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Somehow it looks cluttered, with too much….

The modern references are understandable to a certain extent, but at the end of the day, it is based on a central character who demands that glitter in the eye reverence, which is seen only in a ‘well shot’ sequence in the climax….

I took my 4-year old nephew out for watching Return of Hanuman today. It was a first for me, I had never ventured out with this mature an audience for a film from one of my favorite contemporary film makers. And that too after the recent glycerin assault of stars. Watching the film has been an experience for me, for many a reasons. I realized we might have a million why’s and how’s for every film, for kids its quite literally a different ball game. They care a squat for plotholes, blackholes is their more favored word.

I have been following the Hanuman articles on PFC, which rather brilliantly explain the technical process of the film, and the animation scene in India on the whole. And thanks to the authors for making this such an interesting after-film study. I can easily assemble the entire stuff together to have the best possible book on the subject available (for the uninitiated) in the country, no exaggerations.

As for me, I am trying to view the film from a non-technical standpoint, and these are just reactions to a narrative that unfolds on the screen. And if I might intrude upon the craft, I loved the entire ‘mainstream’ framing of the animated sequences. It reminds me of my stoner excursions a couple of years back when one day while feasting on a Japanese classic (Tokyo Godfathers), I wrote in my ‘red’ diary something supremely significant to the world as seen from my eyes which is of no significance whatsoever on the next morning, as it stands(as is the case with all such heightened musings) ,
“If you say ‘brilliant acting’ for an animated film, who deserves the credit? The director/the sketch artist/the dubbing artist/other technicians involved? “

Reading all these articles now give me a sense of relief and little ‘digestion’, Animation is the way to go!

As for the ‘art’ I loved the volcano (Pralay) sequences, and the way Rahu-Ketu looked, and the way the eagle approaching Mother Earth splits into a million eagles, and a long shot of Hanuman & Naarad waxing eloquent on their highly privileged yet directionless lives(you can almost sense a Texan heat with all that western guitar fused in the air), loved the planets with faces and a ‘bolti’ galaxy. The Bollywood references left a big ‘why’ on my face. Probably I am too old for the simple pleasures it aims at. Though(too many second thoughts in this article) I did like the way this Gabbar hops between the imitations.

The best part of the film is the umpteen in-between efforts that make the viewing a constantly involving exercise (the quirkily dressed dancers in the first song, the Missing posters in the village that looked more like a post-apocalyptic Neverland, the momentary and cheeky almost-stealing your attention-use of a fire extinguisher or a flying Hanuman kicking a Spidey lookalike in the butt, the ‘googling’ in shots, the whole film looks like a 2K kid’s ‘aao dekhen ek Indian superhero ki kahaani’ day out.) .

Loved the ‘Aasmaan ko chhookar dekha’ sequences, in spite of the repeated shots. When did you see a much-revered Indian God(with the exception of Mr. India) jiving away with the Statue of Liberty to unending glory? There is even an existential moment before he goes in for a all holds barred ‘kya karoon main, bachpan se aadat ye meri gayee nahi”. The whole political reference thing is tongue-in-cheek and enjoyable at that. You don’t feel cheated into a ‘children’ film which has nothing for you. And that is the direction animation should be headed.

Though it might take us time before we head the Simpsons/Seinfeld/South Park way as far as exploiting pop-culture is concerned(or we might tread back to the 80’s + early 90’s, which, IMO was the only pop-culture we can talk about). Subrat , in his archetypal ‘wink-wink’ mischievous air, has been educating us on this domain for quite some time now. I recently saw this VH1 program on some 90’s pop memories countdown or something like that, which was a retro-walk on trashy fashion statements, forgivably unforgettable film appearances, films that continue to haunt us despite their M.Q.(Mediocrity Quotient), and much more, and I thought of exploring this in an Indian context, but then I thought so many films and well-written articles(on blogosphere and elsewhere) have been doing it so tastefully all the year, 2007 that is.

Coming back to the film, it is inevitable not to think of the earlier installment where an innocent simplicity takes you over, when the film does take a break and adorns that Ramananda Sagar divinity(when Hanuman’s face lights up with the divine glow, it silently brings a smile to the goings-on). For me it was the wonderfully shot sequence of kid Maruti in his mother’s lap with a small effigy of the ‘superhero brand’ that the film sells. It brings everything into perspective, if you are not too numbed by the philanthropic dialogue on screen. It is such scenes that build expectations which might never be practical to satisfy. But alas, such is the fate of superhero themes. I would never like one which satisfies me to the core, thus the ones that explore this back-end terrain, this fantastical impossibility of pleasing one and all, impress me to the core. Talk about Hellboy, or talk about the bandaged and hospitalized superhero, no prizes for guessing which is my favorite half from The Incredibles.

Loved the entire Blackhole reference, from an insatiable hunger of a mischievous kid to the unending quest of mankind on the whole.
As for the possibilities, there are many. I would have loved an elaborate ‘yaad dilaao’ sequence towards the end to capture the wondrous character USP Hanuman possesses. Would have loved a complete screen time for the much deserving ‘Hanuman Chalisa’. I cant stop listening to it. Would have loved more of that Om Shanti Om madness in Naarad’s character.

Sometimes the dark elements get a tad too much, but looking back, I like it that the film has stuck to some tough nuts to crack(the chaste mythological jargons(loved the ULKA/ALKA, JWALAMUKHI/JWALAMUKHI bit though), the sometimes ‘too fundoo for kids’ science, cause and effect analogies of why this and why that and so we should always do this and so we should never try that), as I know this for a fact, the film is gonna be viewed more and more and even more on home video. Houses like mine are a humble sample; we would have had the earlier Hanuman run for almost a hundred times now. It almost reaches a point where the kids use such stuff for referencing their high-tea conversations in their own sweet way…

Looking forward to more.