Showing posts with label Kannada. Show all posts
Showing posts with label Kannada. Show all posts

June 24, 2014

The Politics of the Hindi Language

The Politics of the Hindi language must never be extended beyond paying just lip-service. And there are many reasons for this even if you are tempted by the shenanigans of "national language", "national integration" and all that jazz. Nonsense.
To begin with, you cannot impose Hindi language as if it is a god-send or it has to be spoken by all of India's population. There are as many national languages in India as Hindi which are as beautiful, lyrical and classical, infact, more classical than Hindi. It is not heaven's exclusive license to Hindi to be spoken of highly and get multiplied manifold times. Down South, Tamil is one of the world's oldest languages and beats the pulp out of many others in the sheer volume of literature. Infact, it is more than 2000 years old language with wide variety and cultural richness. Telugu is equally old, dating back to atleast a thousand years of rich lineage. In a survey of the world's most beautiful languages done in 2011, judged primarily by three reasons - lyrical beauty, elegance of letters as they are written/printed and the richness of the alphabet, Telugu came second only to Korean language beating most languages in the world including Modiji's second-favorite language, Hindi (the first one must be his mother-tongue, I am just guessing). The Telugu film industry is India's largest segment in the number of films made per annum. Malayalam is another mesmerising language that has a cult followership across and outside India, aided by a race who have been migrant yet proud of its heritage. Malayalam's movies, warts and all, continue to dominate the film industry in India on matters of story-telling essentials. Malayalam's language itself resonates with most of the words derived from Sanskrit. Kannada, considered a mirror language to Telugu has a history that is co-terminous with that of Telugu. Scratch the surface and you will find many other languages in South India which are vibrant, exciting and alive - Konkani, Tulu are few examples of tongues which are equally vibrant and celebratory of the richness of life and language albeit without formal written scripts. Then you have the languages of the west and east - from Punjabi, Gujarati, Marathi, Bhojpuri, Bihari, Bengali and Assamese - all have their own niche.
At the height of the Mauryan empire which ruled for three generations the whole of the Indian subcontinent from the edge of eastern Iran to today's Bangladesh, portions of South would remain outside its direct control. For most of the Mughal rule and the British rule, the Southern peninsula always enjoyed a halo of respect, identity and privilege to thrive in its atypical avatars and myriad hues. When the British ruled India, they understood that South cannot be reined in by imposing HIndi, so they indoctrinated English into the veins of trade and employment, creating a class of administrative army that kept their linguistic identities yet breathed fire into English. The intercourse with English created a renaissance but Hindi's rise was slow but not uniform. Given a choice of three languages, many South Indians still prefer to learn English rather than Hindi and there are historical reasons for that which have to be understood and empathised with. Even a docile prime minister Nehru understood the language divide that exists between North and South India. He created a Deputy Prime Minister post exclusively for catering to the interests of South - a tradition that continued until Shastri's rise.
Experts who do not understand this divide jump to conclusions that South is anti-nationalistic or anti-patriotic. Nonsense. It is just that language has always given a rare indemnity from colonial invasions and tortures to the South Indians; on some occasions it provided them quasi-independence or even satellite status while allowing a socio-economic resurgence on a scale that seldom was surpassed. Traditionally, it was the South that opened to the sea routes, developed maritime trade and allowed comprehensive mapping of the Indian Oceans between the Arabs and the Portugese, and later the next European powers that came calling to India - the Dutch, the French and the British. The South also adapted easily to Western influences faster than the North. When Vasco Da Gama came to India and hit the coast of Kerala first in 1498, he thought the people of Kerala were closer to Christianity than Hinduism because he felt the buildings looked like Christian churches rather than Hindu temples. Infact, the "Hindu" itself was a word the Europeans coined to describe the race from the valley of Indus. So much on the South-Indians.
PM Modi should realilse that Hindi has earned its spurs more from the proliferation of Hindi-speaking people who permeate the country and the world and the cultural exports of Hindi into Bollywood, the cuisine and the television. But it hasn't grown to become the language of the country in totality. Hence, that cannot be the reason to impose Hindi on the rest of the country. Hindi is a pulsating and lively language that is beautiful and simple but imposing it as a mandatory language has its down-syndrome. Yes we all love Hindi films and Hindi actors and Hindi writers and Hindi singers but know that no Indian language can be singled out as the lingua franca. For good or bad, the jury is out on which language is the best. Again, for good or bad, English has become the language of convenience and the language of business which cannot be replaced in many lifetimes. It is unwise to thrust your limitations of language on everybody else and re-invent the wheel. There is no long-term good now in learning a language at the cost of development and growth. Sooner or later, the French, the Germans, the Japanese, the Russians and the Chinese will realise that winning the battle against English is not the same as winning the war. It feels great to know that Spanish is the fastest growing language in the Americas, thanks to centuries of spanish invasions. But who cares for Spanish unless the world switches to Spanish. Ditto for the Mandarin. You may speak in Hindi addressing the Bhutanese and the Americans but the impact will never be the same as speaking in the language that rules the air waves.
Talk about language chauvinism, you must know this, DW - Deutsche World and RT - Russia Today, two of the state channels of German and Russian governments broadcast in English language are growing faster than the English channels of CNN and BBC - proof that language chauvinism serves little purpose in a world that almost became a global village with English. Also proof that the Germans and the Russians are eager to playing English. Play to your strengths but don't let language be a barrier to communication. The best way to build national pride is through building up levels of literacy, build up self-reliant people who are productive, skilful, employable or entrepreneurial and get global recognition not by getting chauvinistic about languages. The politics of Hindi language has always proved costly for a Union Government committed to restoring federal balance in India. I fail to understand why this time has to be different.

July 7, 2012

"Eega" (Housefly) Movie Review (Telugu)/"Makkhi" Movie Review

"Eega" means housefly in Telugu. Thats the name of SS Rajamouli's latest and most-ambitious film till date. Its the most common and harmless insect heavily spotted even in concrete jungles and unlike mosquitoes and other blood-sucking pests, it is not carnivorous and usually doesn't harm humans - it is a very fidgety creature and moves at lightning speed, hardly stays anchored at a place beyond few seconds. To make a movie on a housefly is itself audacious and insane, nobody has done it ever in Indian Films. In the west, there have been many superhero films and maybe movies on rats, monkeys, sharks, bears and deadly snakes, but not on an insect so insignificant as a housefly - its amongst the lowliest of the lot but has a picturesque body - an amber red head, two hairline whiskers, two mini hands used to navigate direction, two wings that seem to generate sound an equivalent of a helicopter taking off when in motoring mode, and an identifiable body and legs. It has the most athletic body in insect world and director Rajamouli has studied the world of houseflies to the core, except a few lapses which I will come to later. "Eega" is definitely worth a watch once for the fabulous effort to make a superhero out of an urban pest - the director has spared no effort to finetune the movie - in Special Effects, technical departments of art and cinematography, in performances by the lead starcast in which Kannada actor Sudeep excels himself, and in overall pace of the film.




Rajamouli generally lets the story line out in the pre-release buzz. So the story is well-known before: Boy (Naani) meets girl (Samantha). Both fall in love. Enter Villain (Sudeep) who lusts after the girl, kills the boy. Boy gets reborn as "Eega" and takes revenge. Quite a simple and ordinary story, isn't it? But the execution is grander and the classic three-act structure, which Rajamouli always followed, is present here too. The movie is actually a special effects movie and the effects have a running time of more than 100 minutes - that can sometimes tire the viewer. Most of the action sequences are between the "Eega" and the villain; the director applies good logicality to how a harmless housefly can wreak havoc and throw your world upside down if you mess with its lover - it will attack you at the most unexpected places when you are least prepared, like in a steam bath tub when your face protrudes out of the heat tub and all your limbs are dissembled to atttack the insect crawling on your face. Rajamouli creates more scenes like this - when the villain is driving at high-speed, making a board presentation, trying to woo Samantha, or just sleeping. "Eega" just buzzes around, pricks the sense organs and drives out the peace out of Sudeep's mind. Quite wonderfully captured these stunts with amazing detail and Hollywood-style craft. The director uses the well-known laws of physics and some aspects of biology and chemistry in the friction shown between the two characters - Eega and Sudeep.

Most of the movie, MM Keeravani (MM Kreem as known in Bollywood) has given an outstanding BGM score that heightens the impact of the SFX and the moods. Quite rarely, Keeravani stops himself, seldom seen in our movies, to let the foreground become background - meaning, the score becomes silent when the heroine Samantha tries to communicate with the hero-housefly or when the housefly is plotting the next move against Sudeep. Those moments of silence, and the early part of the movie which builds up the romance between Naani and Samantha are the cutest reels of the film. Very few lapses on the part of Rajamouli - his clarity of thought and execution, screenplay (with extended help), characterisation and pacing of the film are terrific. Where he fails is in the entertainment this time - he cuts the romantic part of the film, which he could have shown more with the "Eega" or Naani in relapse which could have endeared the masses. He cuts the most beautiful, melodious song of the movie (probably, the decade) - "Nene Naanine..." to less than two minutes, and allows just two other songs to flourish. He hasn't inputed any comedy track in the film, that can prove costly to its success. A Telugu film without comedy struggles to get repeat audiences. When you spend Rs.43 crores on eye-popping graphics, you should have atleast 15 minutes of comedy. Another drawback in the basic plot: the villain kills the hero first, but the re-incarnated hero with all his killer antics creates fear in the villain's mind but fails to kindle any sense of remorse or regret. Besides, the heroine, after knowing her lover has come back as the housefly, enjoys the company of the housefly. How does a woman co-habit with a housefly? To pun, how does a housewife co-habit with a housefly? Thats absurd.

Well, enough of hyperventilative analysis of a movie that is breathtaking in effects but falls short on practicality and comedy, excels in performances by Sudeep and Samantha. It is most definitely watchable once, and by all kids. Its a proud addition to the creative power of Tollywood. An experiment that earned its spurs for Rajamouli.

"Jailor" (Telugu/Tamil) Movie Review: Electrifying!

        "Jailer" is an electrifying entertainer in commercial format by Nelson who always builds a complex web of crime and police...