Tuesday, June 14, 2016

Sairat, a commercial hit, a bad film because it has no artistic merit and it pretends to be different from the mainstream, masala movie

Many of those who have been bowled over by the freshness of Sairat, the love story of village teenagers, are not familiar with mainstream, masala Tamil film, with their techno-music, superior photography and unqualified melodrama delivered in Brian de Palma fashion. Archana Patil and Prakash Kale, the star-crossed lovers, played by Rinku Rajguru and Akash Thosar has all the loveliness of innocent love, but it is not an original theme conjured by Nagaraj Mule. It has been played out times without number in Tamil movies, which showed social fault-lines and tragic consequences. It is not explosive social commentary that many of those who have been bowled over by the movie seem to believe it to be. Rinku Rajguru, who was born on June 3, 2001, shows disarming innocence and so does Thosar, born n 1983. Director Mule was born in 1977. The last scene was the most predictable. There are some interesting cinematic effects, especially in sound. The silence of the last frame is interesting but it does not make a dramatic impact. The sound of the the swimmers splashing into the water is interesting but nothing more than that. The least impressive part is the background score of the film by Ajay-Atul, which is loud and silly, a poor imitation of Ilyaraja.
The character of Archita Patil, played by Rajguru, the girl who is shy and bold, feminine and tomboyish, is the staple of film heroines in general. So she riding a Bullet to the school or the tractor through the village makes one smile, but it lacks originality of any kind. In comparison, Mahi Singh carrying the mattress on a bicycle to a field in Anurag Kashyap's Dev D is far more interesting.
The film has lively songs and it is carried on the shoulders of the 15-year-old Rajguru. She personifies playfulness and passion in full measure, something which has not been on display since Divya Bharati.
Sairat is a lovely ordinary movie despite its unnecessary length, virtuoso photography which is quite ostentatious and does not really add a whit to the authenticity of the film.
The problem with Sairat is not the film itself, but all those ignoramuses who had burst into hyperbole in describing the movie. There is a crisis in film criticism in India. All those who want to be film critics in India must be made to watch mainstream, masala Tamil films so that they understand the innovations in concept and execution that are taking plce in India.

No comments:

Asghar Farhadi's Salesman, an understated complex movie that fails to come to terms with its own ccomplexity

On the face of it, Asghar Farhadi's Salesman , the winner of the 2017 Oscar for the Best Foreign Language film, appears to be an overwro...