The year that killed a dream

2011 is about to go by and looking back this has been a pretty slow year on a personal front. A lot happened in the country and countries across the world. Arab world seems to have taken to streets to remove despots and autocratic regimes. Though it is a very good thing that people can still, I can’t help but wonder do they have grass root democracy to fill the void or they again will be replaced by bigots and crackpots. North Korea lost a dictator but all practical reasons was replaced by another, Cuba came very close to losing its, however, Fidel Castro is hanging on to life if not to the power itself. Imran Khan has taken a stance in Pakistan and is rallying for the next election even at the cost of being on the side of right wing politicians.

India could have a landmark year if Lokpal bill is passed, at the time of writing the lower house has passed it but the tougher battle is in the upper house. Anna Hazare started a movement on streets with the civil society and then the government was forced into taking some actions. Though we know that there are so many points of views that we would never have a unanimous decision on it but even if it comes close we should be happy. It has been hanging around for 42 years and it was high time we do something about it. In the last few years we have two legislatures which in a decade or so could become the foundation of Indian democracy in RTI and Lokpal. Like everything these would also take its own time to settle down however a redressing mechanism would be set forth.

Every time I see a mass turnout in streets in favour of any kind of revolution, I am reminded of Faiz’s classic, ‘aaj bazaar main pa bajolan chalo’

चश्मेनम जानेशोरिदां काफी नहीं
तोह्मतेइश्क़ पोशीदा काफी नहीं
आज बाज़ार में पबजोलां चलो
दस्त अफशां चलो, मस्त रुख्सां चलो
खाख बरसर चलो, खूं बदमान चलो
राह ताकता है शहरेजना चलो

Chashm-e-nam, jaan-e-shoreeda kafi nahin
Tohmat-e-ishq-posheeda kafi nahin
aaj bazaar main pa-bajolan chalo
Dast afshan chalo, mast-o-raqsan chalo
Khak bar sar chalo, khoon badaman chalo
Rah takta hai sub shehr-e-janaan chalo

Watery eyes and restless soul is not enough,
being charged for nurturing concealed love is not enough,
let us walk in the streets in shackles,
go empty handed, dancing you go,
let the dust get in your head and blood on your clothes,
the whole city is watching, now lets go


However, all was not well this year, India lost stalwarts and somehow most of them in the field of Art and Literature. In one year a generation who had inspired us were gone, Shammi Kapoor, MF Husain, Gautam Rajadhyaksha, Subhod Sarkar, Satyendra Dubey, Bhimsen Joshi, Sri Lal Shukla, Bhupen Hazarika, Mansoor Ali Khan Pataudi and Jagjit Singh. Though death is a very weird feeling for me, I am not at all afraid of dying however the death of others always affects me in a profound way.

One of favourite quotes which Sartre had put it so eloquently says,

“One always dies too soon - or too late. And yet one's whole life is complete at that moment, with a line drawn neatly under it, ready for the summing up. You are - your life, and nothing else.”

Hence now we can only measure their lives with their contribution to the society and more to ourselves as individuals.

Two people who made an enormous contribution to my memories are also the ones we lost in this year. The first one was Anant Pai, or fondly Uncle Anant Pai, who had passed away in February. Anant Pai was the creator and till 1999 the Managing director of ‘Amar Chitra Katha’. In the 70s and 80s when India wasn’t liberalised and either we were bombarded with Russian books from the erstwhile USSR or hoped to get our hands on the Marvel and DC comics there was our saviour ‘Amar Chitra Katha’. The magical telling, retelling, reading and re-reading of the Indian mythology, folk tales, and biographic accounts of historical & mythical characters built my childhood memories. Like everyone of my generation we cannot take away those memories. I know most of the Indian mythology through these books can’t imagine what my life would have been without them. I think it was ‘Surya’ or Dashavatar’ which was my first ACK, today I have around 200 of them and each time I walk into a book store I keep hoping to buy the full 440+ of them. He also started ‘Tinkle’ which also became famous in the 1980s. So for all those great memories, moments and till a large extent the person I am, I owe it to Uncle Anant Pai.

This article is named ‘The year which killed a dream’. I always wanted to meet Devanand. He was my hero initially because he was cool but later because he was super-cool the way he led his life, I have always admired men, like Devanand or Khushwant Singh, who have lived there lives with honesty and dealt with their relationships with maturity. With his death that dream of meeting him has died forever, when we lose someone in a relationship we feel bad but somehow we have a feeling that we would meet them somewhere or sometime. But when someone dies that strand of hope is broken and his death at least killed that dream of mine.

Though it was quite strange that he was my hero. In early 80s when he was really past his prime people looked for Amitabh Bachchan or were hopeful of Sanjay Dutt, Anil Kapoor or Jackie Shroff. His movies were introduced to me by mother and aunts who were really fond of him. Actually everyone in my family was fond of Dev Saheb, including my father and uncles. I remember a long time ago one of my uncles came back after watching Swami Dada and was telling me its story. Though, I think my first Devanand movie was ‘Jewel Thief’ on a Sunday evening on Doordarshan and instantaneously I was hooked to the plot. Especially, during summer vacations when we all cousins got together we watched a lot of his movies on those old video cassettes. We became big fans of him. He was the coolest hero in the industry; he was that urban hero, that eternal romantic and the optimist amongst the gloom, naive or a hillbilly which Dilip Kumar or Raj Kapoor represented. But as I grew up I realised that he represented more than just that, he was a workaholic, he kept making movies even when they failed, he never looked back, never cared about failures and above all he led his life with utter honesty. Honesty doesn’t always mean that you do the right thing; it actually means that you are honest about your flaws too and that was Devanand.

A person is not only judged by himself but also by the company he keeps. He was friends with everyone including Raj Kapoor and Dilip Kumar with whom he formed the trinity of Indian Cinema. Supposedly when Dilip Kumar heard of his demise he refused to come out of his bedroom for hours. But his real close friends were, father and son duo of S.D. and R.D., Sahir Ludhianvi whom most would regard as the best poet and lyricist of the movie industry, Md. Rafi and Kishore Kumar, they all combined give some of the greatest songs in the cinema.

They gave us unmatched philosophy, heart aching sadness, the cool romance, fun & frolic, the devotion towards the almighty, the freedom of a liberated woman to the agonizing wait for death.

Of course, the list won’t be complete without mentioning the incomparable Gurudutt. The story of their friendship is very interesting, they both used to share the same laundry and one day Devanand found his shirt missing, he reached with his only other shirt, which wasn’t clean, to the studio to shoot for his first movie where he saw the choreographer wearing his shirt. When confronted the choreographer acknowledged that it wasn’t his shirt and the laundry had given him the wrong one, but he had to wear it because he had none other. They became friends and promised that Gurudutt would be his director if he made his movie and Dev would be the hero in his Gurudutt's production. Devanand gave Indians the gift of Gurudutt’s genius through Baazi and Gurudutt gave Devanand one of his biggest hits in CID.

One of the best eulogy to him was done by ‘Sontosh Desai’, in his ToI blog, called, ‘The death of time’, which ends with a line which epitomises the essence of being Devanand and the reality of Death, ‘When Dev Anand dies, you know that death is no longer playing games, it means business.’

Indian movie industry is built on songs, music and dances and that hasn’t changed over time, we romance using songs, we sing when we are sad, we tease, laugh and gloom using songs. We sing in the praise of our nation and we sing in the times of revolution. There is a song when someone gets married and there is one when someone passes away. Our movies are entrenched with them. As, Feroz Khan used to say, “The art of rendering a song on screen started with Devanand and would end with him”. Hence, here are some of my favourites which are a slice of what Devanand could do while rendering a song, this includes some of the songs from his movies which might not feature him but show the brilliance of his philosophical leanings. This is as much a tribute to Devanand as to Gurudutt, Chetan Anand, Vijay Anand, S.D. Burman, R.D. Burman, Sahir Ludhianvi, Shailendra, Md. Rafi, Kishore Kumar, Mukesh, Talat Mahmood and Hemant Kumar. None of them are with us any more.

The start of his movie carrier was dominated by his love affair with Suraiya and they sing from movie ‘Jeet’




As he lost his love, he became his own man and did movies which were way ahead of their times, here is a classic from ‘Patita’, his movies were always ahead of times.




He made a comedy thriller under his own banner Navketan called ‘Afsar’ based on Nikloi Gogol’s novel which spawned a series of crime thrillers out of Bombay. Baazi and Jaal directed by Gurudutt were big hits, Jaal showed him as an anti-hero which is as close to villain as Hindi movies could get till today.




CID, produced by Gurudutt was the biggest hit of both their carrier., but here is a song which doesn’t feature Devanand but another of their lifelong friend in Johnny Walker.





Munimji wasn’t a very big commercial hit but this song is still one the great songs sung by Kishore Kumar.



This was the start of phenomenal decade for him, which saw him reach the peak of his stardom:
1956, Paying Guest




1957, Nau Do Gyarah



1958, Kala Pani, the quintessential Devanand which paired him opposite utterly beautiful Madhubala,



or Solvan Saal opposite gorgeous Waheeda Rehman, Waheeda Rehman became his favorite actress and they worked in many more movies to come






1959, Kala Bazaar




1960, Bambai ka Babu



1961, Hum Dono, where due to S. D. Burman’s illness, his then assistant Jaidev gave immortal music to this movie, though I really like 'Allah tero naam' but here are two of my favourites







1962, Baat ek raat ki




1963 , Tere Ghar ke Samne




1964, Teen Devian




1965, Guide, Outlook magazine had carried a poll of experts in 2006 to select 20 best songs of 20th century and 2 songs from Guide were in the top 5 and 3 in top 10 and though it is very tough to choose from probably the greatest album of Indian cinema, here are 2 of them








Then later came Jewel Thief



Prem Pujari



Johnny Mera Naam



Tere Mere Sapne




And an iconic movie which gave Indians a new kind of woman, Hare Rama Hare Krishna, a movie which was a decade before its time



After this he made a lot of movies, some worked, most didn't however, my pick of the song amongst them is from Joshila,



Devanand’s life reminds me of a Harivansh Rai Bachchan’s poem and specially the final verse,

काली काले केशों में कमल सजाये
चुपके चुपके आई
मैं उजले मुंह, उजले वस्त्रों में बैठा था
पथ पर थी उजयाली छाई
तुम कौन
मौत
मैं जीने की ही जोत जुगत में लगा रहा
बोली मत घबरा स्वागत का मेरे तुने सबसे अछ्छा सामान किया
मैंने जीवन देखा
जीवन का गान किया

Kaali kaale keshon me kala kamal sajaye
chupke chupke aayee
main ujle munh, ujle vastron me baitha tha
path par thi ujyali chaayi
tum kaun
maut
main jeene ki hi jog jugat me laga raha
boli, mat ghabra, swagat ka mere tune sab se achha saaman kiya
maine jeevan dekha
jeevan ka gaan kiya


Adorning black hair with black lotus in her hair,
She came silently,
I was sitting there bright faced, wearing white clothes,
Even the way was illuminating,
Who are you?
Death, she said,
But I was so engrossed in living,
She said, Don’t worry, You have accumulated the best possessions to welcome me,
I saw life,
I lived it to the fullest

Seven: Blade Runner

Director: Ridley Scott
Year: 1982
Cast: Harrison Ford, Sean Young, Rutger Hauer, Daryll Hannah


Blade Runner came after Alien by the same director and with this he created a master piece. The movie itself has a philosophical base based on Phillip K Dick’s novel, ‘Do Androids dream of Electric Sheep?’


The movie is set in the future, 2020, where a retired law enforcement officer is brought back to eliminate ‘replicants’. The first scene itself tells you about the dystopian world you are about to enter, its dark, gloomy and filled with all kinds of filth around you. You know that already people who could afford to leave have left for the other planets, what is left is the scum and those who are here to suck the last resource of this earth. Perpetual rain makes it gloomy and depressing.

Replicants are humanoid creatures which are used in dangerous places on other planets where humans can’t work. After a bloody rebellion at one of these colonies they are prohibited to come back to earth. However, some of the replicants have sneaked back and now it’s up to Rick Deckard (Harrison Ford) to hunt them down or ‘retire them’. Replicants are manufactured and are so human like that they are given memories and feelings of being a human and hence they forget about their identity too. Replicants have a problem that they would automatically retire after four years, so basically their life span is only four years and here the renegade replicants are seeking to meet their creator to increase their lifespan. The creator is Tyrell Corporation and its eccentric scientist Tyrell.

Deckard, Gaff and their boss Bryant, realise that these replicant are on loose when Holden is killed while he is administrating a Voight-Kamff test which enables human to distinguish Replicants. While visiting Tyrell corporation Deckard finds that Rachael (Sean Young) new model of replicants are far more adaptable. While going through the evidence Deckard finds a picture of Zhora in his works and tracks her down at a strip club. After retiring he is confronted with Leon but he is saved by Rachael. Leon is retired too. In the meantime Roy, the leader of the replicants is trying to get into Tyrell Corporation to meet Tyrell. Here is uses Sebastian a young scientist suffering from aging gene to get inside the Tyrell. Roy and Pris are the only ones left.

When Roy meets his maker he tries to reason with Tyrell for extending his life and when he fails he kills him too. Deckard reaches Sebastian’s apartment and is ambushed by Pris. He is no match to Pris but he is able to fight off and retire her too. Roy comes back and finds Pris lifeless and gets annoyed. He chases Deckard to the roof of the building where Deckard tries to leap of to the other building but falls short and is hanging at the edge. Roy follows him, holds his hands and pulls him up before he delivers his last sentence. “I've seen things you people wouldn't believe: Attack ships on fire off the shoulder of Orion; I've watched C-beams glitter in the dark near the Tannhauser Gate. All those moments will be lost in time, like tears in rain. Time to die." He retires due to aging in just four years.

Deckard goes back home to get Rachael and as they are leaving for their uncertain and short future, he finds an origami unicorn, a sign of Gaff. The ending is open to interpretation on whether Deckard was a replicant too.



Philosophy:
I have always believed that like great literature, great movies also become far more interesting to watch when you start asking the higher questions through them. This movie is full of them. Of course these are my thoughts and things that I have understood and read around it, they are not a philosopher’s interpretation of this movie or these questions.

I saw Blade Runner much after I had seen Matrix. Now I know that when I had seen Matrix-I I wanted it to be Blade Runner and ask all those questions. Let me start by putting some of the questions that this movie puts out, where Matrix was a disspointment.

1. How do you distinguish between a humanoid and a human?

Supposedly a humanoid passes all tests (like Voight-Kamff) then would it be considered a human. It is a very important question in our genetic manipulated world. We all have some fallacies which wouldn’t be part of a perfect human and yet with all our imperfections we are still human, but what makes us human? Or what are the defining traits of being a human.

Let us try to define a person, many greats have tried their hand at it, some even came close to it and they are our only guide, Boethius defines it as an individual with rationality (naturae rationalis individua substantia) with an emphasis on individual. (But that raises an important question would a collective rational organism won’t be a person or persons?), Locke feels that any rational individual should also be able feel happiness and misery with capability of law and then Kant wants the this individual to impose laws to itself.

Now throughout history we have encountered this question in practical circumstances, even as recently as 50 years ago we thought of certain races to be superior and some inferior. Hence this definition is not only a scientific or a philosophical value but has a real meaning on our lives. We still have a debate on abortion and the rights of foetus. We will keep encountering new problems and we would be stretching this envelope to accommodate or reject these new issues.

Two other aspects which make us human are, power to think and learn. But Darwin was able to prove that both thinking, problem solving ability and dreaming is also a part of animals.

Another major issue is what the degree of empathy or emotions will make us human? Is cold blooded murderer considered to be human? Can a person’s level of humanization or dehumanization change over time? So if we consider a person who has committed heinous crime and convict him of capital punishment are we being equally inhuman.

2. What rights do humanoid (or even humans have) have? Or in larger sense what rights would cloned humans or aliens or any kind of intelligent species have in a human dominated environment.

Rights are an issue which society determines on its own and they come from local customs, culture, ability to accept new laws and their impacts. Hence, I think we will move towards a global human value system but it is a slow process.

3. What are real memories? Can they be planted and if you believe in them do they become your version of truth?

One of the very interesting facts is that we have our memories which tells us about our past and makes us a part of the collective history. This in turn enables us to feel alive and connected to the larger humanity. Blade runner raises an important question which asks us to question our memories themselves, can memories be planted and what effect does it have. In the movie Rachael believes that she is a human and not a replicant because she has childhood memories, however what she realises later is that those memories were planted in her to make her more human. Memories are very fickle, they change, even in the court of law the eye witness testimony is not considered always reliable. We are still learning about our memories. There is this very interesting episode from a movie called ‘The man from Earth’, where during a debate the protagonist asks someone to recall their childhood home and then asks her if she went to the same place years later would she recognise it with all the changes. Hence, we build memories in present tense but when encountered the same place again we do not know what will be left the next time around, the old scenes or the new ones will transpose a bit on the new ones damaging the memory.

4. If Deckard thinks he is human and then falls in love with Rachael whom he knows is a Replicant, is it perverse in a sense or morally tolerable.

I have not been able to form an opinion on it, maybe, someone else can throw a light on this issue and make me sway one way or another.

5. What is life?

If we have a machine or a creature which has imagination, problem solving skills, can dream and can learn from its own mistakes then would we consider it to be human. If they have all those abilities then are metaphysically very close to humans. Today we have computers which can do all that but would we call them humans. But normally we consider something with emotions as humans.

Phillip K Dick the author of the novel came upon this idea of humanization while researching an article where is stumbled upon something which SS officers said during the WWII, to quote them,” We are kept awake at night by cries of starving children.” Now we know how inhuman these Nazi officers were, that applying word human would be an insult to humanity. They had no empathy which makes them totally inhuman.

Empathy is a virtue of humans, when we can see someone else’s suffering and feel the same pain we are alive. Empathy is a word which always reminds me of an Urdu writer’s (Saadat Ali Manto) comment on his own work, he said, “If you feel like crying after reading my work then don’t worry, that is because you are alive.” In this movie we are told that empathy is not a virtue that replicants have but right at the end Ray’s saves Deckard and realises the shortness of life for both him and any human. Suddenly just before ‘retiring’, he is more human than human.


My Favourite Quotes:

1. Deckard: Fish? (Showing her a scale that he finds in the toilet)
Lady: (Examining it) I think it was manufactured locally... finest quality... superior workmanship. There is a maker's serial number... 9-9-0-6-9-4-7-X-B-7-1. Interesting, not fish. Snake scale!

2. Tyrell: We began to recognize in them a strange obsession. After all, they are emotionally inexperienced, with only a few years in which to store up the experiences which you and I take for granted. If we gift them with a past, we create a cushion or a pillow for their emotions, and consequently, we can control them better.

3. Deckard: You're reading a magazine. You come across a full-page nude photo of a girl.
Rachael: Is this testing whether I'm a replicant or a lesbian, Mr. Deckard?

4. When Roy meets Tyrell

Tyrell: I'm surprised you didn't come here sooner.
Batty: It's not an easy thing to meet your maker.
Tyrell: What could he do for you?
Batty: Can the maker repair what he makes?
Tyrell: [Tyrell explains to Roy why he can't extend his lifespan] The facts of life... to make an alteration in the evolvement of an organic life system is fatal. A coding sequence cannot be revised once it's been established.
Batty: Why not?
Tyrell: Because by the second day of incubation, any cells that have undergone reversion mutation give rise to revertant colonies, like rats leaving a sinking ship; then the ship... sinks.
Batty: What about EMS-3 recombination?
Tyrell: We've already tried it - ethyl, methane, sulfinate as an alkylating agent and potent mutagen; it created a virus so lethal the subject was dead before it even left the table.
Batty: Then a repressor protein,that would block the operating cells.
Tyrell: Wouldn't obstruct replication; but it does give rise to an error in replication, so that the newly formed DNA strand carries with it a mutation - and you've got a virus again... but this, all of this is academic. You were made as well as we could make you.
Batty: But not to last.
Tyrell: The light that burns twice as bright burns for half as long - and you have burned so very, very brightly, Roy. Look at you: you're the Prodigal Son; you're quite a prize!
Batty: I've done... questionable things.
Tyrell: Also extraordinary things; revel in your time.
Batty: Nothing the God of biomechanics wouldn't let you into heaven for.

5. Deckard: Sushi. That's what my ex-wife called me - cold fish.

6. Roy: Quite an experience to live in fear, isn't it? That's what it is to be a slave.


My Favourite Scenes:

1. When Deckard tells Racheal that she is a replicant.
2. The scene when Deckard goes into Sebastian’s apartment and Pris is sitting like a statue.
3. When Roy meets Tyrell and realises he is meeting his creator who can extend his life.
4. Last scene when Roy saves Tyrell.

Disappointments:

1. I don’t like gloomy and settings but that is my personal issue.
2. Sometimes the movie seems slow and you don’t understand where it is headed.
3. There are two versions, with narrative and without it.

Six: Barry Lyndon

Director: Stanley Kubrick
Year: 1975
Cast: Ryan O’Neal, Marisa Berenson, Patrick Magee, Leon Vitali

Barry Lyndon, is a fascinating journey of one man’s quest of success and fortune. It is tale which tells us that there is very little difference between good and bad. That thin line which one unknowingly crosses. This is where your desire becomes more than the decision between right and wrong.

Stanley Kubrick, took William Makepeace Thackeray’s picaresque novel and turned into a beautiful movie. Though movie wasn’t very successful when it was released and nor the critics in those times were very enthusiastic but it has prevailed and won over time.



A picaresque novel is a sub-genre of fiction where the story normally humorous and satirical and tells an adventurous story of a hero mainly form a low class strata of society. This form came into existence in European literature through 16th century Spanish writing but was mostly inspired from Arabic literature of Al-Andalus era. Though, you can even find this kind of writings in ancient Roman and Indian dramas.

Kubrick shot this movie with camera which could capture natural light, for that he had to research and develop techniques based on methods used by NASA space flights. The impact is breathtaking, even the shots where only candle light has been used it looks as if you are in a room with candles lit around you. Some places the use of sunlight makes you feel as if you are in a painting of an old master, here the sunlight is playing tricks on you in colours which you have never seen them in.
Most shots were captured in natural light and in some cases even where artificial is used it is only to mimic natural one. The cinematography is breathtaking and it won many awards for it.

The storyline of the movie is basically divided into two parts and the narration from a neutral follower tells you what you are about to see very much in advance.

The movie starts with Barry, young man totally in love with his cousin is tricked into leaving his village so that she can marry a man of some fortune and with this betrayal in mind Barry is thrown to the wolfs of the world. Here misfortune after misfortune falls on to him. He is first stripped out of every penny that he is carrying by the duo of father and son who are bandits. He then joins the seven year war as a soldier. Not able to cope up with the demands and hardship of the service, he deserts and tries to run away only to be caught by Prussian captain and recruited into their ranks. In amongst men of the lowest standard he learns all kinds of trades and ways of life. Fortune now throws him into the hands of Chevalier de Balibari. They both combined to loot and swindle the biggies of courts across Europe. Now he is in a society in which he didn’t belong. Here he looks for someone he could marry and then lead a life of luxury. His fortune comes by when he encounters a beautiful woman of wealth whose husband is about to die and as soon as Sir Charles Lyndon dies, Barry pounces on the lady and adopts the name of Barry Lyndon.

The second part of the movie tells the decline of Barry Lyndon, his adulteries, his cruelty towards his wife and son, his mother’s conspiracies and he blowing the Lyndon fortune out to gain respect. This culminates into a gun fight with his stepson.

Though at this juncture he shows a sign of chivalry which the age of chivalry was known for but it is too little too late. His stepson has too much hatred for him to leave him unhurt. He loses his leg and is thrown out of England.



The movie starts with the audience liking the character of Redmond Barry, they then dislike him. They further dislike to the point of hate the character of Barry Lyndon which he has turned into and yet at the end they seem to have a pang of guilt for disliking him. He seems all too real and close to the person next door. You feel that fate has been cruel to him and go away with a little discomfort.


The movie itself varies on various fronts when compared to the novel. The novel is funny and has humorous touch to it, the movie is serious. The novel is projected from Barry’s own account and hence it has narcissistic or at least over glorification feel to it. The movie on the other hand is portrayed from an omniscient and neutral view. Of course there are a few changes in the storyline to as for example the ending scene with the gunfight or Chevalier de Balibari turning out to be his uncle in the novel. However taking out the whole, Barry trying to recover his family fortune from Lyndons has given the story a more tragic feel and that makes Barry, more of an antihero in the character.

My Favourite Quotes:

1. It would require a great philosopher and historian to explain the causes of famous seven years war in which Europe was engaged, in which Barry’s regiment was on its way to take part. It is suffice to say that England and Prussia were allies and were at war against French, Swedes, Russians and the Austrians. (Narrator: When describing the war)
2. It is well to dream of glorious war in snug arm chair at home but it is very different thing to see it first hand. (Narrator)
3. Gentleman may talk of the age of chivalry but remember the ploughman, poachers and pick pockets that they lead. It is with these instruments that your great warriors and kings have been doing their murderous work in the world. (Narrator: During the villages being burnt by soldiers)
4. Those who have not been out of country know very little what is to hear a friendly voice in captivity. (Narrator when Barry and Balibari meet for the first time.)
5. Thenceforth, Redmond Barry acquired the style and title of Barry Lyndon
6. Lady Lyndon: Lord Bullingdon, you have insulted your father. Lord Bullingdon: Madam, it is you who has insulted my father. (Young Lord Bullingdon replying when he is asked to kiss his new father, ‘Barry’)
7. King: Good, that’s right Mr. Lyndon, raise another company and go with them too. (When Barry meets the king and )


My Favourite Scenes:
1. When everyone in the village is looking at the force being created for the war. The scenery is breathtaking.
2. The scene in which the two men loot Barry. They do it in such a sophisticated way.
3. When Barry meets Chevalier de Balibari and how the friendly voice and tongue has an effect on both.
4. The scene where Sir Charles Lyndon accuses Barry of trying to seduce his wife.
5. The carriage ride after the marriage and his sudden arrogance in believing that he has arrived.
6. The scene where Barry beats up his stepson.
7. The look on Barry’s face when ultimately he is told of his final fate.

Disappointments:
1. At some places the characters seem to act a little differently than a normal behaviour, but I guess that is a writer’s discretion.
2. The ending, I hope that it was a little more explanative of Barry’s life.
3. Chevalier de Balibari, disappears from the movie suddenly, the person who played such an important part in the protagonist’s life has no clear exit.
4. Too much beauty sometimes takes away the attention from the characters.

Five: Bande a part

Godard is one of those famous directors who have attracted more controversies than they actually wanted. Recently when he was being facilitated by the Academy there was nervousness around because he is considered to be a Nazi sympathizer or at least an Anti Semitic. Now that is something Hollywood doesn’t tolerate.

However all his reclusiveness, his existentialism & Marxist thoughts, his strong likes and dislikes cannot take away from him, his genius of treating simplest of stories with utmost creativity.
Though this was my first Godard movie and it grew upon me. ‘Bande a part’ was made by Godard and his wife Anna Karina (who is also the heroine of it) when they had just finished working on a big budget three producer film and hence this carries a small budget, simple setting theme. Anna Karina is a sweetheart in the movie. What is with women who play these innocent victim roles? Why do men get attracted to them?

The movie starts when two unemployed and ignoble characters Franz (played by Sami Frey) & Arthur (Claude Brassuer) trying to seduce Odile (Anna Karina) into making her an accomplice into a heist. Anna has befriended Franz in an English learning centre and reveals to him that there is a big pile of cash lying at her wealthy benefactor’s villa. Franz tells this to Arthur and they scheme to steal the money. Anna is of course the bait to get to the fish. Both guys get attracted to her with Arthur having no true feelings and Franz over the time realising the intense protectiveness he feels towards her. The heist itself has no meaning but the emotional journey for three of them has an attraction which makes watching this movie worthwhile.

It is interceded with a narrator’s voice (done by Godard himself) which keeps the story glued in the times when the visuals are hard to portray. Brilliantly shot in black and white with winter in Paris as a backdrop. You feel the gloom so well that even it would have been shot in Eastman colour the colours wouldn’t have changed much. Godard brings in a lot of allegory through the stories which are told by the characters in the movie, mostly by Franz. Anna Karina is fabulous as her portrayal of young and naive Odile whose effort to impress these two guys always wins over her sense of what is right. Sami Fray is brilliant as and Brassuer plays a brilliant scoundrel. Anna was Godard’s wife and muse and he was totally in awe of her and that sometimes has a negative impact on people as far as her talent is concerned, however, for me that wasn’t the case as I didn’t even know who she was before I saw this movie.

There are a couple of scenes which are worth mentioning here in detail, the dance sequence which I am guessing each critic or admirer would pick too as their favourite and I am not different. The spontaneity of the shot is so wonderful that for me it is already the best dance sequence in any movie that I have seen till now. Especially when the music stops and Godard intervenes by telling us what each character are thinking while they are still dancing, that was a wonderful touch. I truly wanted to put the scene here in the blog but then I felt not to ruin the pleasure of watching the movie.


It’s a movie which needs to be watched for any number of reasons but for me what stood apart were the small little stories that are sewn into the fabric. For example, When John tells about the story with a letter he is referring to Edger Allan Poe’s ‘The Purloined Letter’ or the story where the guy is banished for lying, or the trio trying to break the record set by some American for going through the Louvre fastest or even at the start when the teacher is reading out Romeo and Juliet.

My Favourite Scenes:

1. The fake shooting game between the two actors.
2. The opening class room scene where Odile takes the cigarette from Arthur which brings out a pang of jealousy very clearly.
3. Odile running away from home to go out with these guys, she makes you want be a teenager.
4. Arthur telling Odile that there is a run in her stocking.
5. “The minute of silence”, which actually only lasts for 36 seconds.
6. Of course the dance scene.
7. The song in the metro, and the Godard mixes it between Odile’s voice and the singer.
8. The end scene in the car.

My Favourite Quotes:

1. Odile to Franz: This isn’t your first lie either. Franz: He told you that he killed his grandma with a hammer. Odile: Is that true? Franz: No, just a second lie.
2. Random guy to Franz: Empire crumble, republics founder, but fools go on.
3. The narrator during the dance sequence: Franz thinks of everything and nothing. He wonders if the world is becoming a dream or if the dream is becoming the world.
4. Odile to Franz: Where will you go? South America. Franz: No, North, to the Jack London country, he wrote some terrific books.
5. Just before the heist, the narrator: Under a crystal sky, Arthur, Odile and Franz, crossed bridges over impassive rivers, nothing moved on the palace front, the water was stagnant, a taste of ashes floated in the air.
6. Franz: Isn’t it strange how people never form a whole. Odile: In what way? Franz: They never come together. They remain separate. Each goes his own way, distrustful and tragic. Even when they are together, in big buildings, or in the street.

Disappointments:
Didn’t understand how Lady Victoria was alive when all of them had thought that she was dead.

Rating: