical event, that the whole was much greater than the sum of its parts. Well, that is exactly what is brought out beautifully in Nolan’s Dunkirk, which is undoubtedly a true cinematic experience and defies the conventional notions of narrative and chronology while it simultaneously contains emotionally resonant and chilly images, successfully showing Nolan’s take on a typical ‘war movie’. The first thing that comes to my mind about Dunkirk is that it operates in three different timelines. Nolan uses this to give his viewers only the main idea, and then it rests upon the viewers to keep a track of all the characters,
their only help being the play of light and darkness and showing the same events from different perspectives. Then again, it’s not the first time he’s played with time and taken a non linear approach while directing a film. He has a history of doing the same in Memento and Interstellar. It’s not usual for a movie to take place on three planes, but in settling the plot and converging these timelines in the end, Dunkirk pulls off a commendable feat quite unheard of in the genre of war films. When it comes to WWII movies, they tend to contain a hero or a single main character who has a background and then a narrative is built on the basis of that. This is where Nolan stands out. In his war movie, there is no one single character who is focused upon, rather, there are several different characters, but not one of them is developed completely. For example, the troops of the Allied forces seem to exist only in that very moment whilst the viewer knows absolutely nothing
about them. Even then, Nolan is able to characterise their naked vulnerability and fear, which turn out to be enough for this film to become immersive and captivating. His characters are not only innocent, but are unaware of the suddenness and randomness of death, which is interesting, especially when you don’t know where the next bomb is going to explode, or where the next gunshot is going to come from. Their desire is to just not die, and through Nolan, the audience is also forced to feel the same. He makes his characters insignificant, but essential when you look at the bigger picture. Having focus on individual characters like this is a clever plot device. Given the enormity of the potential destruction taking place, it would otherwise have been compromised if there was too much character building or backstory to narrate. When you come to the
climax, it is deeply satisfying, as all the parts that had an individual life till now, finally add up and converge to form one, complete image. Nolan is inventive when it comes to combat scenes but more importantly, he plays with your senses, especially with the sound effects. It’s important to understand that there is not much dialogue in the movie, instead there are specific scenes that send out powerful messages, messages that cannot be expressed in words. Nolan’s techniques are without a doubt effective and impactful and his Dunkirk is a fascinating piece of work that through its multifarious perspectives manages to focus on the destruction wrought by war.
DISNEY AIN’T DIVERSE COMMENTARY
Vir Bhatia analyses the lack of ethnic and sexual variety in Disney’s works
Picture Credits: Mearto, Pinterest
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hey’re famous for their stories surrounding characters who promote love, forgiveness, and other similar themes through their deeds. These stories have the power to inculcate similar values in the young viewers that are exposed to them. However, often these values are associated with a picture of a white, tall, extremely fit and attractive protagonist. This subconscious association is powerful, and has been reinforced by decades of Disney stories all being made up of the same poisonous formula of refusing to cast characters who are Black, Hispanic, Asian, homosexual, etc. Granted, more recently, there has been more inclusion of different types of communities such as those mentioned, yet these inclusions are also often flawed in their implementation. Now, the time has come for Disney to come up
with a new recipe to deliver the same timeless values as before. Disney has had a long tenure as the primary supplier of movie entertainment targeting young demographics, and this has given them the power to shape early conceptions of social constructs in children. Yet, instead of meeting this responsibility, Disney has overlooked or offended several communities over the years. Historically, there is a clear pattern of attractive, white, heterosexual characters being cast in all of Disney’s biggest films. ‘Snow White’, ‘Cinderella’, and ‘Frozen’, three of Disney’s most endearing stories ever, all feature characters of that description exclusively. When children are consistently exposed to this, they become dismissive of the possibility of black or homosexual, or otherwise different sorts of people being in the same sorts of positions. As it is, representation of these communities in the majority’s imaginatioin is quite minimal. In order to create an environment that supports and appreciates diversity, Disney needs to start adapting to the social climate of the world. Right now, that means demonstrating a sensitivity towards all kinds of people, and not just the minority that they’ve catered to in their long history. To give an idea of the extent of the problem, I cite the example of Aladdin. At first, Aladdin may seem like a positive step, being the only film
of its stature to feature an Arab protagonist. However, that in itself is a problem. Aladdin is the only film of its stature to feature a protagonist
Historically, there is a clear pattern of attractive, white, heterosexual characters being cast in all of Disney’s biggest films. of colour, which is testimony to the disturbing lack of diversity in the industry. Furthermore, the movie treats Aladdin’s Arab origins as an obstacle that needs to be overcome throughout the movie, something that is made evident by the opening song; “Oh, I come from a land, from a faraway place Where the caravan camels roam Where they cut off your ear If they don’t like your face It’s barbaric, but, hey, it’s home.”
Similarly, ‘The Little Mermaid’, was significant in that it was one of the first Disney movies ever, to feature a ‘strong’ female protagonist. However, when really analysed, the main protagonist, Ariel, is impulsive and heavily influenced by the two lead men in the movie; her love interest and her father. In fact, she literally trades her voice, her means of expression, in order to be united with her lover. This is allegorical of the conventional role that young women have historically played in society. Instead of battling such cases, the movie presents it as a consequence that women can face for their actions, a terrible precedent to set for Disney’s impressionable audiences. Disney has also struggled to introduce homosexuality properly in its stories. With ‘Frozen 2’ approaching, many speculated that lead character, ‘Elsa’, may have a girlfriend in the film, which would be among the first times homosexuality is represented in the Disney universe. When people affiliated with the film were asked about this, they were non-committal at best, talking about “writing from character-out”, etc. This naturally brought dismay to those hoping to see an adequate representation of homosexuality in their favourite Disney movies. Disney’s first movie starring a significant gay character, ‘Jungle Cruise’ is set to be released in 2020. Many a r e
outraged by the fact that Jake Whitehall, a straight man, was cast to play the role. Clearly, Disney’s efforts to effect change created more problems than they solved. The same is true for their efforts to represent different cultures. ‘Elena of Avalor’, a 2016 animated series, features a Hispanic core group of characters. When asked about which specific nations and cultures influenced the fictional land of ‘Avalor’, Disney stated that it was “inspired by diverse Latin cultures and folklore”. This raised eyebrows, as many were concerned that Disney was generalising all Hispanic cultures and countries under one umbrella, a cultural crime for such a diverse community. Yet aside from all these obvious failures, one glaring problem that Disney still faces is its avoidance of addressing race at all in its movies. It’s already been established that Disney rarely shows non-white characters in their films, a n d when i t does, only one
ethnicity i s
showcased. For instance, Mulan doesn’t feature a single white character, and in Moana everyone is of an ancient Polynesian ethnic group. The point here being that, Disney simply doesn’t allow a difference in race to be a noticeable part of its films, let alone a point to advocate. This style of storytelling is frankly redundant and needs correction. If Disney continues to sell stories in the naïve manner that they exist in currently, generations may grow up without the proper cultural sensitivity that’s required of them in this day and age. Thankfully, Disney is taking some baby steps to be more inclusive in its characterization, so there appears to be some light at the end of the tunnel.
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STAN LEE The Man | The Myth | The Legend
Agam Bhatia pays tribute to the founder of Marvel comics, Stan Lee. Picture Credits: The Verge, The New York Times
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he great Stan Lee died at the age of 95 in early November last year. If Stan Lee revolutionized the comic book universe in the late 1960s, which no doubt he did, it is safe to say that he has left an even bigger mark on the wider mainstream pop culture that exists today. Just take a moment to think about ‘Spider Man’, the blockbuster franchise, or Iron Man, another box- office hit, personified by Robert Downey Jr., or for that matter even ‘Black Panther’, a movie that not only smashed racial barriers and societal norms, but received popular appreciation as well. But that is to take absolutely nothing away from the Hulk, X-Men, Thor and other film and television characters that have become gold mines in Hollywood.
Constant sources of entertainment, no doubt, but more than that these are superheroes who have come to define most of early 21st century pop culture. Stanley Martin Lieber, as he was initially known, worked in Manhattan at the Timely Comics (later known as Marvel Comics) with writer Jack Kirby and Joe Simon. In the Cold War era characterized by escalating tensions and increasing suspicion, Lee found solace in light hearted, entertaining comic books. He said “Comic books to me, are fairy tales for grown ups”. Indeed these comics have served as vivid fantasies for all of us, irrespective of our age, and have given us moments of pure joy and entertainment to cherish for a lifetime. In August of 1941, Lee came out with his first comic book, merely a
two pager, titled Captain America, and nearly eight decades later, the same character epitomizes not just The Avengers but Marvel itself. This is how Stan Lee made his characters. He took instances or circumstances that were prevalent in society and made a superhero out of them. For example Captain America, which is set in the time of the Nazis and the Cold War, made it relatable and invoked this sense of pathos towards readers at that time. Appealing to emotions was what made Lee’s comics sell, but his major breakthrough was when he released Fantastic Four, which became like the Avengers of today. Lee’s comics were characterized by suspenseful plots, exciting supervillains and heroic, but human, characters. Very much like Lee himself, his
characters too were set in New York. Probably because he could experience the problems in New York first hand and could relate to the setting well, which meant the message of his comics could be brought out in a much more understandable and coherent manner. But what stands out most about Lee’s characters, for me, was that he imbued his characters with self doubts and neuroses of the common people. He made them aware of social trends and norms, but at the same time, he also gave
If all these characters can be traced to one particular man, it would be Stan Lee,who died at the age of 95 in early November last year. them a subtle sense of humour. In his comics, his characters had flaws and insecurities, they had problems and villains to fight, but their biggest threat was themselves. They had flaws that belied their supernatural strength. Lee’s characters were human first and superhero second, and by humanizing his characters, Lee didn’t only make them relatable to children, teens and adults but he also made them truly strive to become these characters. Through his characters, he showed
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that anyone could save the day, irrespective of size, strength or experience. He propagated that one could be imperfect, make mistakes, have inner demons, yet still be a superhero. Stan Lee wasn’t just all comics. His cameos in various superhero movies have been entertaining, to say the least. From being a hot dog vendor in the first ‘X-Men’ movie to his first animated cameo in ‘Big Hero 6’ and everything else in between, Lee just cannot be left out. Sometimes his roles are so short and subtle, you fail to recognise him. Nevertheless, Lee’s roles have always been memorable, especially when he tries to pull Thor’s hammer with his pick up truck in the first Thor movie. Moreover, in ‘Avengers’, Lee is seen being interviewed on TV and is asked whether he thinks the Avengers are a hoax to which he responds “Superheroes in New York? Give me a break.” Even at 94, he cameoed in Thor: Ragnarok, as a shaky-handed cyber barber who gave our very own God of Thunder a spiffy haircut. Lee’s life motto was ‘Excelsior’ which means ‘upward and onward to greater glory’. Like himself, he wanted his readers to follow this motto. This is probably why he used this word at the end of his comics. He encouraged his readers to never give up, not lose hope and to strive for success, just like he himself did, in times that were heartbreaking and miserable. He gave his readers hope, but more importantly he gave them a refuge at times when it was most unlikely to be found. Though Lee has died, he leaves behind an unforgettable legacy for the generations to come. Creator of Marvel Comics
and then the MCU, his cameos will always be cherished. He gave uscomic book superheroes that were loved immensely throughout the world but there was one real life superhero we all failed to see: the superhero in Stan Lee.
Editor-in-Chief Karan Sampath
Chief-of-Production Divyansh Nautiyal
Heads of Design Ameya Shawak Yashasvi Jain
Editors
The DSIR is not just a magazine; it is a medium, through which art is made available to our entire community. With every issue that we release, we aim not only to entertain our readers but to also enlighten them regarding the importance of art and pop culture. We aim to teach them how art is a message in itself, one that has the power to influence the world. Art is an expression of who we are, what we believe in and what we dream about. It is this very dream of ours that we strved to fulfill with this edition of the DSIR.
Ansh Raj Aarsh Ashdhir Karthik Subbiah
Associate Editors Armaan Batta Nirvair Singh Vir Bhatia
Graphic Editor Armaan Rathi
Correspondents Agam Bhatia Ivor Ismail Kabir Subbiah
Junior Correspondents Gurmehar Bedi Shreyan Mittal
Faculty Advisor Mrs. Malavika Kala