The DSIR Autumn Issue 2019

AUTUMN 2019

DOON SCHOOL INFORMATION REVIEW

editorial A magazine which reviews is not only one which analyses the pieces of art, but also the impact they had. It looks into the effect pop culture has on all of us, and the way the industry itself changes.

The DSIR this year tried to live up to this billing, by expanding our scope to include commentaries, articles chronicling the growth of an artistic genre, and even reviews of live plays. Such an ideology is reflected in this Autumn Issue as well, an issue I hope you will enjoy for the time to come.

In this issue, you will not only find conventional reviews such as that of Thirteen Reasons Why, but also academic, unconventional ones such as that of German TV Show Dark. Reviews aside, this issue is distinct for its objective of looking at the pop culture of the past, with sections on film scores of the past, films of this year as well as the tv shows you should binge-watch immediately (if you haven’t already). More than just a broad overview, we have tried

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to understand the depth of the impact the entertainment we expose ourselves to can have. Community opinions on the controversial Kabir Singh exemplify this.

The purpose of any publication is to add value to the collective understanding of the community. However, more than that, it allows all of us to learn from it, to become better writers, better readers and ultimately, better thinkers. I certainly have, and I could not have been more thankful for it. So as you go on to the pages that follow, I hope you enjoy them, and in doing so, learn as much as I did.

Signing off, Karan Sampath Editor-in-Chief

Picture Credits: DC, Netflix

5-7 8-11 12-13

CONTENTS

KABIR SINGH FILM SCORES 13 REASONS WHY

21-22 SACRED GAMES

16-18

14-15

JOKER

19-20

BRANDI CARLILE

23-24

2019 IN FILM

25-27

BEATLES REPRINT

28-29

TOP 10 TV SHOWS

DARK

Picture Credits: Economic Times

KABIR SINGH Ansh Raj evaluates several features of the controversial film ‘Kabir Singh’.

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ot many Bollywood films have received such mixed reviews and yet been as much a commercial success as Kabir Singh has. Ever since its release, Kabir Singh has been the subject of large critical response and popular social media posts (memes) alike. Many find the film score captivating, almost all revere Shahid Kapoor’s acting as the titular character. On the other hand, toxic masculinity and drug and alcohol abuse, themes which the film seems to be running rife with, find favour with few. These responses have begot a question: Should the modern audience applaud a film like Kabir Singh, or should it deride it?

The plot, shown in the beginning as a flashback,

centres on the life of Kabir Singh (Shahid Kapoor), who is a college-topper, an athlete, a smoker, a rowdy senior, most importantly, an outspoken man with severe anger issues. On falling in love with Preeti Sikka (Kiara Advani) at first sight, Kabir shows his unsurprisingly overly-protective side as well, going to any lengths for her well-being. Love blossoms between the two, despite Kabir having to go to a different place for further education. Just when marriage seems but obvious, casteism and Preeti’s family tear the star-crossed lovers apart.

What follows is a disturbing, pitiful phase of Kabir’s selfdestruction, who manages to survive only with the help of his college friend Shiva (Saumya Majumdar) and his own career

as a surgeon. A series of events then follows, leading to the eventual reunion of Kabir and Preeti, and a happily-ever-after ending.

That Shahid’s acting is impeccable is undisputed.

Kabir Singh is a complex character whose moods range from sentimental, protective love to extreme rage. In addition, his development into a drunkard and drug addict is not a portrayal Bollywood has seen much of (the last character reminiscent of this persona was Udta Punjab’s Tommy Singh – also played by Shahid Kapoor).

In these regards, Shahid leaves no stone unturned.

As opposed to this, Preeti Sikka’s character has had mixed

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reception. Preeti is meek and docile – features which are showcased by her crying easily, and having little to no dialogues (it became the target of many internet posts which suggested Preeti may actually be mute). Later, when Preeti does become mature and assertive, the development is almost too drastic, and not convincing enough. For those who have criticised Kiara Advani’s performance, it is important to note that the fault may lie with her character itself and not with her portrayal. The character Shiva has a particularly significant part to play in the movie. If Preeti’s task is to bring out the essence of Kabir Singh’s character, Shiva’s is to ensure that Kabir’s actions continue to move the plot forward – for which he actually gets more screen time than Preeti does.

Picture Credits: India Today, NDTV

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Given this importance, Bollywood debutant Soham Majumdar puts up a stellar performance.

A fresh, unforced accent is always a welcomed relief in Bollywood films; for Shiva in particular, it aids in his comical and light role.

A very strong motif of the film is kissing. Films like Befikre have already helped shed the kissing taboo in Bollywood; Kabir Singh comes as a strong affirmation of this. That music cover of Kabir Singh is a strong, direct-in-the-face image of Shahid and Kiara kissing, is, among other things, daring. Kabir and Preeti’s recurring passionate kisses is also symbolic of a college romance that challenges old societal customs.

Kabir Singh’s film score is another element that merits credit. Perhaps the highlight is its thematic music, which is not only well-timed and adrenalinepumping, but also very appropriately mirrors Kabir’s fits of aggression. Not far behind are the romantic songs – they are, depending on the mood of the film, wonderfully heartwarming and heart-wrenching.

A word in praise of Sandeep Vanga is required. Effectively using the departments of both film direction and screenwriting, Vanga is able to create the lasting-image of Kabir Singh, just as he did for Arjun Reddy, the film of which Kabir Singh is a remake of.

Through screenwriting, he gives Kabir Singh dialogues that strike a chord with the younger audience – Kabir

Singh’s emphatic abuses are particularly memorable. On the front of film direction, he lends the film an unexpected but welcomed aesthetic dimension.

A case in point is when Kabir injects himself with morphine while under the influence of alcohol. Though many may recall this scene as the beginning of Kabir’s downfall, its visual execution is also worth remembering.

The film’s portrayal of toxic masculinity and misogyny

has come under most fire.

These features are undeniably present, and admittedly, the director must take responsibility for it, especially if the movie is interpreted as promoting these features. But to view the film just from the eyes of toxic masculinity would also be gross injustice to what the director has attempted to create. Kabir is a flawed character, and he must be regarded that way.

One thing that the film could have done, perhaps, was to

allow Kabir Singh to come to terms with this flaw, just as he does with his habits of drinking and smoking in the end.

Kabir Singh is a landmark in Bollywood, for all reasons that have been mentioned above. It is an experience that a modern audience is prepared to have.

What India has for a long time lacked is good acting, and when it is available, along with a host of other things, in such films, it must not shy away.

c0mmunity speak Is it wrong to portray misogynistic characters in films and television?

DEB: Portraying misogyny or misogynistic characters is acceptable, however, if these characters are role models or inspirational people, that is problematic. A misogynistic character who transforms into one who appreciates and respects women is perfectly alright.

Shourya Agarwal: Misogynistic people exist in society, therefore, portraying them in films and television which are a representation of society is alright. Not doing so means not depicting society in its truest form.

MHS: The celebration of the misogynistic characters may be problematic, but depicting them is acceptable as they exist in society.

STK: Films and television have the outreach to influence a very large mass of people. Portraying misogynistic characters through these mediums leads to a one-sided, unquestioned, calamitous messaging that impacts impressionable minds which, in turn, leads to an increase in discrimination against women.

Therefore, depicting these characters on television or in films without accountability is unacceptable.

Aryan Bhattarcharjee: The blatant portrayal of misogynistic characters on television and in films is the only way to rid the world of such people. However, destroying such characters is equally important as that is what will lead to a reduction in the number of such men.

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Picture Credits: Syfy

Karan Sampath and Karthik Subbiah review the iconic film scores of the past half-century.

BLACK PANTHER Year Released: 2018 Composer: Ludwig Göransson and Kendrik Lamar

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Hollywood has for far too long ignored the original sounds and stories of Africa, instead resorting to stereotypes and preconceived notions when portraying it. That is why Ludwig Goransson’s score is such a breath of fresh air, using African sounds and musicians to reflect an authentically African album. Wakanda, the main theme of the score, uses Senegalese musician Baaba Maal’s voice and a solo African talking drum performance to build into the grand string arrangement which builds an uplifting and wondrous mood in listeners. Killmonger’s theme, another important character exposition, uses a Fula Flute to wonderfully convey a gloomy but energetic tone, showing the entire depth of the character. Sounds like the clicking of the King’s Dora Milaje and the clinking of ceremonial trinkets are also used to convey a deeper understanding of African culture and heritage. Ultimately, Black Panther’s score fulfils a purpose too often undervalued in Hollywood: celebrating the identity and culture of colonial communities in the past. It is for the inspiration that celebrating identity offers to so many individuals that we should value and prize this score.

LION KING: THEN AND NOW Year Released: 1994 and 2019 Respectively Composer: Elton John and Hans Zimmer

fun fact The Lion King went through a few different titles, including ‘The King of the Kalahari’ and ‘King of the Jungle’.

Elton John’s lilting Can’t You Feel the Love Tonight and the upbeat Hakuna Matata form treasured childhood memories.

To a young, enthralled, spectator, The Lion King was a saga of epic proportions – a story of love, loss, and nobility. The original movie’s brilliant score and soundtrack only served to heighten the intense flood of emotions that anyone who watched the Lion King inevitably felt. I watched the remake with apprehension – it would either mutilate or rekindle that childhood experience. My fears were confirmed – the remake could never hope to do justice to the original. Still, there was a glimmer of hope as I heard the touching opening phrases of Can You Feel the Love Tonight. To my horror, instead of hearing the iconic “There’s a calm surrender…”, my ears were assaulted

by Billy Eichner (Timon) and Seth Rogen’s (Pumba) inane banter.

Of course, the banter was funny, cleverly written, but the essence of the song had already been destroyed. Still, I waited for the banter to end, to hear those opening lines. Instead, the lyrics had been replaced with new ones that attempted to preserve the meaning. Change for the sake of change. Little had been achieved, much had been lost. Of all the songs they redid, the only improvement was The Circle of Life, which was brilliantly re-orchestrated without losing the essence of the original. Can’t You Feel the Love Tonight and Hakuna Matata were especially disappointing. While having the voices of each character sing their parts is an admirable sentiment, it shouldn’t come at the cost of musical quality, especially with songs like these. Of course, Beyonce’s impassioned vocals are without parallel, and some lyrics were rewritten quite cleverly.

Regardless, the authenticity and coherence that the original’s soundtrack held were almost completely lost in the remake.

This epic Italian trilogy by Francis Ford Coppola would not have been as memorable if not for the sounds the music composer Nino Rota used to complement the plot. The contextual nature of the story is wonderfully accompanied by the waltz backdrop in ‘The Godfather Waltz’, while the sombre romantic bonds formed is forever recorded in the calming Love Theme. What makes The Godfather different, however, is its distinctly 1970s vibe, with the alternating American and Italian compositions giving a deeper understanding of the roots of the Sicilian Mafia. While the film itself is hailed as one of the greatest of the 20th century, it would not have had such an impact without a score which evoked powerful emotions. That, in itself, is an achievement to be proud of.

Picture Credits: Collider, AllPosters

THE GODFATHER Year Released: 1972 Composer: Nino Rota

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BOMBAY Year Released: 1995 Composer: A. R. Rahman

Picture Credits: TelegraphIndia, Pepperfry, Glamsham

ZINDAGI NA MILEGI DOBARA

If AR Rahman had to be remembered by only one score, it would be difficult to find a better representation than Bombay. Mani Ratnam’s iconic film was in many ways bettered by the score - a Rahman creation - especially in the original Tamil version. The love ode to the city as well as one’s beloved in Uyire Uyire will be remembered for its soothing voice and melodious accompaniment.

The soundtrack is also important in the context of a Bombay torn apart after dastardly bombings, where individuals were feeling helpless and were in misery. Songs such as Kannalane and Uyire Uyire helped offer that solace, giving light in what was a dark world.

Rahman’s defining score, if there ever was one, must have been the Bombay Theme, which used large string orchestrations to signify the ebb and flow of emotion within the movie itself. The genius of Rahman is also exemplified here, with instruments like the Haken Continuum being used to generate an ethereal and soulful sound, which connects to each listener differently.

Staggering depth is not the only unique quality of the score, with breadth observed in the celebratory tunes of the Humma Song too, which has been remixed and covered in recent movies like Ok Jaanu as well. Overall, Bombay’s profound contextual impact has meant that it is one of the pieces of art that fulfils art’s main purpose: to push us as humans to be better than we could ever imagine ourselves being. When reviewed in context, Bombay’s impact truly fulfils the purpose of art: to push mankind to greater limits than we can ever imagine.

Undoubtedly one of the greatest Bollywood movies made in recent years, it wouldn’t be complete without a killer soundtrack.

Dominated by energetic earworms like Dil Dhadakne Do and Sooraj Ki Baahon Mein, the soundtrack also forays into pop/EDM hits with Khwaabon ke Parindey and Senorita. These last two songs add to the Bohemian, feel-good atmosphere of the movie, with the more upbeat ones reflecting the raw vitality of the central characters.

My personal favourite, though, is the relatively less popular Der Lagi Lekin. Like many of Shankar Mahadevan’s other Bollywood numbers, it brilliantly paints his borderline Classical style of singing on an unrelentingly modern instrumental canvas. The soundtrack’s radiance is matched only by the appeal of the movie.

Year Released: 2011 Composer: Shankar–Ehsaan–Loy, Loy Mendonsa, Shankar Mahadevan and Ehsaan Noorani 10

Picture Credits: Britannica, Rio Theatre

THE GOOD, THE BAD AND THE UGLY Year Released: 1966 Composer: Ennio Morricone

Originality is not an easy metric to judge, but if there was one for music, this score would definitely have a good shot at topping the list. Although released in 1966, Morricone’s main theme remains easily recognizable even today, thanks to its audacity. The two-note motif uses sounds of gunfire, yodelling and even whistling, following the development of the three main characters in the film. The stunning orchestral arrangement mimics a howling coyote, which builds the tension between the characters in what is a hallmark sound of the Spaghetti Western films of the time. Morricone brilliantly uses the plot to weave emotional notes as well, with prisoners singing mournful songs to reflect the tone of the film. The climax is a threeway Mexican standoff, and it remains one of the most electrifying climaxes in cinematic history, driven in part by the increasingly quick ostinato which Morricone uses to signify tension and danger.

Such a score remains a part of our collective memory because of how original and innovative it is, and that, in itself, makes it iconic.

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STAR WARS Year Released: 1977 Composer: John Williams

JODHAA AKBAR Year Released: 2008 Composer: A. R. Rahman

Picture Credits: The Looper, Star Wars, India Today, IMDb, Bollywood Life, Voot

The ominous notes of the Imperial March are forever burned in my brain, alongside an image of Darth Vader’s haunting mask. Of course, this image is followed closely by that of the iconic Star Wars text crawl set to the peppy, hopeful fanfare that is the Star Wars theme. Star Wars’ score is arguably the greatest of all time. Like any good film score, John Williams’ score adds life and intensity to the movie without being too explicit. Constantly below the surface of the movie itself, the music erupts in poignant, exquisitely-placed crescendos that populate each scene. Without losing keystone themes, incredible backing scores provide a delicate musical thread that changes and evolves with the characters.

In terms of Mughal masterpieces, few can match the glory and grandeur of Jodhaa Akbar. Rahman weaves notes to supplement the tone of the film, from the imperial drumbeats of Azeem-OShaan Shahenshah to the lilting tunes of In Lamhon ke Daaman Mein. What’s interesting here is the all-round nature of the score, with instruments like the oboe being used to convey despair and distraught and violins and violas conveying crooning happiness.

Jodhaa Akbar uses Qawwali to great effect as well in Khwaja Mere Khwaja, considered a seminal work in the portrayal and appreciation of Qawwali music across India. Of course, the romantic star-crossed love central to the plot could never be better epitomized than in the ballad-like Jashn-E-Bahara, where Javed Ali’s pitch-perfect voice enflames the heart with passion. Furthermore, Rahman’s choice to have a female voice in Mann Mohana depicting the views and beliefs of Jodhaa effectively establishes the duality in the film, allowing for both characters to develop properly. This score remains a celebrated work because of its inch-perfect timing in the film’s tone and its stellar variety. Being vintage AR Rahman, it’s vocal quality and musical tenor mean that it will always remain a prized work in the Indian music canon.

BAJIRAO MASTANI Year Released: 2015 Composer: Sanjay Leela Bhansali and Sanchit Balhara

Most Bollywood movies usually have one song that is inextricably associated with it. Fortunately, the same can’t be said of Bajirao Mastani. Deewani Mastani, Aayat, Malhari, Mohe Rang Do Laal, Pinga, Aaj Ibaadat – the list doesn’t end. Each of these songs would be that song in any other movie. In Bajirao, none of them have a chance. The incredible musical diversity that these songs display is only matched by their authenticity and richness. Songs like Aayat and Mohe Rang Do Laal are classical masterpieces, seamlessly weaving Hindustani Aalaap and complex Tabla Tukdas into their rich fabric. Pinga and Malhari lie at the opposite end of the spectrum. Replete with the heavy costumes and sets that are characteristic of any Bhansali film, the unadulterated energy and vitality that these songs exude add to the already charged movie. Without the incredible sensuousness of Aaj Ibaadat and Deewani Mastani, the intense chemistry between Bajirao and Mastani would be incomplete. Bajirao’s soundtrack complements the movie perfectly, whether it’s the perfect lyrics that complete the eponymous love story or the rich orchestration that lends the movie its authenticity.

It’s hard to think of a better introduction to Western Classical Music or even music in general. Sound of Music’s wide-ranging score is a perfect match for the wholesome tale it has to tell. It follows the conventions of a Classical Music suite, beginning with a prelude and followed by an overture. Reflecting Maria’s shift from a convent steeped in tradition to the governess of an unconventional set of children, the music changes from the initial Classical pieces to cover a diverse range of genres.

Some of the most popular tracks like Do-Re-Mi and My Favorite Things capitalised on the British pop explosion of 1965, while songs like Maria and the title track had immense appeal to the large proportion of people who appreciated more traditional music. Its soundtrack and score are beautiful, with a full-fledged symphony orchestra playing waltzes at the movie’s conclusion and the exhilarating backdrop for the movie’s climactic ‘Chase’. The Sound of Music is one of those rare movies whose soundtracks outshine the movie itself.

SOUND OF MUSIC Year Released: 1965 Composer: Oscar Hammerstein II, Irwin Kostal, Richard Rodgers

Picture Credits: Forge Press, Mirror News

13S Reasons why E A S O N 3 Adit Chatterjee evaluates the third season of Thirteen Reasons Why, commenting on its shortcomings.

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early every issue that affects the youth (and non-youth) of America seems to have been thrown into the slow-cooking pot of drama and mystery that is Thirteen Reasons Why: Season 3. Suicide, bullying, sexual assault, abortion, steroid abuse, the opioid crisis, gun violence, marginalisation based on sexual identity, and the crackdown on illegal immigration are all fair game on this emotional rollercoaster with no issue too sensitive to discuss. We also view the introduction of an entirely new persona, “Ani Achola”, played

by Grace Saif, who narrates the plot entirely by herself. All in all, the season is a complicated blend of numerous emotionally charged situations, many of which most people would hope never to encounter in their lifetime, much less in high school.

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However, no matter how suspenseful the plot is, three seasons still feels a little overdone. From focusing on the darker, more personal aspects behind suicide, the series has shifted to displaying all of the aforementioned issues, and frankly the half-baked portrayal of each situation weakens the impact of each scene by an awful amount. The fact that the story-writers decided to include nearly every issue imaginable, convolutes the special attention that each such issue merits.

This is a clear byproduct of all the simultaneous conflicts running parallel within the storyline, which distracts the viewer and prevents them from focusing on one issue at a time.

In fact, season three probably leaves viewers more confused than they were to begin with.

Season two clearly ended on the note that Bryce Walker was a villain, a rapist, and the clear

antagonist of the story. Season three delves deeper, and instead shows us a Bryce who strives for redemption and inner change. Why is it, then, that one of the final scenes of Bryce’s living moments depicts him as a villain again? This confused character development dilutes the plot and is one of the largest weakening factors of season three. Even the entire sub-plot of the group framing Montgomery for Bryce’s death was rushed, with little explanation or logic, and ended up being another far-fetched addition to the story.

The substandard plot wasn’t the only flaw in season three.

The new form of narration, done entirely by Ani, received immense criticism, and for good reason. The overbearing, relentlessly repetitive nature of her commentary was almost awful and too monotonous

to actually encapsulate the emotion required to deliver deeper portions of the story.

Her addition added little substance to the narrative apart from further confusion, along with the increased reliance on flashbacks and constant jumping between past and present. There was also a clear lack of on-screen development of her relationships with other characters, and the audience failed to understand how she suddenly became so intertwined in the ongoings of the plot. The fact that such important developments were overlooked was disappointing.

Not all was bad, however. The actors can certainly be credited for their profound attempts at making the characters authentic, if only they had something authentic to deliver.

The third season of Thirteen Reasons Why has simply been an attempt to build on the success of the previous two

seasons, but it is an unfortunate truth that the series’ success has only been diminishing since the first season. There are certain shows that should have ended at the first season, and I believe Thirteen Reasons Why is one of them. Perhaps if it had, the discussion it had attempted to begin (about suicide and its prevention) would have remained relevant and impactful. Unfortunately, the poor concoction of numerous other issues that the creators provided to the viewers, not only distracted them from the initial conversation, but failed to ignite any further conversations due to the weak delivery and implausible plot. The season has been disappointing, and I hope that if another season is in the making, then a lot more thought is being put into the actual development of certain issues and their discussion, so that Thirteen Reasons Why may have the impact it strives to have.

fun fact Did you know that 13 Reasons Why is based on a book

by Jay Asher. Asher originally wanted to name the book 'Baker's Dozen: The Autobiography of Hannah Baker'. In the book, Asher thought about having Hannah Baker survive, making the book a cautionary tale?

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Shantam Gilra critiques the recent hit about the psychopathic ‘Joker’.

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odd Philips’ Joker is truly a stellar interpretation on the origins of the Crown Prince of Crime. After inciting an eight-minute standing ovation at the Venice Film Festival to bag the Golden Lion and overthrowing box records even today, it remains a defining movie of the year.

From shooting scenes of the uptown neighbourhoods of Harlem and the staircase of Bronx, Phillips sets the dark and harsh nature of the setting and ensures that the audience feels the destitute and despairing atmosphere of Gotham city. Various cinematographic choices, like the focus on Arthur Fleck while keeping an almost blurred background captures the loneliness and suppression of the character. This sets the tone of the movie as Arthur Fleck moves from becoming the deranged, mentally challenged clown to the Joker, a person oozing vengeance and anguish.

This metamorphosis is further supplemented by soundtracks and lightings. Soundtracks ranging from the ominous and melancholic tunes of the cello in soundtracks like Hildur Guðnadóttir’s Call Me Joker and Subway to the vintage and colourful sounds of Frank Sinatra’s That’s Life and Gary Glister’s Rock and Roll Part 2 increases the suspense and unpredictable nature of the movie. Another directorial choice which truly captures the essence of this dark metamorphosis is the changes in costume during the movie. The green wig and the blue and red checkers overcoat shift to dyed green hair, red overcoat and yellow waistcoat (which, by the way, perfectly matches the walls of the Arkham Mental Hospital in the movie).

Arthur Fleck is seen initially recognising and, to a certain extent, liking his alterego, and then permanently embracing it to turn into a riot-inciting, chaos-loving misanthrope who always keeps a happy face.

Picture Credits: Getty Images

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Be it the increased smoothness of the

Picture Credits: Hot Air

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However, in Todd Philips’ Joker, the Crown Prince of Crime is almost seen to be reduced to a misanthrope due to the harsh and bleak society he lives in.

dance steps and the increased normalisation of murder as Arthur Fleck transitions into Joker, Joaquin Phoenix has truly done justice to the character of the Joker. Phoenix’s portrayal of Arthur Fleck as a skinny, mentally challenged man feeding only on an excessive dosage of nicotine and anguish seems extraordinarily real and something which incites fear, so much that the audience can’t bear to look at the character’s eyes. Additionally, from the unique and shrill crackling of a dry laugh to the distinct speech gaps and hesitations, Phoenix has ensured that the audience, though not entirely liking the character, pities him. It is this sense of pity which is amplified by the dark injustice done by the rich, the government, and the society from time to time. This steadily leads the audience to believe that Joker is a creation of crossing a mentally ill loner with a society that completely abandons him. Heath Ledger would be proud.

auxiliary character like Arthur Fleck’s mother Penny Fleck (played by Frances Conroy).

By attributing mental illnesses like schizophrenia and acute narcissism to Frances Conroy’s character, the unpredictable nature and the unsettling tone of the narration increases significantly, hence, complementing the origin of Joker.

However, the development of Phoenix’s catharsis is also widely supplemented by an

Additionally, the plot of the movie digresses enormously from the usual stories of the

However, as some critics have noted, the plot of the movie is seen to be widely inspired by Martin Scorsese’s Taxi Driver and King of Comedy. In fact, Philips’ lack of subtlety is shown when Robert De Niro, the lead star of both movies, is seen to play a prominent role in Joker as the chat show host Murray Franklin.

This inspiration, according to critics, doesn’t allow the origins of Joker to be original and, in many ways, seems forced as qualities of two very different European characters are mashed and plonked into an American setting.

origin of Batman’s nemesis, something which Todd Philips agrees to. For example, in the graphic novel Batman: The Killing Joke by Alan Moore, Joker is created when a depressed and nihilistic engineer-tur ned-comedian falls into a pit of chemicals after attempting a robbery, just before his pregnant wife is killed. In Christopher Nolan’s The Dark Knight, Joker’s origin is very unclear, either a troubled childhood or a tragedy. It is this unpredictable nature which made Nolan’s Joker as a more superior and unique villain, creating Joker a character who cannot be labelled just as a psychopath or nihilist.

However, in Todd Philips’ Joker, the Crown Prince of Crime is almost seen to be reduced to a misanthrope due to the harsh and bleak society he lives in.

Despite the mixed review, the movie, coupled with Todd Phillips’ directorial choices and Phoenix’s legendary acting, is truly a must-watch for all due to its powerful message and dark themes.

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Picture Credits: IMDb

A NETFLIX ORIGINAL SERIES

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Aneesh Agarwal scrutinizes the second season of a German TV show that explores travel across time and space.

Dark, Netflix’s first Germanlanguage TV original, returned for a second season on the 21st of June this year, a date that many of you who have watched the first season will remember as the day Michael Kahnwald committed suicide. (If you haven’t watched it yet, don’t worry; this little detail will not spoil the season for you – it is the very opening scene of the series). With its events taking place seven months after those of the first season, this latest instalment comes with two more time periods (yes, that does mean many new faces for us to grow used to), a lot more lies, some more truths, and several new revelations.

However, I can assure you that as is its tradition, even with this new season, Dark provides no easy answers, and in the end, you might just feel as lost, though much more excited, as you did after the end of the first season.

I will just pause a moment here for the benefit of those readers who, having not watched the first season, are feeling as outof-place as Mikkel did when he unknowingly travelled back to 1986, finding that his dad is still a school-going boy in his teens. If you ask me what Dark is about, I will be at a loss for words, and you would have been too, placed in my position. IMDb describes it as a ‘family saga with a supernatural twist’; somebody else might say that it is like an adult ‘Stranger Things’ or that it is reminiscent of the 1990 drama ‘Twin Peaks’.

Yes, I agree – it might be all those things, but it is so much more, an excess that cannot be expressed in words but can

only be experienced when one watches the show for oneself.

However, I would like to say that Dark, in all its complexity, is, at its very core, an exploration of human relationships and character, shown completely and truly in its ground reality, replete with the lies that we tell each other for our own selfish gains.

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Our thinking is shaped by dualism… Good, evil. Everything appears as opposite pairs. But that’s wrong.

One of the most effective portrayals of Dark lies at its demonstration of human beings as not just good or bad, but rather layered. Certain actions of somebody might come across as favourable, while others of the same somebody might be deemed extremely detrimental to society. One of the characters, while explaining that nature necessitates events in groups of three, says ‘Our thinking is shaped by dualism…

Good, evil. Everything appears as opposite pairs. But that’s wrong.’ With the introduction of two new time periods in season 2 (making a total of five), the implications of show-creators Baran Bo Odar and Jantje Friese- of human character being a spectrum from good to evil- is hard to miss. As revealed by the events in the new season: characters might not be as good or bad as they seemed in the previous season,

and those of you who had rallied behind ‘Team Claudia’ as the saviours of Winden might want to reconsider your choices as her actions in this season might make you want to agree with the nickname given to her by ‘Team Noah’. Not only does Dark portray these differences in each of its characters, but it also goes further by giving rise to conflict among its viewers with regards to the identification of good and evil, implying that these, in themselves, ‘are a question of perspective’.

While I may be completely averse to somebody’s actions, you might argue that it was the best alternative in those circumstances, a dilemma that many of you might be trapped in after watching the events of ‘The White Devil’.

Dark propagates the idea of time being ‘a stubbornly persistent illusion’, with the series continually switching between different time periods through a wormhole located in the Winden caves; implying that all that one experiences is just a cycle, which renews again and again. While its scientific accuracy is certainly questionable (Einstein’s field equations do provide wormholes as solutions, though certainly not as passages of time travel in the middle of a forest), I believe that this constant time-switching is just a vehicle for the show creators to portray an evolution of characters that, though very real if the circumstances are considered, might seem extremely surprising. Season 2 begins with a quote from Nietzsche (Aphorism 146 from ‘Beyond Good and Evil’) that,

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when completed, states ‘He who fights with Monsters should take care that he himself does not become a Monster/And if you gaze long enough into an Abyss, the Abyss also gazes at you’, something that becomes so relevant as well as extremely ironic when one evaluates the surprising evolution of characters (most notably a certain ,Ich bin du‘ (I am you) in the episode ‘The Travelers’) such as Jonas and Claudia as all three of their selves – the child, the adult, and the old person – reveal themselves by the end of season 2.

In that sense, though not defeatist, Dark is fatalistic; throughout the series, a constant trope is the inevitability of one’s destiny as the lives of the people of Winden keep going round and round in the same cycles as they have for eternity – Michael always commits suicide, Mikkel always goes back in time to 1986, and so on. The reason for this view is encapsulated by ‘The Stranger’

when he says that ‘We’re not free in what we do, because we’re not free in what we want’.

Interestingly, Adam, almost diametrically opposed to him, also preaches something similar: ‘Pain is [man’s] vessel, desire his compass’.

What this means is that because we are all just driven by our own desires and selfish gains, if everything was to begin again, destiny would unfold as it always has, propelled by the same lies and fractured relationships as ever. Thus, the show creators, through Dark, provide a cynical though very realistic commentary on human society and its predictable nature, wherein lies to further self-good are so rampant that they become normalised.

To that end, it might be an exaggeration, but as long as it even just hints at the truth of these lies, it might be effective in achieving this purpose apart from the superficial one of plain entertainment.

That is not to say, Dark is void

of any faults whatsoever. While direction involving juxtaposition of different versions of the same character often clears doubts as to who is who, the huge family tree of the four main families, along with their different selves in different times can often be too much to handle for the inattentive viewer. Moreover, the dense storyline requires your complete focus and even as much as missing a dialogue might make you lose out on an important plot detail.

However, I believe that with the high tension built by the show, coupled with amazing direction and quite literally, dark underlying music, it is very difficult to lose attention. My only fear now is the making of the third and final season of the series, where sudden bad writing might signal the show’s ‘Apocalypse’ (as it did for another major show this year). A new layer of complexity hinted at in the last dialogue could be too much for the show to handle. But you never know, and we’ll just have to wait.

“

Dark, in all its complexity, is, at its very core, an exploration of human relationships and character, shown completely and truly in its ground reality, replete with the lies that we tell each other for our own selfish gains.

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Picture Credits: The Guardian

T H E P HENO M ENO N C AL LE D

BRANDI CARLILE

Varen Talwar evaluates the life story and achievements of singer-songwriter Brandi Carlile.

O

nce upon a time, there was a girl born in a small American town to young parents.

Being financially weak, the family had to change houses yearly, until the father lost his job, which forced them to live in a trailer. Since the girl did not have much interest in academics, she had to frequently wash school buses with her brother as punishment for their mischief.

Things became even worse for her when she discovered she was homosexual in her teens. She kept this a secret because it was not, and unfortunately still isn’t, widely socially acceptable. However, one day she was encouraged to come out when she saw a famous person proudly and fearlessly declare that she too, was a lesbian. But when she did come out at age fifteen, the pastor who had taken the

responsibility of her education refused to baptise her at the ceremony in front of all her relatives and the few friends she had, thus forever scarring her childhood.

But this special girl was blessed with two things that would define her instead of these setbacks – a golden voice and an inherent talent at music. She sang at her mother’s band rehearsals, grew to idolise Bob Dylan and Elton John, and developed a maddening obsession for country music.

She taught herself both the piano and the guitar by the age of seventeen, and knew that she would make a life out of this passion. So, she left school early and went in search of the glory she deserved.

That girl is a woman now. Her name is Brandi Carlile.

I was introduced to Brandi Carlile on a Sunday during my AT Form. I remember being mesmerised by a voice reverberating through the Common Room. It was her performing her most successful song – “The Joke” – live at the 2019 Grammy Awards. The whole audience at the event was on its feet in awe of the melodic and lyrical beauty of the song, especially its particularly moving chorus: Let ‘em laugh while they can Let ‘em spin, let ‘em scatter in the wind I have been to the movies, I’ve seen how it ends And the joke’s on them.

Brandi Carlile had the most nominations as a female artist at the 2019 Grammy Awards.

“The Joke” got her in the race for the awards for Song of the Year, Record of the Year, Best

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American Roots Song and Best American Roots Performance, of which she won the latter two. The album – “By the Way, I Forgive You” - won the award for Best Americana Album, and was also nominated for Album of the Year.

Her band, comprising the fabulous Hanseroth twins, has toured across America and delivered inventive and impeccable performances for over fifteen years. Although country music has been their primary genre, they are equally competent in other areas, including rock. Carlile’s superior ability as a versatile singer is evident when one realises that she is the person who sang something as plainly soothing as “Oh Dear” as well as a song as powerfully intense, and yet meaningful, as “Mainstream Kid”.

However, it is not only her band’s musical prowess that makes them so special.

Powerful lyrics have been a constant in Carlile’s music from the start. From “Someday Never Comes” in her first album to “The Things I Regret” in her fifth album, “The Firewatcher’s Daughter” – all her songs

carry deep, thoughtful, and rebellious meaning. Even her love songs, like “The Story” and “Turpentine”, go beyond the general brooding one normally listens to.

Carlile married her wife, Catherine Shepherd, in Boston in 2012. The couple has two children – Evangeline and Elijah.

As a lesbian woman and one of the most successful artists of the day, she has become a major voice in the LGBTQ+ community, especially through her latest and arguably most successful album – “By the Way, I Forgive You”. With songs like “Every Time I Hear That Song”, “Harder to Forgive” and “Sugartooth”, she brings to light her childhood grievances.

In “The Mother” and “Party of One”, she explores the boons and banes of motherhood, especially while being gay.

Simultaneously, she joins the protests about gun control with her stirring song – “Hold Out Your Hand”; and then, of course, is her Lennon-like humanist side in her magnum opus - “The Joke”.

Following the footsteps of her childhood hero, Bob Dylan, she is very active in her humanitarian

22Picture Credits: The Current, The Boot, One Country

DO YOU LISTEN TO COUNTRY MUSIC FREQUENTLY? 68%

32%

YES

NO

395 people were polled.

work. She is the founder, along with Phil and Tim Hanseroth, of the “Looking Out Foundation”, which has donated to organisations like UNICEF and “Honour the Earth”. Moreover, she also released an album to raise money for refugee children affected by war – “Cover Stories”. It included collaborations with fourteen influential artists like Adele, Chris Stapleton and Pearl Jam; and even had a foreword written by former US President Barack Obama.

Whenever I have recommended somebody to hear her music, I have heard only one feedback – “Why is she not famous?” It’s a pity that people here don’t explore this wonderful genre, and thus don’t know her, despite its relevance in their lives. After all, rap and pop don’t quench the suffocating feeling one has when one is low and in search of the light. Brandi Carlile’s music sheds precisely that light on listeners, because life, I believe, is very much like a Brandi Carlile song – the key changes, but ultimately, it’s beautiful.

Picture Credits: Netfix

SEASON 2 Ivor Ismail explores the various facets of the gripping second season of Sacred Games.

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n August 15th, while the nation was celebrating Independence Day, many citizens were glued to their phones, laptops, and televisions.

The reason?

Sacred Games 2 had released, and similar to the buzz that surrounded the release of Bahubali 2 not long ago, many ached to know what was to happen after the suspenseful cliffhanger ending of Season 1.

Season 2 starts off with Ganesh Gaitonde (reprised by the superb Nawazuddin Siddiqui) being held captive on a boat in the ocean. He is hired

by RAW agent Kusum Devi Yadav (Amruta Subhash) to “do something for the country” and sent to Kenya to take down Bobocho, who is linked to none other than Gaitonde’s arch-nemesis Suleiman Isa. This plotline is particularly interesting as the self-centric and megalomaniac Gaitonde, is reduced to a mere yes-man

of the government, a steep fall for pride for him. After this, the story picks up and moves with a thrilling yet not-too-fast plot centred around the imminent nuclear threat, giving a sense of urgency to the story. The show hasn’t lost its iconic humour however, with several scenes throughout, such as when a naive baby-faced drug dealer named Purushottam Baria (Saanand Verma) turns the don, Gaitonde, into his stooge.

These scenes serve to add an element of lightness to the story. After Kenya, Gaitonde’s third father is revealed, a mysterious godman called only, “Guruji” (played to perfection

by Pankaj Tripathi). He has an ashram in Croatia and a large international following. It is here that the real link between Sartaj Singh’s (Saif Ali Khan) father and Gaitonde is actually revealed. The fictional terror group of Hizbuddin is a thrilling component of the plot, with its main mastermind, Shahid

Khan (Ranvir Shorey), planning a nuclear attack using historical and mythological motifs for his entire plan.

Communalism, a theme picked up on in Season 1, is continued. The story is set in the present day, and so it is easy to relate the fictional world of Sacred Games with the communally charged India we see today. One of the most impactful scenes is where Inspector Majid (Aamir Bashir) tells Sartaj about the harsh realities of being a Muslim police officer and how he has to prove his worth each and every day on the job. This helps to show the impact of the lovable Katekar’s death on his family, with his eldest son falling into the ways of the extreme right wingers of the area, and going so far as to assist in the lynching of a Muslim youth.

Season 2 also focuses on strong female characters by

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way of Yadav Madam and Jojo (Surveen Chawla). What makes both interesting is that neither are afraid of either Gaitonde or his “power”. It is comical to see Gaitonde’s face when for the first time in his life, his call is cut, by none other than Jojo. Jojo’s lack of fear attracts Gaitonde to her all the more.

Kanta Bai appears as well and teaches Gaitonde how to brew hooch so that he can take down Bobocho, and then in Mumbai when Gaitonde visits as the mother figure that Gaitonde never had.

right under their nose. Other characters, like Guruji’s private assassin Malcolm (Luke Kenny) and Gaitonde’s right hand Bunty (Jatin Sarna) are also fully developed despite being secondary characters and this is what makes them truly stand

out.

In conclusion, the second season of Sacred Games is a gripping watch, bolstered by superb acting, a well fleshed out storyline and current day realism that makes it all the more striking.

The trend of naming episodes after historical or mythological motifs continues from the first season. The episodes themselves are replete with spiritual motifs, from the ashram’s mandala symbol to Jojo’s cilice and Sartaj’s kada. Shahid Khan’s historical obsession while planning Maximum City’s annihilation is another central theme, and even the last episode is suggestively titled ‘Radcliffe’ alluding to the Radcliffe line that was the basis for the Partition.

What makes Season 2 a real treat to watch however is the acting excellence of the main cast. Nawazuddin Siddiqui as Gaitonde is extremely convincing as he delivers his dialogues with full emotion and realism, without making it seemed forced or “just acting”.

His Gaitonde comes across as forceful and real, with the menace and savagery of the character palpable in every scene. Pankaj Tripathi also steals the show as Guruji, speaking about existential mysteries in a mellifluous voice and calm tone, but this time earnestly, not in his usual way of implying that he knows something that the audience doesn’t and its

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Picture Credits: Ed Times

2019 in film The year 2019 has been witness to some films that have pushed boundaries in both Hollywood and Bollywood. From Kabir Singh to Avengers to Kesari and many more, these films have been highlights in their respective industries. Quite surprisingly, these films hold more in common than one would expect them to. Keeping this in mind, the Editorial Board tracks the year in films that have extended limits in their respective industries and how they have been able to do so. We hope you enjoy reading it as much as we enjoyed bringing it to you.

kesari and Avengers: endgame Avengers: Endgame was an action-packed movie that did not fail to meet expectations. A star-studded cast that hit the bulls-eye, this film kept viewers on the edge of their seats and it had an emotional send off that remained with the audience. A similar movie can be seen in Bollywood, in the form of Kesari. Based on the stand of 21 Sikh soldiers vs 10,000 invaders, this movie is quite emotional and fast-paced.

With Akshay Kumar’s intense portrayal of the leader and a heartwarming plot, Kesari and Endgame are both unmissable.

ad astra and mission mangal One of the most viewed and talked about movies in India, Mission Mangal follows the journey of the astronomers at ISRO and how they made the Mars Orbiter Mission a success.

One of the main motives of the movie was to showcase how the women involved played a major role in the triumph. Ad Astra tells the story of an astronaut who goes into space to find his lost father and protect the earth from a mysterious energy surge. Boosted by some excellent acting from Brad Pitt, Ad Astra is worth a view alongside Mission Mangal.

Picture Credits: Marvel, IMDb

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tolkien and super 30 Lord of the Rings and The Hobbit were written by J.R.R Tolkien, and the film Tolkien revolves around the author and his experiences in college and school that led him to write these revolutionary novels. Super 30 is a similar and awe inspiring story about a teacher who tutors students trying to get into IIT for free, and how against all odds he believed in his students’ abilities and didn’t give up on them. If you are looking for something inspiring and touching, both these flicks are a good shout.

John Wick 3 and War Known for its gruesome and macabre action, the John Wick saga has a special place in the audiences’ hearts.

The third part is no exception, based on the assassins encounters while on the lam. A counterpart can be seen in Bollywood, in the form of War. The Tiger Shroff and Hrithik Roshan thriller sees an Indian soldier who also goes M.I.A and his mentee has to be sent to retrieve him. Action packed to the brim and a barrage of battles and bullets, the plotline of these flicks are closely related and make for an interesting comparison.

Joker and Kabir Singh Two movies characterized by unorthodox protagonists, Joker and Kabir Singh took cinema by storm, earning big bucks in the box office.

Kabir Singh, a direct remake of Arjun Reddy, revolves around the rollercoaster life of a misogynistic-yetbrilliant surgeon and highlights how his life comes to a standstill due to drugs and alcohol. Joker, on the other hand, is a reboot of the infamous DC villain, but with the sole purpose of highlighting issues of mental illness and identity. With excellent acting and unique plots on both sides, both these movies are must-watches.

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REPRINT

50th Anniversary of the iconic Beatles album ‘Abbey Road’ 27

Reprinted from Autumn Issue 2016 Yash Jalan (ex-553-H ‘13) explains why The Beatles are one of music’s most enduring phenomena.

O

n October 5 1962, The Beatles released their first single, Love me Do on the A-side and P.S. I Love You on the other. The release of Love me Do marked the beginning of a new era, an era of Beatlemania, and an era of rock n’ roll. 50 years it has been and I love them still.

“

What differentiated the Beatles from say Elvis Presley, the Crickets or any other rock band was its influence on the youth.

Although the fifties’ is often credited with the start of rock music, I firmly believe that the true spirit of rock n’ roll was only ignited in the sixties with the advent of the Beatles. By writing, composing and singing their own songs, the Beatles pioneered the idea of modern rock music composed of thee three guitarists and a drummer.

It would interest you to know that most of the current rock bands such as the Oasis, The Verve, Radiohead and Coldplay are greatly inspired by The Beatles. The song structure of Coldplay’s ‘The Scientist’ is very similar to that of ‘Hey Jude’.

In fact Noel Gallagher, the guitarist for Oasis had stated, “It’s beyond an obsession. It’s an ideal for living. I don’t even know how to justify it to myself.

With every song I write, I compare it to The Beatles”. The Beatles are also regarded as the band, which has been covered the most. The most famous of cover’s is Joe Crocker’s of With

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a Little Help From my Friends.

Originally sung by Ringo Starr the Beatles’ drummer, Cocker’s version of the song is radical and inspiring.

What differentiated the Beatles from say Elvis Presley, the Crickets or any other rock band was its influence on the youth. The crow went into frenzy when the Beatles performed. Girls screaming and fainting was a common phenomena during a Beatles’ concert. The Beatles had such as huge girl fan base that the critics started considering the ‘fab four’ to be a boy band. The Beatles were a fashion icon.

Even now, the mop-top haircut of the Beatles is fashionable.

One of the most. Notable events of the swinging sixties’ was Woodstock ’69. I know that the festival was attended mostly by hippies, the primary purpose of the Woodstock festival, however was not music or drugs but a celebration of freedom. Woodstock was a protest against the Vietnam War and basically all social injustices practiced in the world. It was “3 days of peace, love and rock n’roll music”. In reference of Woodstock ’69, the

Beatles too were political commentators. Its is said that the song Revolution commemorated a worldwide student uprising in 1968.

John Lennon, the vocalist and founder, was particularly known for his political activism.

Lennon and his wife, Yoko Ono composed a myriad of politically toned songs. Lenin’s Imagine and Give Peace a Chance became the anthem for the blacks in the Civil Rights Movement in America. The social changes wrought then are still with me. Whether it is feminism or the struggle for human rights, it is the spirit of the 1960s and 70s, with its message of love, peace and universal brotherhood me, which is why I still love listening to rock music of the Sixties and Seventies, particularly the Beatles.

What makes the Beatles unique according to me, a band that is superior to its contemporaries is its wide range of music. I’d recommend a l l the pseudo Beatles fans to widen their horizon and look beyond the few

Picture Credits: Abbey Road Tribute Band, Live4ever, Feel Numb, Express UK

conventional Beatles songs.

Hey Jude, Let it Be, Here Comes the Sun and All You Need is Love are one of the very few compositions of the Beatles. Although relatively less know, some of my particular favourites include I am the Walrus, The Fool on the Hill, Octopus’s Garden, Ticket to Ride, Run for your Life, Got to get you into my Life, Helter Skelter, Baby, you’re a Rich

Instead, most fans and critics rate their music according to the album. My favourite album is undoubtedly, The White Album.

The unique characteristic of the album is that it features a tinge of classical Indian instrumental music. Most of the songs in the album were written during the Beatles’ visit to India. Thus, some of the songs in the album have an Indian classical touch to it. The

Man. These are just a few to start with but if you do start liking the Beatles, I will be most obliged to recommend more songs by them. I feel that most rock bands now are just one-hit wonders, which is why I fail to appreciate most modern rock bands.

album includes songs such as Dear Prudence, Blackbird, and Julia. George Harrison, despite being a fantastic guitar player, could also play the sitar, which he learnt from the famous Indian sitarist, Ravi Shankar.

I’d also recommend the songs, Within You, Without You and Norwegian Wood to those who like to listen to the sitar or who are fans of Harrison.

The Beatles released twelve LP’s and two EP’s in a span of a mere 8 years of which neither album was less than extraordinary. Most of us rate music of a particular artist or a band according to the songs they compose.

T h e Beatles music is so vast that rating by songs becomes difficult.

The music of The Beatles attracted not only the youth but also the oldies. Teenagers, on one hand, were in awe of the harmonies of Paul McCartney and John Lennon.

Oldies, on the other hand, were Impressed with the song writing of the duo. LennonMcCartney song compositions were lyrically very strong. The Beatles are attributed with the first rock n roll band to compose and write their own songs.

Songs such as

Yesterday and In my Life are so strong lyrically. Sometimes didactic and maybe satirical in nature, the songwriting of the Beatles I think is as powerful as the songwriting of Simon & Garfunkel. Lennon and McCartney wrote songs mostly reminiscent of their childhood.

Whenever I reminisce about my childhood days, I think about the song Yesterday.

The Beatles’ success can be attributed to a combination of factors, including Lennon and McCartney’s songwriting genius, Harrison’s guitar playing skill, Starr’s artful simplicity as a drummer, and the solid group harmonies that were a hallmark of their recordings.

Although popular music has changed considerably in the decades since The Beatles’ disbanded, their music continues to reach and inspire new generations of listeners.

Half a century after their humble origins in Liverpool, The Beatles remain the most enduring phenomenon in the history of popular music.

HAVE YOU EVER LISTENED TO THE BEATLES? 80%

20%

YES

NO

395 people were polled.

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Picture Credits: Squarepig, Mental floss, Netflix, BBC, The Horror Club, Cinema News 24, CineMaterial, Creatinity World, Vector Stock

Top Ten TV Shows To Binge-Watch Right Now

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Editor-in-Chief Karan Sampath

Design Ameya Shawak Krishnav Singhal Yashasvi Jain Editors Ansh Raj Aarsh Ashdhir Karthik Subbiah Associate Editors Armaan Batta Nirvair Singh Vir Bhatia Correspondents Agam Bhatia Kabir Subbiah Junior Correspondents Gurmehar Bedi Shreyan Mittal Faculty Advisor Malvika Kala Special Thanks Aneesh Agarwal Ishan R. Singhee Shathaayu Patil

editorial board

Chief-of-Production Divyansh Nautiyal