The ‘Jai Ho’ Moment
Is this the ‘Jai Ho’ moment and the triumph of Indian Cinema has become a pleasant infection competing for scale and reach with Avian Influenza? Or is this an offensive put down in the genre of voyeuristic art form, a fulsome compliment aimed at mocking the futility of miscellaneous progress we have achieved?
First let us get the facts straight. Slumdog Millionaire is an extraordinary film. It has been well received by both mainstream audience as well as critics. And the eight Oscars add to the inherent sheen. But the question to be asked is, do we need a British director, an international production house and foreign acclaim to know that Indian cinema has come of age and is right up there with the best in terms of content and quality?
Indian cinema is no more about running around trees and regressive story lines, a concept now patented by Indian soap-operas. Several international production houses have tie-ups with Indian film makers and this cross border compliment has been suitable returned with BIG pictures signing up Steven Spielberg. From Satyajit Ray (original holder of the label ‘poverty exporter’) to Shekar Kapur to Mira Nair to Ashutosh Gowarikar, several Indian film makers have received significant international acclaim. So it is only expected that we take the portents further and stack up a few pieces of silver to add to the copious verbal recommendations.
Make no mistake, Indian cinema has arrived. But accepting humility is the appropriate reaction rather than raucous celebrations. Amitabh Bacchan blogged that an Indian director might not have been be showered with such graces for the same film. He may have a point. But, all the same, criticizing the portrayal of poverty as voyeuristic (while doing nothing about it) is taking things to the other extreme.
All in all, cheers to Rahman for his two-fer, Resul Pookutty for his moving words in addition to the statuette and the entire cast & crew of Slumdog for a rousing performance. But, after the celebrations die down, it is time to reflect on the social implications of the film and work to ensure that we don’t need the British to serve wake up calls reminding us of the poverty and backwardness being curtained by India’s scorching ascent on economic indicators.
Is this the ‘Jai Ho’ moment and the triumph of Indian Cinema has become a pleasant infection competing for scale and reach with Avian Influenza? Or is this an offensive put down in the genre of voyeuristic art form, a fulsome compliment aimed at mocking the futility of miscellaneous progress we have achieved?
First let us get the facts straight. Slumdog Millionaire is an extraordinary film. It has been well received by both mainstream audience as well as critics. And the eight Oscars add to the inherent sheen. But the question to be asked is, do we need a British director, an international production house and foreign acclaim to know that Indian cinema has come of age and is right up there with the best in terms of content and quality?
Indian cinema is no more about running around trees and regressive story lines, a concept now patented by Indian soap-operas. Several international production houses have tie-ups with Indian film makers and this cross border compliment has been suitable returned with BIG pictures signing up Steven Spielberg. From Satyajit Ray (original holder of the label ‘poverty exporter’) to Shekar Kapur to Mira Nair to Ashutosh Gowarikar, several Indian film makers have received significant international acclaim. So it is only expected that we take the portents further and stack up a few pieces of silver to add to the copious verbal recommendations.
Make no mistake, Indian cinema has arrived. But accepting humility is the appropriate reaction rather than raucous celebrations. Amitabh Bacchan blogged that an Indian director might not have been be showered with such graces for the same film. He may have a point. But, all the same, criticizing the portrayal of poverty as voyeuristic (while doing nothing about it) is taking things to the other extreme.
All in all, cheers to Rahman for his two-fer, Resul Pookutty for his moving words in addition to the statuette and the entire cast & crew of Slumdog for a rousing performance. But, after the celebrations die down, it is time to reflect on the social implications of the film and work to ensure that we don’t need the British to serve wake up calls reminding us of the poverty and backwardness being curtained by India’s scorching ascent on economic indicators.
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