Sunday, October 12, 2014

Kissanpur - Real Joy Of Togetherness

One of the newest popular brand-created content is Kissanpur - Real Joy of Togetherness. The content can be found at https://www.youtube.com/watch?v=3s2kWc0ILCM and has already clocked 1.7 million hits (as of 12th Oct 2014, 8:48pm). Clearly it’s popularity is high and it yet again reminds us how people crave good stories, that are both meaningful as well as speak directly to our hearts. Indeed, the head vs. heart debate is something that good content makes redundant, because it is always both, isn’t it.

The story is set in a classic modern day urban family (2 parents & one child) living in a condo in potentially a suburb of one of the cities in India (Gurgaon?). Both parents are working, with mom possibly working from home (mostly anyway). The story starts with the mom snatching all ‘screen devices’ from the boy (Rohan), annoyed that he is always stuck to a screen (sound familiar?). In a fit of anger, as the child storms out of the house, he discovers the idea of planting seeds seeing the friendly neighbourhood maali. With tomato seeds available in a certain ketchup bottle at home, he decides to grow a tomato plant. Mom, realizing she needs to make up with him, joins in, as a competition of who’s plant grows the fastest and the best. After days of sand, water and sunshine, mom seems to be winning, till Rohan’s plant catches up. Finally, in the climax, despite Rohan’s best efforts, it feels that mom is going to win after all, since she gets the bright red, juicy tomato on her plant and Rohan doesn’t. But, as usual mom saves the day and the family emerges the winner - together, happy, connected.

The impact and the popularity of the film is not in its storyline (as we can see from the narration above), but in the emotions it generates in the viewer. As a viewer, we don’t feel like the outsider in this film. We ARE the mom in this film, going through every emotion that she feels.

We feel shocked and angry when Rohan slams the mom’s laptop shut, but only for a moment. We immediately feel guilty and a hippocrate at having snatched his screen devices earlier from him.

We feel intrigued when Rohan is putting his plant building blocks together - seeds, pot, name, sand and water. We feel proud and indulgent when he is making his plant, but know that we can’t show it yet, since he still has to make his point of being one up on us.

We are rooting for him through the week as he waters and patiently nurtures his plant, waiting for his sign of victory and disappointed for him when he doesn’t get his sapling before the mom’s. And we are elated more than Rohan when the sapling does show its face. But, we don’t show any of this emotion in front of Rohan, because we want him to enjoy his victory when it happens.

We feel hurt when he rubs off the kiss on his cheek that mom gives, while getting him ready for school.

And finally, we know what we have to do when Rohan’s plant doesn’t fruit the bright juicy tomato and mom’s plant does. We know we have to lose for him to win and feel happy. And because only that will make us happy. And we feel all is well when Rohan finally comes and embraces his mom.

And through it all, we know that it was all about him. It was always about him. Like every parent knows, it’s always about them. 

We feel Rohan’s emotions and the mom’s emotions at the same time, because that’s what comes with being a paren. A complex, bitter-sweet jugalbandi of our emotions and our children’s.

The connection with this film comes not because of the obvious insights that speak to the mind - like the urban working parents with less time with kids, or children being stuck to multiple screens through the day, the struggle that parents have in keeping them away, or even in the championing of children going back to nature. 

The impact comes from the subtle nuances within the insights - like you need a little bit of competitive spirit between mom and child to get the kid really going, since that is the natural spirit of the child, or that children can be really stubborn about forgiving if they feel hurt by a parent, or  that children need something to obsess about and pour their unbridled energy into, or that at that age a child is finding his identity and looking for a sense of respect from the people around him & most of all from his parents. And that’s really what the journey of competition and winning vs his mom is all about. 

This film also reminds us of the power of just good music and good acting and comes as a breath of fresh air in a world that is full of talk, clever words, and shallow meaning. It’s a film with no words exchanged between the characters and yet makes the biggest impact.

If there is anything we hold against this film, it is the dad stereotype. For an otherwise progressive film, the cliche of the dad who is always busy on the phone & is otherwise helpless, clueless when it comes to his son, comes as a bit of a rude disruption (obviously I am biased as a dad myself). The dad is conspicuous by his absence and simply gets a sad mention on one flower pot for him as well, which clearly no one is watering, or even figures in the competition. Sure, there is the cursory moment of the football and running in park with dad, but all the real stuff is happening with mom. Even in the final moment when we are waiting for the tomato to shine on the plant, we are only shown the mom and son’s plant. Whatever happened to the dad’s plant? Did he even get a sapling to grow or did the weeds devour the plant even before it had a chance to see the sunlight. Seems like no one cares. And probably neither does the dad!

The content, as the www.kissan.in website tells us, is with the mission to bringing kids and nature together, around growing tomatoes and learning all about tomato farming & provides various other games and contests centered around kids, nature and tomatoes. 

But, what really the kissanpur film is, is about families, in urban India. At a simple level, it’s just about spending time together. But, then it’s about spending time doing something meaningful. It’s about creating something new and beautiful together, from just seeds in a ketchup bottle to a red bright tomato plant. Of seeing magic of of creating life with our very own hands.

As a result this is a piece of content that is not an ad. It is not trying to sell us more ketchup, but is delivering a story and a thought that evokes pleasant emotions, but also leading to a point of view. A point of view on modern day parenting. With this film, Kissan has (wittingly or unwittingly) taken on the mantle of building a progressive parent-child relationship. A 1:1 relationship with our children, where we treat him/her with respect, just like we would any another person. It’s about connecting with children on equal terms, respecting their individuality. It’s about thinking of them as people and not (as someone reminded me once) ‘kids’. This is the real win in this film. It’s not just about getting families together, it’s about progressive parent child relationships.

And if that doesn’t make you go buy some kissan ketchup, then little else will.. 

Thursday, May 8, 2014

Sapphire City - Pepsi IPL May 7th 2014, Delhi

Walking down The Blue Brick Road
What would Dorothy have to say

Today I visited sapphire city
‘Twas Pepsi IPL
And Blue was the day



Pepsi cans @10 cooling Delhi
But that's what blue does to u
Don't it?

Red feeling the heat
Are you "happy" about that too?
C'mon Now, gimme a smile.

Cool & ‘Thanda’ are not the same thing now, are they?

Boys and Girls
Uncles and Aunties
Corporates and freebies
Everyone's a junkie

Shades & Hair Styles
Feel Great, Look good
Gangs of Girls
Many guys, One Dude

Girls dressed down
Guys dressed up
Dew & Aqua
Trop & 7Up

Selfies, Selfies, Selfies, Selfies
Clicking, Smiling, Cheesing, Posing

Restless Teens, Cheering Loud
4 not good enough, 6 in the Cloud

Kids watching Mums
Mums watching dads
Dads watching item girls
But only just a tad
... and Cops watching everyone

Meeting friends
Hanging out
Music and dance
Strategic time out

Feeling hot summer heat
Noting better than a Bollywood beat

Item numbers with Firangi items
DD band desi ek dum
Abey Saalon, Band ko dekhtein nahin uske saamney naachhtey Hain

Only Now.
Nothing before
Never after

Cricket action
Or action cricket
Happily Ever After

IPL Haves. End of Now. Start of Next.
IPL Have Nots. Wonder Outside. What is next

IPL Haves. Back to Life
IPL Have nots. Excitement Passing By

IPL Haves. Will be back for more
Have nots. Try again for sure

Walking out Blue’d, You Look All Around...

Blue was the sideways, Blue was the shops
Blue was the walkways, And even the bus stops

I was in Sapphire city today.
I was in Pepsi City today 

Thursday, February 13, 2014

Dhoom 3, 2013

Ten years is a long time. And in 10 years, we have seen a complete transformation of India - the economy (we are twice the GDP we were 10 years ago), the society (people living in cities has doubled), the politics (no one party can command a national vote bank), the entertainment (over 1000 films every year & over 300 TV channels today). I could say we live in an entirely different India today than we did 10 years ago.

Ask anyone and they will say that our world has changed. And yet somehow, the one movie franchise that, in many ways, marked the coming of age of  a stylised, Hollywood-ishtyle, cool action flick in Bollywood, has not. 

Dhoom 1 in 2004 was one of the coolest movies that Bollywood had made in a long time. You realise how cool the movie was when you think that you actually didn't mind even Uday Chopra and Esha Deol in it. The formula was simple: bikes, chases, heist, a cop who was cool (not pot bellied for a change) and a bad guy, who you equally rooted for. (The Tata Young song was just an icing on the cake). And oh yes, Abhishek Bachchan was cool then, too.

Dhoom 2 in 2006 also kept to the brief with bikes, chases, heist, cool cop, cooler bad guy, and amp'ed it up several notches - glam quotient with an almost-sexy Aishwarya Rai and pretty-boy Hrithik Roshan and epic locations like Rio and São Paulo 

Dhoom 3, in 2013, however falters for the same reason why Dhoom 1 and 2 worked. D3 did "stick" to the brief - bikes, chases and heist in an epic location like Gotham City (Chicago, in case you're wondering) with a glamorous babe (this time Katrina Kaif) and plenty of special effects and stunts. But as a result, it also got "stuck" in time.

Any movie buff will tell you that there are two unwritten rules for a tri-quel to succeed. One, if it is the 3rd in the series and there's likely to be more later, then it needs to break the formula for it to work. Essentially, the third in the series has to break away from its past for it to have a life of its own. Great example in recent times of this is Iron Man 3 (see my review
http://www.books-booze-boxoffice.blogspot.in/2013/05/iron-man-3.html )

However, if the 3rd instalment is the final episode in the trilogy, then the triquel needs to go back to the source of the first movie, like say The Dark Night Rises, or The Return of the King (LOTR) or Scream 3 (remember Wes Craven's awesome scary flick) or even Ocean's 13.

Dhoom 3, unfortunately does neither. It stays too close to D1 and D2, and just superficially adds on gadgets, stunts, smart dialogues and Aamir Khan, all of which feel unnecesssary, irrelevant and plain annoying, respectively.

The movie is about Sahir (played by Aamir Khan) who, after witnessing his father's suicide at the hands of a ruthless banker's rejection of a loan, vows to avenge him by robbing banks and using the money to re-open and glorify the "The Great Indian Circus" (his father's dream). He robs one branch after another (but only of the same evil Western Bank of Chicago, which is still headed by the same manager after 20 years!), scales up the show to great success and glory, recruits the gorgeous dancer-cum-assistant-cum-lover-cum-acrobat-cum-magician  Aaliya (Katrina), and even makes headlines as the mysterious crime-master "joker" (god bless Heath Ledger, may he R.I.P) who leaves behind signature messages (in Hindi, if you please!) in Chicago to the American police force and media. So far so good!

Then enters the cop from India Jai, (Abhishek Bachchan) and his side-kick Ali (Uday Chopra) who are specially brought in from Mumbai to Chicago to solve this crime that the FBI can't! While inspector Jai and Ali feel like the super-competent cops from India (they are even given a gori porn-star-turned-FBI-agent as their assistant), we know the only reason they are here is because nobody in FBI could really read Hindi.

Like every time, it becomes a personal fight between Jai and the bad guy, where the bad guy keeps getting away (with melo dramatic, James Bond like chases with stunt vehicles in land and water), till Jai discovers Sahir's mystery and how he is able to be in 2 places at once (tough to guess that one!). What follows then is an inevitable plot of traps being set (both emotional and real) by Jai, inter-twined by a love-story between Aamir and Katrina, that finally leads to Sahir surrendering and Katrina taking on the legacy to keep the magic show going on, for the love of her lover's father's love (!) (and I suppose for the big bucks the show was making)

It feels like Christopher Nolan was the brief, with copious "inspiration" from The Dark Night for the feel of Chicago and some action sequences (like the bike duel between Aamir and Abhishek and the bad guy calling himself The Joker, arrrgh!) and from Prestige, for the plot, the storyline, the surprise element and ofcourse the entire setting being that of a grand magic show on stage. But, nakal mein bhi akal chahiye, and you quickly find yourself apologising to Nolan, sitting in the hall.

Perhaps the real mystery could have been that it was all a communication mistake. Jackie Shroff (as Sahir's dad) can barely speak clearly anyway through his Bagpiper mouth. On top of that he tried to speak in English in a strange Americanised Indian English accent, trying to convince a banker on collateral, loans & on his financial credibility and assets. No wonder the poor banker didn't get what the man was ranting on and on about, till he finally shot himself! And then Aamir goes about seeking revenge, robbing banks and leaving messages in Hindi. Can you really blame the Americans for not really getting it! Imagine the torture we would have been saved if they only communicated in English.

So, why doesn't the  movie work you still ask? Well...

If Dhoom is about great action and stunts that get your adrenaline going, D3 action sequences are lame, been-there-done-that and too gimmicky to make a real impact. Dear Vijay Acharya (Director), slo mo does NOT make an action sequence wow! 

If Dhoom is about clever heists, not a single heist is shown in operation. You only see an Aamir biking away after robbing the same bank in the same way, with a trademark intense look.

If Dhoom is about cool dudes and dudettes, in a biker-gang, under-ground sort of way, then the casting bombs in a big way. Abhishek Bachchan looks like "has-been", trying too-hard to keep a straight face thru the dialogues, with some strange hair-thing going on his head that is distracting. Then there is Uday Chopra, a "never-been" with same dialogues of mummy and wanting to get married to the slutty chick in the movie, and with no hair on his head (what happened there Uday? Wait, we don't really care). 

But, finally there is the piece-de-resistance, the one thing that could have saved this movie, becomes the biggest disappointment - (and I never thought I'd say this) - Aamir Khan, the "been-there" guy. What happened dude? (And this we do care). Between the double role of the intense, clever, revenge-seeking Sahir and the clichéd mentally-challenged Samar (autistic Dustin Hoffman joke-of-a-copy from The Rainman), Aamir puts out a blooper. His muscled up body also doesn't make an impact on the character (unlike in Ghajini) and is just there as a show piece for everyone to clap to. He even stereo-types the 2 looks - one a frowned intense look (think Fanaa) and the other (brace yourself) - wide eyed with tongue sticking out! For someone who made Taare Zameen Par, you would expect a more real portrayal of a character that has a medical mental abnormality. Aamir, we'll put D3 in the box of your movies we quickly want to forget (like Fanaa and Raja Hindustani). When's your next one coming out?

The only saving grace (never thought I'd say this either) in the movie is actually Katrina Kaif, who comes as a breath of fresh air, and feels like (again never ever thought I'd say this) the only real thing in the movie. She plays the earnest starry-eyed new performer role well. She's really learned to dance and move like a diva and she puts that on display full-too. It's another thing that she was quite irrelevant to the main plot or story. Pity!

The music is the other big disappointment. Not one song is enjoyable or even hummable after the movie. Both D1 and D2 had good music that lived longer. And in D3, you feel bad at some nice glitzy performances in the movie (like the Aamir-Katrina stage flying act, and Katrina's solo locking-and-popping) that could have had a much longer-lasting impact, had it been performed on better music.

You realise how sad the movie really is at the climax scene, when you are supposed to be wondering if they will die or not, will they redeem themselves, will it be a happy ending, what will happen.. And you realise the only thing you really care about by that point, is how quickly can you get to the parking lot, so you don't get stuck behind other cars... 

I suppose all I can say...

"Bundey Hain Hum Uske, Hum Pe Kiska Zor
Is Movie Ne Humko Bahut Kiya Bhai Bore"