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Archive for December, 2004

Raincoat

Posted by admin on 31st December 2004




Raincoat


“Raincoat” … essentially a chamber piece, it weaves a narrative with just two characters in most of the frames.

RITUPARNO GHOSH’S maiden Hindi film, “Raincoat,” is not quite about memories as it is about deception in love. Manoj walks into Neerja’s Kolkata home on a rainy afternoon in a raincoat to meet one who was once his lover in Bhagalpur. A little later into the movie, Neerja walks out in that raincoat to buy some food for him. The film’s title emerges from these two acts, although one could not quite understand how the raincoat forms the centrality of the theme.

Admittedly, it contains a certain key that helps Neerja to see through Manoj’s little yarn of lies, provoked partly by Neerja’s own tale of make-believe and the man’s misunderstanding of the woman’s wealth and comfort. So, one presumes that this is the inspiration for the title.

For a little over two hours, Ghosh keeps his audience engrossed in a movie that is essentially a chamber piece, and one which weaves a narrative with just two characters in most of the frames. This has been achieved, one would suppose, through some unlikely dialogue hardly ever heard in common Bollywood fare. But, a greater grip over viewer attention has been attained through some good acting styles.

“Raincoat” can easily be Aishwarya Rai’s best performance, and as Neerja, the former beauty queen appears to have shed her inhibitions about looking unglamorous. In fact, most of time, Rai looks quite plain (and about time too…do we not remember her as Binodini in Ghosh’s earlier work in Bengali, “Choker Bali,” where Rai’s failure to look her part as an early 19th century widow partly destroyed the essence of the film). What is more, she seems to have made an earnest effort to emote, using less of her body and limbs and more of her face, and eyes in particular.

The second half of “Raincoat” highlights Ghosh’s sensitivity, and, yes, courage as well to give us a work in Hindi without the idiocy of garish colours and the boring rituals of song and dance. The movie journeys from the coasts of the present into the deep bowels of nostalgia to ferret out moments of great expectancy and articulate narrative patterns.

It is a character study of two derelict lives play-acting for one another’s benefit. The plot and its unfolding are extremely Chekovian. Not just this, one could even notice a touch of Ray in “Raincoat” in the scene where Neerja begins to shut the windows. Does this not echo one from the master’s “Charulata.”

Yet, Ghosh is perfectly capable of spoiling a great moment: when Neerja weeps in Manoj’s arms, he quips that this is what happens when one watches too much of soap. A poignant occasion is wasted, and Rai loses a wonderful opportunity to metamorphose her role into something remarkably memorable.

Ajay Devagan as Manoj is Devagan, as we have seen him in an umpteen number of parts earlier, although Ghosh draws the actor out of a certain woodenness that he is known for. It is through him that Ghosh’s work begins to resemble a typical Shakespearean tragic comedy, where the film’s characters put up a show of grandiose existence, while in reality both lead wretched lives. Even in the end when the raincoat helps establish a modicum of truth, no effort is made by either Manoj or Neerja to drop the facade they have created ostensibly to make each other happy.

Abhik Mukherjee’s camera helps to keep this bleakness alive by capitalising on shadows rather than on light, implying the sadly extinguished world of Neerja.

Annu Kapoor who is just brilliant as the cameo landlord appears as a single source of light to chase away misconceptions. Even when they melt away, Neerja tries to hide behind them, keeping alive the illusions that in the first place estranged her from Manoj at Bhagalpur.

Ghosh’s “Raincoat” coming after a string of rather mediocre movies deserves to be commended, and all the more so because of the director’s bold move to shift from his familiar Bengali lingo. One suspects Ghosh makes up for this by setting his story in Kolkata, even though it has been largely shot indoors. Yet, a certain refreshing Bengali simplicity runs through the frames enriching its visual appeal. Yes, there are times when it sags, and one begins to feel that Ghosh has run out of ideas, but even then “Raincoat” has the power to engross us. Recommended with minor reservations.

GAUTAMAN BHASKARAN


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War And The Deer Hunter

Posted by admin on 31st December 2004


War and the deer hunter


The interest in the killing of six people by a Hmong American in Wisconsin goes far beyond the dangers of deer hunting and of murder in general; it has taken racist undertones, adding to the woes of the Hmongs, victims of the United States’ war in Indochina.

ON November 21, in Sawyer County, Wisconsin, a massacre took place. A 36-year-old United States National Guardsman shot eight people, killing six. The court indictment details the unfortunate events. The man, Chai Vang, trespassed on the lands of Robert Crotteau in a frigid part of the U.S. that borders Canada. What happened next is unclear. Vang alleges that the men surrounded him, began to assault him with racist phrases, and fired a shot at him. He then commenced to shoot at them. The survivors dispute this story. According to Sawyer County Sheriff Jim Meier, after Crotteau told Vang to leave the land: “The suspect got down from the deer stand, walked 40 yards and fiddled with his rifle. He took the scope off his rifle, he turned and he opened fire on the group.” It took less than 20 shots for Vang to hit eight people. In the California National Guard he earned an Army Service Ribbon as a sharpshooter. Vang is currently incarcerated, awaiting trial.

Chai Vang, like the men he killed, had gone to the north woods to hunt deer. Each year, thousands of people like the Crotteaus and Vang leave their city and town lives to camp out for a wilderness experience. Because many of those who hunt are amateurs, each year finds more and more people falling victim to accidents (they average about 140 per year, with about 20-25 fatalities). This year, in Wisconsin, the rate of hunting accidents has already crawled above the mark for last year, and the season is still on. Tim Lawhern of the Wisconsin Department of Natural Resources told the Associated Press: “History has shown over the last few years the gun-deer season often provides us with 50 per cent of our total hunting accidents.” Deer hunting is always dangerous but this was plainly murder.

ANDY MANIS/AP


Chai Vang in the Sawyer County jail.

Nationwide interest in this incident went far beyond the dangers of deer hunts and of murder in general. What sparked the media frenzy was the perpetrator himself: Chai Vang. Two decades ago, Vang left his native Laos for the U.S., where he eventually settled in St. Paul, Minnesota, married a Hmong woman, raised six children and many chickens. His family and friends say that he is a renowned shaman, who caters to the 24,000 Hmong refugees who make St. Paul their home. Indeed, this Minnesota city is the largest Hmong city in the world. Some of Vang’s friends, and his brother, have begun to mount a cultural defence, arguing that the Hmong are averse to ideas of private property, that Vang may not have known he had trespassed and that since he is a shaman he might have been in a trance. His detractors argue that he has lived in the U.S. for 20 years and is aware of the laws associated with hunting. A few years ago he received a citation for over-fishing in a local river, one of his few run-ins with the law (another, most disturbingly, was a 2001 domestic violence incident when he threatened his wife with a handgun).

SCOTT OLSON/GETTY IMAGES/AFP


A sign board near the hunting cabin of Robert Crotteau.

A local businessman in Haugen, Wisconsin, told the Associated Press: “It’s pathetic. They let all these foreigners in here, and they walk all over everybody’s property.” The questions that lingers in all the news reports, but is unanswered, is why are the Hmong here?

IN the hills of Laos, around the Plain of Jars, the Central Intelligence Agency (CIA) inherited a Clandestine Army that had been fashioned out of the Hmong (Meo) communities. Persecuted in south Szechwan province in China for several hundred years, the Hmong eventually fled en masse in the mid-19th century for the northeastern hills of Laos. By 1971, Laos was home to 2.5 million Hmong, most of whom were involved in slash-and-burn agriculture and the opium trade. Rice allowed the Hmong people to subsist, opium allowed the Hmong elite to rule. After the French entered the region in 1893, they began to buy opium in large quantities from the Hmong, even creating a special tax to drive more Hmong into opium production. The “warlord” structure of Hmong society benefited the French who relied upon some influential leaders to both provide the opium, and to destroy any resistance, notably from the Hmong Resistance League in the mid-1940s. The Hmong Clandestine Army grew out of these local enforcers.

When the U.S. government took over from the French, they began to use this Army against the slowly growing movement of the communist Pathet Lao. This 30,000-strong army under the command of General Vang Pao worked for the CIA from 1960 to 1975. Edgar “Pop” Buell, the CIA official who ran the Clandestine Army and the Plain of Jars, described the Hmong army: “Thirty per cent of the kids were 14 years old or less and about a dozen were only about 10 years old. Another 30 per cent were 15 or 16. The rest were 35 or older. Where were the ones in between? I will tell you, they are all dead.” The ones who joined the force “are too young and are not trained. In a few weeks 90 per cent of them will be killed”. Buell and Pao sent the Hmong army forward like cannon fodder, using them in the most dangerous missions against both the Pathet Lao and the North Vietnamese Army. The loss of life grievously damaged Hmong society, and with a shortage of field labour, the only economic crop that enabled survival became opium. From an Indiana farm background, Buell encouraged the Hmong to grow their poppy more effectively. “If you’re gonna grow it,” he said, “grow it good, but don’t let anybody smoke the stuff.” Opium became the main crop in the area, and as the Pathet Lao surrounded the Plain of Jars, the U.S.-funded Air America service had to fly out the crop to the market or else lose the only economic basis of its main infantry force in the region. The Hmong homeland became Ground Zero of the Golden Triangle.

ST. PAUL PIONEER PRESS/JOE ROSSI/AP


The site of the murder of six people in Wisconsin.

“Now they are all destitute,” said an American relief worker, “as a direct result of the attrition they have had to endure, from the battles we encouraged them to fight.” In 1970, Buell told a reporter: “The best are being killed off in this country and America will never be able to repay them for what they’re doing.” Nothing the Hmong endured until then would measure up to what happened five years later. When the U.S. finally withdrew from Vietnam in 1975, they left their loyal allies, the Clandestine Army and General Pao behind. The CIA eventually extricated Vang Pao and settled him on a 400-acre farm near Missoula, Montana. The bulk of the Hmong faced the Pathet Lao without U.S. air support, only to be killed in large numbers. About 200,000 Hmong crossed the Mekong river into Thailand. The Thai government put them in camps, eventually got the governments of Australia, France and the U.S. to allow some to emigrate and recruited a group of them into another secret army, this time against Thai Communists. In 1991, the U.S. government spent $15 million to close the Thai camps and to send the Hmong back to a hostile reception in Laos.

When I lived in Providence, Rhode Island, I met a group of Hmong families. They used to come to the local farmer’s market and sell their quilts. While many of the quilts had traditional designs, one repeated pattern told the story of the Hmong migration. It begins with the CIA contact in the hills of Laos, tells of the Hmong combat against the Pathet Lao, then of their abandonment by the U.S. government and eventual flight into Thailand. The last frame shows a Hmong family disembarking from an aircraft into the U.S., where a hostile policeman greets them with his semi-automatic gun. Resettled in cold cities that had not been sufficiently prepared for this influx of migrants, the Hmong have had a hard life in the U.S. Poverty rates among the Hmong remain high (64 per cent); their per capita income ($2,690) is much lower than the national average ($30,271) and close to three-quarters of Hmong children are raised in poverty. Being poor in America means that they have an adversarial relationship with the police, who work largely to maintain discipline among those whom the state has abandoned.

UNLIKE the Cuban and Vietnamese refugees who have an animus against progressives and favour the Republican Party, Hmong Americans see the world from their social condition and vote overwhelmingly for the Democrats. Their lives have been dire but in each of their resettlement cities they have formed progressive organisations. These organisations (such as Providence’s Hmong United Association) protect the community from the wiles of the state and ameliorate the after-effects of war and dislocation. The strongest organisations in the Hmong American community (such as St. Paul’s Women’s Association of Hmong and Lao, and Sacramento’s Hmong Women’s Heritage Association) take on the prevalence of anti-woman violence and the deep-seated misogyny in the Hmong community. Chai Vang’s assault on his wife is an example of this, but so too is child marriage, bride price, polygamy and a disdain for the education of girls.

In 1978, American cinema audiences sat riveted by Michael Cimino’s The Deer Hunter. The movie followed the lives of a group of working-class friends from western Pennsylvania who spend their leisure time in a bar or in the forest, hunting deer. They are shipped off to Vietnam, get captured and tortured, and eventually one of them, Mike (played by Robert De Niro) returns home. The other friends are either dead, or broken. For old times sake, Mike goes hunting deer with some acquaintances. A deer comes into his range; Mike aims at it, then, removes his finger from the trigger and yells, “OK.” The hunt is over. The war has killed his desire to kill. Mike is America’s hope, that Vietnam can be overcome. In the forests of Wisconsin, another group of white men, during this time of war, came up to a man who, to them, looked Vietnamese, and (according to Chai Vang) yelled racist insults at him. The incident of Chai Vang, his deer hunt, is also the legacy of the Vietnam War.


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Britney Exercises Her Prerogative

Posted by admin on 30th December 2004


Britney exercises her prerogative

In an exclusive e-mail interview, Britney Spears reveals all about her (strictly musical!) past, future, and her new album

THE LOLITA who stormed the music scene with Baby One More Time is turning her prerogative this time around sporting a mature in-your-face image, strong electronic-sounding music, with a CD release of her greatest hits album, My Prerogative (Sony Music; CD Rs. 399; cassette Rs.135).

Read on as Britney gives straight, short and sweet answers to questions MetroPlus shot to her.

Recently, the video of Me Against The Music was much talked about. The media accused you of diverting people’s attention to your videos rather than the music. How would you reassure your fans and maintain their faith in your music?

That single was received well because it was a great song. People buy CDs to listen to music, not watch videos. I let my music speak for itself.

After your first two albums, the music in the album Britney was strikingly different, which marked the arrival of a more mature Britney. Is this the sort of music your fans should be expecting in the future as well?

I haven’t really planned out my future projects. Right now, I’m concentrating on just taking a break, which I need very badly now!

These days, we see a lot of mash-ups and collaborations in the pop music world in order to sound different. Do you feel the risk of sounding stereotyped and unoriginal if you do not collaborate with other artistes?

I always wanted to collaborate with Madonna, hence I did. She is a great artiste and I admire her a lot.

If you were to preview the new singles in your greatest hits album to your fans, what would you tell them?

They’ve all got a new sound, listen to the record and you will know what I mean.

You have a considerable fan base in Asia, even in India. Can your Indian fans expect you to tour the country sometime?

I certainly hope so. It’s a very beautiful country. I’ve heard a lot about the place and would personally love to come there some time.

What would be your general message to your fans, and anything specific you would like to add for your fans in India?

India is a beautiful country and I would love to perform for all my fans there one day — very soon. And thank you for all your support.

A. VISHNU


Hindu On Net

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Who Was… Michelangelo?

Posted by admin on 28th December 2004


Who was… Michelangelo?

IF LEONARDO DA VINCI has a high recall value no thanks to Dan Brown, another renaissance artist is a great favourite with the high priests of pop culture. His name appears in a famous poem by T.S. Eliot, one of his works figures in the opening frame of Ben-Hur, Charlton Heston who plays Ben Hur plays him in the movie version of a bestseller by Irving Stone. No prizes for guessing this colossus among the Renaissance — it is Michelangelo Buonarroti (1475 – 1564).

Born on March 6, 1475 at Caprese in Tuscany, Michelangelo was the second of five brothers. He was nursed by a wet nurse from a stonecutter’s family where he “sucked in the craft of hammer and chisel with my foster mother’s milk.” Michelangelo was 13 when he told his horrified father that he would study art with Domenic Ghirlandaio. He studied fresco for a year and then went on to study sculpture at the Medici gardens. He was invited to the household of Lorenzo De’Medici and got acquainted with the younger Medici. Like Da Vinci, Michelangelo studied corpses to understand anatomy. By the time he was 16, he produced two relief sculptures — Battle of the Centaurs and the Madonna of the Stairs. The death of Lorenzo Medici signalled the collapse of Florence and Michelangelo went to Rome to study classical art. The marble Pieta (1498 – 1500), where a regal, restrained Mary holds the dead Christ in her lap, was created during this time. Days after the Pieta was installed in Saint Peter’s Basilica, Michelangelo overheard a remark that the work was done by Christoforo Solari. Enraged, Michelangelo chiselled his name on the work — the only work that bears his signature. The Pieta inspired art historian Giorgio Vasari to comment, “it is certainly a miracle that a formless block of stone could ever have been reduced to a perfection that nature is scarcely able to create in the flesh.”

David (1501 – 1504), another of Michelangelo’s well-known works, is emblematic of the artiste’s political beliefs, with an incredibly well-muscled David looking Goliath and challenge in the eye.

Michelangelo’s temper was as legendary as his artistic prowess and his rivalry with Leonardo da Vinci was well documented. While Michelangelo was not temperamentally tuned to taking orders, he had to accept the Pope’s (Julius II) commission to paint the ceiling of the Sistine Chapel (1508 – 1512) in Vatican. Michelangelo believed that nature had to be overcome — he felt the job of the sculpture was to free the forms from stone.

As he writes, “I saw the angel in the marble and carved until I set him free.” Any surprise that Vasari writes, “The benign ruler of heaven graciously looked down to earth, saw the worthlessness of what was being done… and decided to send into the world an artist whose work alone would teach us how to attain perfection”?

MINI ANTHIKAD-CHHIBBER


Hindu On Net

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A Crisp Kachori Never Hurts

Posted by admin on 25th December 2004


A crisp kachori never hurts

Ever tried Multani moth kachori from that little known shop in Multani Dhanda?


For some hot fare… Multani moth kachori at Multani Moth Bhandar in Delhi. Photo: S. Subramanium.

FOOD STORIES come from the unlikeliest of places. So, when at a barber’s shop, a client started talking about a little-known tradition of Delhi cuisine, everybody else with a white sheet below the chin stopped staring at Madhuri Dixit’s poster on the wall to take notice of what was being said.

The topic of conversation was the Multani moth kachori. Not many in the small hairdresser’s stall in Gole Market had heard about it. The raconteur knew what he was talking about. In one corner of the city in Multani Dhanda was a man who sold moth (to rhyme with boat). Moth – which is essentially a dal, a bit like moong – is something that challenges all those who think that street food in the city starts and ends with papri chaat. Moth, in fact, has over the years been added to Delhi’s culinary tradition. The city’s eating habits record the history of turmoil. The influx of refugees into Delhi after the Partition of India changed the food culture of the city forever. Since most of the refugees were from West Punjab, the cuisine began to change along with the city’s own metamorphosis. The refugees were gutsy eaters from Punjab and the Frontier areas of today’s Pakistan and left their mark on what is known as the food of Delhi. The uprooted, yet indefatigable community added two indelible words to the lexicon of Delhi’s food: the tandoori and butter chicken.

Over the years, Delhi has enriched its own union of Muslim-Punjabi food, which, while tasty, tends to dismay the purists. The practice of overdosing a gravy with cream, tomatoes and kasuri methi and calling it Mughlai causes both heartache and heartburn in food lovers. So when somebody – like the earnest gentleman getting his hair cropped – talks about one of the abiding chapters of the city’s oral food history, it evokes hope in a true gourmet.

Multani delight

The Multani moth is one such chapter. The place is tucked away in the heart of the city. The North End Road from Gole Market, across Panchkuian Road, connects to the Deshbandhu Gupta Road crossing, with the Paharganj police station on the left. A right turn on Deshbandhu Road – towards Sheila Cinema – and a left from The Kashmiri Sweet Shop lead to the Multani Moth Bhandar. The place is on the left in gali number six of Multani Dhanda.

It’s a small, inconspicuous shop doing great business. There are artistes at work here, for each plate of moth is prepared lovingly and painstakingly. A huge patila opens up to give a tantalising vista of steaming moth. The dish goes like this: first, a layer of cooked rice is put in a donga, on top of which the moth dal is placed in another layer. A pinch of Multani masalas is sprinkled on top of the mound, and some slices of sour raw onions are placed around it. And instead of a spoon, you use two crisp kachoris to scoop out the moth.

The moth has a uniquely delicious taste – it’s both crunchy and velvety like a good dal ought to be. It is spicy, but not chilly hot. And at Rs.7 a plate, it is real value for money.

The moral of the story is this: at a salon, you may keep your eyes glued to the poster of Madhuri but don’t forget to keep your ears open as well. A little nugget picked up there can lead to a journey into history.

RAHUL VERMA


Hindu On Net

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