Interview with author Baradwaj Rangan

Having grown up watching Mani Ratnam films, albeit his Hindi films, I welcomed the chance to interview Baradwaj Rangan who in his book Conversations with Mani Ratnam (review) dissects, discusses, and divulges into the filmography of this prolific director via a series of "freewheeling conversations".   

The book is a wonderful piece that proves to be a window into the mind of a director. Mr. Rangan obviously has a love towards Mani Ratnam's films, a love that showcases itself in the form of the passionate question and answer sessions that make the book a must for any film enthusiast.

I would like to thank Mr. Baradwaj Rangan for taking out the time to answer the questions put forth and for also helping me re-discover a director who has been an integral part of Indian cinema right from his very first film. 

Baradwaj Rangan

Raghav Modi (RM) - In your book Conversations with Mani Ratnam you take on a novel approach on discussing the director's filmography. While memoirs have become common amongst the film industry off late, a conversational book like yours is still a lesser known commodity in our part of the world. Is this a change you hope to see more of?

Baradwaj Rangan (BR) - The quick answer is yes. But it also depends on the filmmaker, and how open they are to talking. Ultimately  no one is going to fully open up about everything, but are they at least committed enough to slog through questions about their career? And are they willing to genuinely engage in a back-and-forth conversation, which may sometimes be not-so-flattering to them? Those are the questions you need to answer before determining their fit for this kind of book.

RM - Mani Ratnam is one of the few directors who have influenced the movie going public of both regional and Hindi cinema. Still, his Tamil and other language films, besides Hindi, are not known amongst the Hindi cinema watchers. Why do you feel that while world cinema (subtitled non-English films) is so easily accepted in the North, we still struggle with regional films to get noticed across the country? 

BR - One reason is surely the lack of subtitled prints. The only time I get to see Marathi or Bengali films is when I go to film festivals. What happens to these prints after they make the festival rounds? Why aren't they converted to DVDs? I've never found an answer to these questions. But even then, the number of people who seek out “foreign” films – in the sense of films that are in any language that’s foreign to their ears – is quite limited. The same people who check out French and Polish films will probably see these films, if subtitled. It’s still difficult to cross over to a larger market.

RM - Mani Ratnam is unlike a number of Hindi film directors who are very in-your-face with film promotion. He comes across as a person who would rather let his work speak. How easy or hard was it for him to open up to you and talk about films that are an integral part of his life?

BR - We just started talking, with no fixed agenda, and it slowly became a series of conversations. The fact is that he was open to this – and this openness, combined with a sense of comfort developed over time, made it easier for me.

RM - Indian audiences have become attracted to scandals and gossip when it comes to films and film-stars. Do you feel genuine artists like Mani Ratnam is at a loss as they stick to the conventional forms of film promotion? In fact he mentions in the book that for him going to premiers is a big ordeal as he would rather just release the film and get over with it.

BR - This is a question you’ll have to ask him. As you said earlier, he’s someone who’d rather let his work speak for himself. But no, I don’t think cheapening oneself with scandals and gossip is the way to go about it.

RM - There is a certain selfishness in your introduction as you almost feel cheated when Mani Ratnam went national with his films in the post-Roja era. Why and where do these feelings arise from?

BR - I thought this was all there in the introduction. There was this filmmaker making films only for us Madras kids (as it appeared), and we wanted more. And I don’t know that I would call this selfishness so much as self-centeredness.

RM - Conversations with Mani Ratnam is a very film-centric book that methodically discusses the films by the director and stays clear of any scandalous anecdotes. While it would attract film students and the die-hard film enthusiasts, the general reading public might not find it equally interesting. Was it a conscious decision taken by both of you to stay clear of gossip and name calling?

BR - I certainly was not interested in scandals and gossip, and if I’d asked him such questions, I wouldn't have been invited back for further sessions. This is about a filmmaker’s work, his mind, his thought process. And I do think that anyone interested in cinema will find this book easy to read. I didn't really pitch this book to someone who’s not interested in the work but only in the gossip.

RM - What and how did you research Mani Ratnam and his films before conversations with him commenced? Did it include watching and re-watching his films trying to pick on nuances and intricacies of his style or was most of it from your personal memories of having watched his films?     

BR - Yes, it involved watching all his films a number of times. There were also memories, as you’ll find in the book.

Excerpted with permission from Penguin Books India from the book 
Conversations with Mani Ratnam by Baradwaj Rangan. Penguin Viking/ Rs. 799,-

RM - Reading the book I came across so many Tamil/Malayalam/Kannada films being mentioned with stories that are simply unheard of even now in the Hindi film industry. Do you think Hindi cinema is still not brave enough to experiment with stories only taking on films to remake once they have proved successful in the South?

BR - I don’t know. There was always a parallel cinema tradition (the precursor to today’s multiplex system) in Hindi where strange stories were attempted. But not so much in the mainstream, as in Tamil and Malayalam. I think it’s also a question of scale. When you’re budgets are low, you can take more risks.

RM - Your chapter on Thiruda Thiruda ends a bit abruptly with Mani Ratnam stating that he doesn't remember a dialogue you based your question on. Were there times during your conversations when you knew you had asked enough questions, pushed him to the limit, and it was time to move on?

BR - There was also a bit of shaping of the questions, so that there would be some dramatic impact even within a session. But yes, you have to know, sometimes, when you have hit a wall and when it’s time to move on.

RM - A lot of film makers complain that critics or even the general cinema going public tries to find meaning in everything on-screen even when there is none. For example you talk about the two versions of the theme song from Nayakam with one being "rawer" and the other "polished" and how it suggests the "eventual refinement of Velu Nayakan". Mani Ratnam is quick to point out that it is more of an "evolved" version of the song and "not necessarily the man who's become sophisticated". Do you think we as an audience are always looking for hidden meanings?

BR - I don’t know if I like the term “hidden,” which makes it look like the film is some kind of treasure hunt filled with a director’s clues. These interpretations come about by a need to resolve something. Let’s take this particular example. The thought process is like this. (a) This version of the song doesn't sound like the other version. (b) It is more polished. (c) What could be the reason? Now to some people, all of this won’t matter at all. They’ll just hear the other version of the song as is, without their brain asking them “why, why, why”? But if your brain is asking you that question, then you try to find an answer that can be supported with evidence from the movie. And I guess the answer I found was that this polished version is perhaps a reflection of the man himself, as he’s grown. Note that I am not saying that this IS the reason. I’m just saying that this is the reason that makes sense to me, and it doesn't matter to me what Mani Ratnam’s intentions were.

RM - I am unaware of the order in which the conversations took place, but reading the book there is a certain fluidity in the latter chapters and Mani Ratnam seems more at ease to the point he is even a bit brash telling you not to use Ram/Sita/Raavan in place of Dev/Ragini/Beera in your questions when discussing the film Raavan. Was it just him eventually getting comfortable with the entire setup?

BR - I think at that point he didn't want to talk about the mythical figures, which he had no control over. He had created only the film’s characters, and so he said let’s stick to those names.

RM - Having read the book, my first inclination is to try and watch some of Mani Ratnam's regional films and then maybe re-watch his Hindi ones, especially Raavan which I did not really like. Would you say this is pretty much the aim behind the book, to try and encourage the audience to appreciate the work of one of India's greatest film makers?

BR - The aim of the book is simply to peek into the mind of a MAINSTREAM filmmaker, to understand how and why he creates characters, how he uses songs, how he strives for “class” even while addressing a “mass” audience. Because far too many people dismiss this mode as a “thoughtless” mode, and as I am a big fan of this style of storytelling, I wanted to explore the thought behind each film. And yes, if you are prompted to pick up his other works, that’s a bonus.

RM - Mani Ratnam talks about not watching his films once they are released. Are you of the same notion when it comes to your writings or do you go back and rethink about what you have written and what would you have done differently given the chance?

BR - Oh I rarely go back and read stuff. Sometimes I know something is turning out well even as I’m writing it, but it rarely comes out the way you want, given all the time pressures, and I don’t like to put myself through the angst of finding a ton of mistakes and inelegant constructions.

RM - What is the one thing that you discovered about Mani Ratnam, either personal or about his films, during the conversations, that you were unaware of beforehand?

BR - I don’t know if it’s just the one thing. There are a lot of little details in his films that were fun to learn about, like the fact that they searched hard for train tracks that curved like a river for the opening of “Thalapathi.” I mean, how many filmmakers would bother about a detail like that?

RM - In the end, please tell us your top 3 Mani Ratnam films and what makes them essential viewing from your point of view?

BR - Instead of top three, let me go with the three Tamil films of his that you must see if you've not seen them. Nayakan, for the way everything came together. Iruvar, for the scope. And Kannathil Muthamittal, for its emotional trajectory. Happy viewing.

Thank you for the interview Mr. Rangan. I would also like to thank Mr. Arun Arora from Penguin India for initiating and helping organize the logistics of the interview.

Conversations with Mani Ratnam (Book Review)

There is a good chance that an avid film watcher in India would have seen at least one film by Mani Ratnam at some point of his/her life. Mani Ratnam has long been an integral part of Indian cinema making movies in varied languages, at regular intervals, and taking on issues and stories that are equally thought-provoking and entertaining.

My first experience with a Mani Ratnam film was Anjali. Although it wasn't till recently that I realized the film had been directed by him, it is one of the few films that has stayed in the back of my mind ever since I watched a dubbed version in the early 90s. It might have been that the story revolved around kids, but there are scenes that still linger in my mind even after two decades from this film, something that I cannot say about certain films that I have seen this year.

Baradwaj Rangan, in his book Conversations with Mani Ratnam, takes a somewhat new approach at tackling the filmography of this prolific director. Avoiding the route of a memoir, Mani Ratnam opens up to the author/critic/editor about his love for cinema before taking the reader on an inside look at the workings of film from the time the idea of the story germinates to the time the film is finally released. The success of the book lies in the fact that the author is equally passionate about Mani Ratnam's films as is the director about cinema. This passion, shared by both individuals, is what forms the crux of the book.

Conversations with Mani Ratnam features a step by step look at the films that have defined this director. Rangan is meticulous  with his research as he questions Mani Ratnam linking characters from different films or talking about certain elements, like trains, that have been explored on a regular basis in his films. Mani Ratnam remains one of the most fascinating directors of the last few decades because he has had the inclination and opportunity to direct in many different Indian languages over the years. Discovering his regional, non-Hindi, films, I had a strong urge to venture into a side of the director that was till now unknown to me. The book in that respect manages to pull the reader into the world of Mani Ratnam that is full of music, stories, and above all a sense of honesty and the want to show society a mirror through his films.

Mani Ratnam and Baradwaj Rangan, both stay clear of any scandals and name callings during their conversations. That for me makes the book stand out, for it remains true to the art of cinema, forgoing the need to sell more books by using gossip as an instigator. Instead what it focuses on is the various collaborations that Mani Ratnam has had over the years in the field of photography, music, and even story writing. What this also means is that on the outset the book is mainly going to appeal to film enthusiasts. In its defense, the book is presented in an easily readable fashion and helps the reader relate more to the films by giving a short synopsis of each film being discussed. My initial hesitation lied with the fact that I had no knowledge about Mani Ratnam's regional films, but once again the conversations flow so seamlessly between the director and the author that it doesn't matter too much which film is being discussed because the reader is just immersed in the power of cinema being discussed by two avid fans.

One of the most interesting aspects of the book for me was realizing, in reading the conversations, that sometimes critics or the audience dissect a scene so much that they see a certain meaning behind it all. It can range from character studies to certain scenes to the music being used. What Mani Ratnam does is break this thought by suggesting that at times a scene is a scene and there really is no hidden meaning behind it all. Questioning Baradwaj Rangan on this very topic in my interview with him, he is quick to counterpoint saying that it's not always necessary what the director wanted or did not want, but at times the audience can take away a lot more from the film than what was initially intended by the filmmaker.

Conversations with Mani Ratnam is a book not only about a director who lets his work speak for him. It is about the power of films and tremendous amount of hard work that goes behind each film being made. Most importantly, the book is about the passion for cinema, a passion that is shared by the author, the director, and each and everyone who is likely to pickup the book up and read it.

        

Turbulence (Book Review)

Superheroes are the in. Yes we get that. They are on our TV screens, in cinemas, in comics as always, and also in books. We have been bombarded with superheroes of all kinds, even the “real” ones (Superheroes, Super, Kick Ass) without any powers over the last five years or so in every possible way.

Amidst all this comes the new book by Samit Basu titled Turbulence. Below is my review of the book, which is a slightly elongated version of the one I posted on the Amazon.co.uk website.

Turbulence is a story about a handful of individuals from different walks of life unknowingly ending up with superpowers after a flight from London to Delhi. It is a story about these very individuals discovering their new identities and coming to terms with their powers and deciding on how to eventually use them. It is a classic tale of Good Vs Evil with emotions and self discovery thrown in as extra measure to give the characters a more human feel which in turn adds to the charm of the book.

It is quite evident that the author Samit Basu is up-to-date with his knowledge about superheroes and the pop culture references are in abundance throughout the book. He is not short on humor either with a number of instances where I did literally laugh-out-loud. Unfortunately, the biggest flaw for me lies with the powers that are allotted to the characters. Throughout the book I could not help but relate certain aspects to comic books, or TV series like Heroes, or films like X-Men, Avengers, Superman, etc. For example, there is a "suit" that is somewhat on the lines of Iron Man. Moreover, it even folds-up into a briefcase which to me shouted Iron Man 2, the film. There is a character who can bulk himself up and become a tiger faced beast which seemed pretty much like the Hulk without the obvious turmoil that the Hulk/Dr. Banner go through. Even the main villain, Jai, has shades of Magneto, not in terms of power, but in terms of their thought process. So while I tried to enjoy the book, I could not but help draw up these similarities, and there were quite a few, and I am not even a comic book fan.

Having said that, the book does have interesting characters, especially the ones that are regional to India. The Shinde Brothers provide an episode that would fair interestingly well should the book be ever made into a movie. Although once again this incident is reminiscent of the attack on X-Men’s Xavier’s School for Gifted Youngsters from one of the films.

Some of the other powers that are featured in the book, which I shall not mention so you can enjoy reading, are unique and bring about the fun element in the book. The book is also a small window in the thinking of young-India and in a somewhat unconventional way manages to show the reader how the new generation has been influenced by the West in their upbringing.   

Turbulence takes a little while to set itself up. While it took me a couple of weeks to get through the first 100 pages, I finished the next 250 in one day. It is also the start of a series and it is understandable that the basis has to be formed, so when the sequel Resistance comes out next year, it will hopefully not have to go back into the "origins" aspect.

The book does end on a high and sets up the story in such a way that only good things can follow. I simply wish that there is less to compare in the sequel with already released superhero films/books/comics.

Being an Indian I especially liked the local touch the story gives to the characters and while it goes around the globe culminating in London, it stays true to the region where it is primarily set.

Turbulence makes for an interesting read and it might not be genre defining, but is a positive addition to the superhero genre that we are being bombarded with from all directions.

Turbulence is rated 3.5/5 Book Worms

        

The Lorax Premier - From The Orange Carpet

The sun was out and orange with a dash of yellow was the color of the day. We've seen red carpets, we've even seen green, but the bright orange one, signifying the color of the film, welcomed everyone at the entrance of Birmingham Cineworld who were hosting the premier of the new animation, Lorax, based on the ever famous Dr. Seuss book. The event was also the very first UK premier for a film outside of London.

The event was beautifully organized with gracious hosts and a sense of joy and laughter all around with the Lorax character dancing and mingling on the carpet along with balloon makers and face painters. My sources inside the theater, wife and daughter, informed me the ambience was that of fun and frolic with cupcakes, candy-floss, sweets, Lorax mustaches, along with other goodies, in abundance to keep the young and the young-at-heart pleasantly satisfied.

Emile Heskey, Danielle Lloyd, members of the American Olympic Team, and Joe Egan were among the celebrities who walked down the orange carpet. Joe Egan, who has acted in the Sherlock Holmes films along with a part in the Indian film Ra.One epitomizes the "big lovable" character especially when he said one of his dreams was to walk down the red carpet with his mum. Called "the toughest white man on the planet" by Mike Tyson he modestly talked about how he's enjoying and loving slowly but surely rising up in the entertainment business making a name and mark for himself and can be seen next in the film Crying Wolf.

As expected, the arrival of Danny DeVito was greeted with unanimous cheering from all the fans present around the carpet. A legendary actor, he met with his fans and members of the press with the same kind of excitement and enthusiasm only a newcomer promoting his first movie has. Visiting Birmingham for the first time he was quick to point out that the much needed sunshine probably had something to do with the "Lorax" being in town. Crediting the entire team of the movie including producers, writers, and animators, he spoke about doing the voice for the movie in Russian, German, Spanish, and Italian himself. On stage, he emphasized the message that Lorax gives and how it is important that "if you see somebody abusing something, stop 'em".

I do hope that having the first ever UK premier of a major movie outside of London starts a new trend. The event was thoroughly enjoyed by all present especially the children. You can watch a video I made of my daughter about her experience on her return below. Both my wife and my daughter enjoyed the film and the orange Lorax 3D glasses for the children were a nice little addition to the goodie bag.

I would also like to thank the wonderful people at DDA PR and Prepared PR who organized my very first press pass which I will cherish forever.  

Legends of Indian Cinema – Gulzar

Most Indian cinema enthusiasts would be aware of Gulzar. He's one of the few multi-talented legends of Indian cinema who might not have a larger than life persona, but nevertheless he has been an integral part of the world’s largest film industry. His followers might not be as vocal as fans of Shah Rukh Khan, but they are there, listening to his musical words at home over a nightcap, or quietly introspecting after reading his poetry in the early hours of morning. 

A lyricist, dialogue writer, scriptwriter, producer, director, and storyteller par excellence, it is no surprise that he has been honored with numerous awards over the years including the Padma Bhushan in 2004.

My knowledge about Gulzar has always been limited. For instance, it was only while researching this write-up did I realize his real name is Sampooran Singh Kalra. Furthermore, although over numerous occasions I've witnessed his writings, but it has always been through the medium of cinema, that is through film songs or stories.

So, when Penguin Spring Fever 2012 culminated with a book talk featuring Gulzar, I was there eager to experience his poetry in person. Wearing his trademark white kurta-pajama with shinning gold juttis, Gulzar came across as a rather humbling personality. There was no air of superiority in him, certainly not one that a star is expected to have. It was an evening filled with words, words that made all of us laugh, think, emote, and lastly words that left a mark in our own personalities. 

A few moments from the evening

The Devotion of Suspect X by Keigo Higashino

So, I've decided to do book reviews. Why you say on a blog that is meant for films? Well, the simple answer to that is that I'll review books that are in one way or another related to films.

The Devotion of Suspect X has been a best selling book in Japan which led to a high grossing film with the name of Suspect X being released. Although, I am yet to see the film, according to news sources on the net it is being remade into a Korean film as well.

While the book might lead you to believe it is a murder mystery, it really is a love story with a difference. There is no mystery right from the start. The readers know everything. They know who is murdered and who is the murderer. When Yasuko Hanaoka's ex-husband, Shinji Togashi, visits her after a gap of few years, she knows that it the start of the same anxiety and pain she suffered while she was with him. Unexpectedly arriving at her apartment, Togashi is killed by Hanaoka and her daughter Misato (from a previous marriage). It is now that her neighbor and “admirer” Tetsuya Ishigami enters the story, taking charge and helping them cover up the murder. The brilliance of the story is that although it lacks mystery for the audience, initially, the play of events keeps the reader intrigued and interested. The introduction of new characters and the suspense of the police catching up onto the killers are good enough to keep the pages turning.

What follows after the murder is a battle of wits. It's a battle between the investigation officer Kusanagi and Ishigami as Ishigami plays one card after another in his master-plan. More importantly it is a battle of sciences between an ex-classmate of Ishigami, Manabu Yukawa, who being a physicist approaches the murder from a different angle compared to Ishigami who is a math genius. The Devotion of Suspect X at times resembles another Japanese Manga/anime/film, Death Note. While the stories are worlds apart, it too relies heavily on a mental battle between the two protagonists. It's almost like the reader is given a chance to see into the minds of the two academic geniuses as one puts together a puzzle while the other works towards decoding it.

The book is well written and easy to read. It might seem less complex for adult fiction at times, but keeping it simple gives the readers a chance to immerse themselves in this game of one-upmanship and even try and guess the outcome. The story might lack the gore and shock used by other Japanese fictional writers like Ryū Murakami (whom I recommend only if you have a strong stomach), but it still presents a window into the fascinating culture, morals, and traditions of Japan.

Now, as I mentioned the book is not a murder mystery per se. The audience is aware of everything, or so it seems. What the books lacks in suspense in the beginning, it makes up for by the twists and revelations arriving in the last few chapters, and mind you they don't stop till the very last page. As the final pieces of the puzzle come together it is as much a revelation for the characters as it is for the reader.

Poster of the movie based on the book, Devotion of Suspect X

The Devotion of Suspect X is an outstanding way to introduce oneself into Japanese fiction, especially murder mysteries. Not hiding away from shocking and the eye-squinting stories, Japanese fiction has at times been lost worldwide due to translation. But, with the recent popularity of films based on books and books being translated, I'm glad to see it receive the much deserved accreditation.  

The Devotion of Suspect X is a must read book whether you like mysteries or intense thrillers. It's also a story of devotion and the extent to which people might go for their love. Now I can't wait to get my hands on the film which I'm told does justice to the book.

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