Emotional filmi fundas – Funda #1 To cry or not to
Guys,
Was watching the finishing scenes of Cheeni Kum on cable yesterday.
To start with,
Ghaasbus as the Chef buddhadeb, a 64 year old bachelor is identified is all happy that his lover Naina’s daddy gave consent to make the affair official and that makes his mother all too happy and they both have a look at the iron pillar at the Qutb which ghasbus has been able to embrace with his back to it (offcourse with the help of his mother). Seems like he has prayed for the success of his love.
Ghas bus’s cell rings and it carries a bad news of bereavement. his soulmate 9 yr old sexy has breathed her last and ghas bus is emotional – now running to the pillar to make one more wish. – A wish that has expired and offcourse we all know that it is not a Manmohan desai movie. Enter the scene – a visibly elated naina whose facial expression changes from very happy to very sad after seeing the emotionally distraught ghas bus trying to use the wish pillar with great difficulty, panting and howling “I want sexy”. Now naina tries to console a sobbing ghas bus saying that “tears when shed make the heart light and make you forget whom you are shedding your tears for”. I noted it down in my mental notepad and filed it under life emotional tips category.
However there was a system alert in my mind which said “Conflicting emotional rule exception”. Further analysis led me to a filing of emotional funda from films #382 which was taken from the movie “Mozhi” where Karthik pleads with a professor who is unable to cross over to 1985 as his son died in the year 1984 in a road accident. The professor lives in a “live till 1984 and then rewind mode” for the past 20 years. Karthik says to the professor in a moving scene that “Cry man for your son as he is dead. By not crying you are trying to escape from the FACT that he is dead and in the process causing anguish to your wife and relatives”.
I feel as a film watcher, that both these scenes are not key to the main plot and are simply inserted to accentuate the “Need for Drama” for Indian audience. However in the process the makers thought that they are shedding their “gyaan” on human emotion so that they can call the movie “an emotional saga” or a “movie on human relationships”. Wouldn’t it suffice what you have made based on life as just a “movie” (not movieee) as that is what movies do – capture men and women in day to day life?
This intellectual question apart, I found my mind to be a vault or database or archive of emotional fundas that films have given over the years.
So – to cry or not to cry is another funda. Lets bring out other emotional fundas that our film makers have entered in our minds.
Anurag Kashyap
Abhay Deol
Dibakar Banerjee
Hansal Mehta
Khalid Mohamed
Kundan Shah
Anish Kuruvilla
Jaideep Verma
Manish Gupta
Navdeep Singh
Bhavani Iyer
D. Santosh
Onir
Ashvin Kumar
Ramu Ramanathan
Sudhir Mishra
Pankaj Advani
Revathy
Saurabh Shukla
Shilpa Shukla
Sujoy Ghosh
Suparn Verma
Santosh Sivan
Shashank Ghosh
Shivajee
Pavan Kaul
Partho Sen-Gupta
Prroshant Naryannan
Sam Langoria
Satish Kasetty
VPG…intesrtng point. But dont quite agree. C the need for drama…bcz u remember the drama well.
dont think its the same with everyone…one doesnt always put drama just to call their film emotional saga n all that. we all have some or other philosophy in life n love to share it others. after all, tell me one person who doesnt love giving gyaan.
@jaiganesh – films do tend to play the drama chord invariably, and its a rather old tradition with us. However, it has a larger picture it to it. A film, to be able to connect to its audience, tries to touch on various human expressions. So we see happiness, revenge, turmoil, etc being neatly laid out and served as per filmmakers estimate of our appetite. How much/little of each of these is to be used lies at the hands of the filmmaker and the final concoction decides its general flavour.
Valid point phoenixu. We love giving gyaan in some way or the other, spontaneously or deliberately delayed.
Phoenix!
I agree partially with you.
I told about the drama thing coz, there are some million fundas that little sexy gives to ghas bus in the movie. that didnt look so dramatic, but the one funda naina gives to ghas bus is so “fake”. She could have just given him a hug and the scene’s done isn’t it?
AnOther interesting funda
If you do good to 4 people, nothing is wrong (velu nayakkar in Nayagan)
VPG…u know what…i cud not tolerate that kid. i lov kids otherwise. but those without their innocence…those street smart ones..they r so irritating. n this kid was like that. like kids as they r in santosh sivan’s malli n halo..they r smart kids n have their innocenec but not street smart ones.
yeah!
Thankfully I saw only the finishing portion where the girl talks before she is gonna go to the OT.
Probably it is Balki’s nod to Maniratnam, whose films are filled with kids with granny’s brains.
I thought that director felt like I can’t cast myself in the movie for the hero and heroine to consult “ab kya kare?”, so create a kid character whose advices might evoke a funny reaction from audience and in the end when the character is garbage collected, then it is an ample scope for “Drama” and acting abilities in the loudest tone to come out from our “great actor cum hero”.
As long as the proportion is kept in check, we can let a few bed bugs like this bite. We are Indians and we are by default tolerant – till we get a car or bike to drive.