Reservations

The whole of country (at least the urban areas) are up in arms against reservation. Thought will share my point of view.

Well, ideologically I am also pro-reservation. But when implemented in a society like ours (morally bankrupt) the whole ideological solution goes for a toss. For instance, any theory (in this case the reservation theory) is only as good until it's validated. Thus it was no good for Newton to tell us that the apple fell from the tree as there was gravitation. He had to do some real world experiments and come up with theories and formulas to substantiate it. Similarly the reservation theory has been put to test in the last 50 years and what are the results of validation ? Not much aint it. The disadvantaged sections of the society goes through the same old grind of agriculture, poverty, not enough output, high school drop outs and farmer suicides. Clearly my ideology which looked so good on paper is not working. There is no evidence that reinforcing it with renewed vigor is going to change the situation. In fact quite the contrary : Consider this, due to the wide spread protests and the fear of losing the upper caste vote bank the govt. is going to compensate it with increasing the number of seats in the IITs and IIMs. Now it's a totally different story that reserving seats in these institutions are not going to pull the drought ridden farmer out of his misery. But that thing aside, this increase in number of seats is going to cost the exchequer 10,000 crore rupees. And who benefits, the same old upper class, the rich among the OBCs, the rich among the SCs. So in effect the govt. now will actually spend MORE money on the upper class (note class and not caste) from its pocket post reservation than it was actually doing. Money that should be used to improve primary schooling, money that should be used to resolve the problems of drought and irrigation. Money that should be used to stop female feticide. Money that should be used to fight fatal diseases. Money that SHOULD NOT be used to benefit half dozen people in IIT/IIM who are anyway going to make it big since they have come this far.

Point 2, consider this -- The UPA govt. goes ahead with the reservation and becomes a champion of the OBC cause. Mass support for it from all sections of backward class. Don’t you think it becomes doubly easy for the UPA to implement it's neo-liberal policies. Now if some backward guy says, 'Hey I don’t want FDI in retail', PC's gonna say, 'Folks you got 50% reservation, we did it for you. We are for you. Go home'. And he is going to go ahead with the neo-lib policies easily. Policies which AGAIN are going to help the already established upper class and not the poor peasant slogging it out in the fields.

Now, all this rambling is well and good, but who ever is anti-quota should also come up with an alternative solution. I have an alternate plan. The real difference between an upper class (again not caste) and a lower class is not created in the IITs and NITs. It happens much before that. In the elite institutions at the urban center, in the convent schools, in the DPSs and St Xaviers. That's where we need a 50% quota. Even on a caste basis would do.

The black and white companion

The other day I had gone to Mondy’s in South Bombay, when I saw that Regal was playing ‘Dosar’ (Bengali movie) in the night show. So I thought I might catch it after a couple of beers at Mondy’s. And I did so. It has been a while since I have seen a Bong movie. I quite liked it and then googled a lot for a Dosar review. Could find only one at mouthshut. So I thought I would express my opinions on the movie.

Well, ‘Dosar’ (which means the companion) is a Rituparno movie. So guys, expect some of the stereotypes, female-oriented, mostly-indoors, upper class Bengali society, smoking male characters, infidelity, well-shot and of course sexual innuendos. But what’s unique about this one is that it’s shot in Black &White. Here is what Ritu says in an interview with Telegraph on the lack of color in the movie :

“I didn’t find the need to use colour in this film. In fact, I didn’t think I needed to use colour for some of my other films too. The use of black and white in Dosar is not a gimmick.”

Well, tough to say really whether it was a marketing gimmick or a poignant artistic need. It’s anybody’s guess really. But whatever said and done, the feeling of watching a 21^st century B & W film is amazing. Laced with cleverly done interiors and brilliant cinematography the look of Dosar is really international.

The other technical aspect of the movie that catches your attention is the background score, composed by a group known as ‘21 grams’. Guess what, they use bagpipes in the movie (kind of like Braveheart). Now that’s something unique, bagpipes in a desi movie. But again it only advances the mystic feel of the whole movie.

Anyway, the story of the movie is really simple. Kaushik (Prasenjit) is the protagonist (or antagonist) who goes to a resort to spend a weekend with his arm candy. While returning he faces a near fatal accident. Although he survives with serious injuries, Mita – the love interest (played by Chandrayee Ghosh) dies on the spot. The whole film deals with the post accident trauma faced by Kaberi (Konkona) , Kaushik’s wife and Kaushik himself. She is torn apart in the dilemma of feeling for her battered husband and the same time angered by his infidelity. So much so that she refuses to sign the hospital papers and even contemplates the idea of consulting divorce lawyers while her husband battles for life.

Kaushik is also caught in the middle. Prasenjit chips in with a brilliant performance as a man grieved by the loss of a loved one and the trust of his wife. But the real star of the movie is Konkona. She plays the role of the undecided wife to perfection, probably her best performance till date. Watch out for the scene when she says ‘Mita is spot dead’ with a straight face to Prasenjit, when everyone else is trying to avoid the topic. She beautifully portrays the vulnerability within her while maintaining a stern, almost feminist exterior.

There is also a subplot featuring another extra marital relationship between Kaberi’s friends played by Pallabi Chatterjee and Parambrata. It intermingles with the main plot and provides an opportunity for the director to portray Kaberi’s opinion on the subject that has a predictable shift.

Ritu’s movies had always had that element of sensuousness. Dosar takes it to a different level. There are a few explicit sex sequences, one with a sensual poetry in the background, one with an indifferent prostitute (this one was gross), and another one involving Pallabi and Parambrata. Some people apparently where shocked by these depictions and would rather not have them in the movie. I am generally ok with them. Infidelity is an adult subject and has to be portrayed in all its colors (oops, B&W).

The question is then what do I make of the movie. Well, clearly the movie does not break any grounds, nor does set any standards for cinematic excellence, but certainly ranks up there with Ritu’s best. So I definitely recommend this movie.

I was also surprised to see the large turn out in a Mumbai theatre (certainly not a Bengali city). This really proves that good cinema has its own audience and transcends language barriers. Ritu’s film making provides hope for admirers of good cinema. His movies bring in audience which certainly keeps the producers interested in investing in good movies. Hope to see Planman producing more good movies in future.