Maggi Noodles - Time to trash this junk !

I am pleased over the row over Maggi Noodles that has broken out across the country; and continues to escalate even as we write this. I've always been baffled at how just about everyone eat this on a regular basis, and was increasingly becoming disconcerted over how ubiquitous it had become. I see people ordering it for breakfast, lunch or dinner. Maggi had become a generic word for a quick one-time meal.

The fact is that Nestle, a $100 billion corporation, has done very little innovation (by its on admission) over the years to improve its products and make it more healthier. Which is quite surprising considering people's awareness levels and health-consciousness has increased significantly over the years. Maggi was introduced in 1983, and it remains virtually unchanged 32 years later, except for the relatively recent addition of few variants like atta or oats. If you compare Nestle's product portfolios over the last 3 decades with that of other food companies - like Hindustan Unilever or Britannia - it has changed very little. It is quite saddening when it could've easily put some effort into using technology to come up with more healthier packaged food items, and experiment with indigenous options. (Like MTR's upma which is available for Rs.10). Instead, all it did was hire celebrities, and get them to scream "MAGGIIII !" in their advertisements. Today it sells Rs.1,500 crore of Maggi noodles, annually, in India.

And people are also to be blamed. The vast population of people had taken to Maggi on the basis of its two main propositions - time-saving and cost. With people becoming increasing time-starved, the perception of Maggi had gradually transformed from that of an occasional treat, to a reasonable option for a quick meal. For most, the 2-minute guarantee was hard to resist. Especially for bachelors, students living in hostels - just about everyone looking for a quick, easy-to-cook meal, it was top-of mind option. A large section of children in the lower income groups, are regular consumers, with their mothers feeding it to them, because they have no time, and also because of affordability (Rs.12). There was recently a report on how the mental faculties of young children in urban areas, had dropped considerably after prolonged consumption. Recent news articles as a result of this controversy revealed how ubiquitous it had become. It is everywhere - from office cafeterias to roadside vendors - even in army canteens. Farmers eat this during harvesting season - to save time.

Nestle too has been responsible for this change in perception. It hired marketers to shift the brand's positioning from taste to health, as it extended the brand into other products and introduced variants of Maggi noodles.

In its reaction to this controversy, it is content enough to state that its is 'safe' - not 'good', just 'safe'. Meaning it wont kill you immediately, but it will eventually. CSR does not mean launching projects to provide nutritional needs of a small section of rural people, while continuing to feed junk to 99% of population.   

This whole row will urge people corporations to innovate in producing healthier food items. I hope people will take a closer look at nutrional aspects of packaged foods, and above all trash this piece of junk (Maggi noodles). Also, it issue prods to a a larger debate of food contamination. If lead residues were found in Maggi noodles, it is bound to there in all farm produce apart form packaged foods. We need to stop contamination our water, soil and air, and shift to organic methods of farming.

Shanghai - Review

Shanghai would definitely figure among the most awaited films of the year by most discerning film lovers, coming from unarguably among the finest filmmakers in the country today – Mr. Dibakar Banerjee. But alas – the bad news – overall the film is quite bare-boned and one cannot help feeling underwhelmed.

To begin with, the first 15-20 minutes are clunky and boring. Although the film gradually keeps becoming engrossing, as it progresses, it never quite pulls you in. The story is quite basic, and one could easily have known the premise if you have seen the promos – there is little mystery beyond that. Personally, I welcome the lack of intricacy and absence of too many sub-plots in a thriller, provided the mood and the milieu are captured well.

Still, Shanghai is a very fine film, and is not without its strengths. The backdrop of the film is based on the destruction and displacement caused in the heartland due to our politico’s flawed definition of ‘development’. This theme becomes extremely relevant, especially in the current backdrop, where we constantly hear of how large steel and coal plants displace tribals and villagers; how their traditional organic means of livelihood are snatched away from them; and how they are given jobs of sweepers and guards at these plants. It is extremely important that such issues are touched upon in our films and anyone doing that is worthy of applause. Here is one area where Dibakar excels –conveying things without saying out anything aloud. In fact, Dibakar keeps it too subtle and cerebral. One wishes if this aspect was explored further – especially the point of view of the residents of the town, which is completely absent. But then one is reminded that the film is a thriller, and not based solely on the issue.

The most interesting thing about the film is the depiction of politics and the functioning of the bureaucracy, in particular. Notably, the scenes where Abhay Deol is conducting the inquiry – actually most scenes with Abhay Deol and Farooque Shaikh are engaging. One always reads of inquiry commission being set up, in the newspapers. It is interesting to actually see how they are conducted; the scenes seem authentic and well-researched. It makes one wonder, what one would do if I were in Abhay’s shoes– take the easy way out or go against the tide and rock the boat. Also, being a Dibakar Banerjee film, the film is full of nuances – these nuances keep soaking in long after you have seen the film. The item song Imported Kamariya really adds to the film with its delightful lyrics – this number was what kept ringing in my head after the film.     

Among the characterizations, Farooque Shaikh impresses the most; Abhay Deol is also first rate, but his characters is sketchy...one keeps wondering where he is on the conscience graph – the two poles being that of a conformist and a rebel. But he performs his part well. Kalki’s characterization is the biggest letdown of the film – she has a constant terror-struck look – seems like she walked into the sets of ‘The Girl in Yellow Boots’ or some such film. Her infatuation for Prosenjit Banerjee, who plays the activist, is rather odd and unconvincing. Emraan is good too and proves that he is a versatile actor with this role. Prosenjit Banerjee is well cast and does an impressive job.

Although each frame in Shanghai is filled with all the elements of fine, intelligent filmmaking – in terms of the nuances, subtext, performances, dialogues – it just doesn’t involve the viewer enough. The crispness is overdone – Dibakar should have loosened up sometimes and let things flow. One wishes that the film had more ‘heart’, and less craft.

Mujhse Fraaandship Karoge - Review

Wow! This was quite an unexpected surprise. Looking at the promos, anyone would have instantly dismissed the movie – the obnoxious title being the biggest put-off. This is one of the few occasions where a film turns out to be in total contrast to the vibe it sends out.

Although the film doesn’t really offer anything new, what makes it feel like a breath of fresh air is the ease in the way the film has been made. Debutante director Nupur Asthana treats the film in a light-handed manner, but with sure-footedness, at the same time. The inherent honesty of the film, without the self-conscious or eager-to-please approach is what drew me in. I was surprised to see Anvita Dutt Guptan’s name in the credits...this obviously seems to be among her better works, especially when compared to the Siddharth Anand tripe she’s previously penned.

The editing is razor sharp, and the dialogues are consistently youthful and snappy. Young people in the college-going age-group have their own particular kind of humour – the humour in this film too is in sync with the demography it represents – neither slapstick nor too witty.

The casting of the film is perfect – you never see them as actors, but as college-going youngsters. The performances are all good, with the exception of Tara D'Souza, who is rather weak (although she’s much better here than she was in Mere Brother Ki Dulhan). 

The music by Raghu Dixit is refreshing, and suits the film perfectly – especially the Dheaon- Dheaon track with its absolutely delightful lyrics. The technical departments do their job well without coming in the way of the film. No unnecessary flourishes in cinematography; except, the production design is just a wee bit set-like (or dare I say, Karan Johar-ish); one can imagine the college being in YRF studios.

Overall, this was a film which will make you want to go to college, and relive those days all over again.

Finally, due credit must also be given to the producer of the film, for, correct sensibilities of a producer are quite crucial in putting together the entire venture. 

I plead guilty of pre-judging the film. I don’t think I’ll look down upon another venture from this production house with disdain – at least for some time. 

Mere Brother Ki Dulhan - Review

Mere Brother Ki Dulhan is a standard and typical Yash-Raj film. The basic premise of the film itself is quite predictable, and the title itself reveals all there is to the movie. The film is quite flat and boring in the first hour, but saves itself in the latter portion. The screenplay in the first half is quite awkward –particularly the entire flashback of how Imran encounters Katrina is quite forced and amateurishly handled. It also has some of the corniest dialogues – like Imran mouthing “Har desh ki ek alag soch hoti hai”. I could visualise these scenes being brainstormed and written on the sets by a bunch of young, clip-board holding ADs. It is only in the second half that the director somewhat gets a grip on the film and the proceedings become engaging. 

Performances are fine, although none of the characters are well-defined. Katrina lets her hair down and delivers an unrestrained performance – she does the best she can from what she interprets of her sketchy and vaguely-written character. Imran does seem lost in the earlier portions, thanks to the characterisation, but overall delivers an earnest performance – in fact, his reactions are delightful in some of the scenes. Being the intelligent actor that he is, you can almost sense his discomfort when he is made to mouth some of the unconvincing and cheesy lines. Ali Zafar is okay, nothing much to say about him. The worst performance has to be that of Tara Dsouza., who plays Ali Zafar’s girlfriend – she’s too model-like. But again, the script itself is quite flawed – Imran is trying to break-up his brother’s wedding by trying to reunite him with his ex-girlfriend, and Ali Zafar too, on his part, aching for his ex-girlfriend, while preparing to tie the knot with Katrina – is rather strange. Because the manner in which both the brothers were portrayed suggested that they were quite upright (as in most YRF films); but suddenly it shows them to be a bit ‘wicked’ and loose.

The music by Sohail Sen is rather good – the numbers were quite peppy, especially the Dhunki and Isk Risk numbers – although I felt the songs are one too many (the dhabha song could’ve been easily chopped off). The cinematography by Sudeep Chaterjee, though overall decent, has too many close-ups – you are always made to notice the lip gloss on Katrina’s lips. A rom-com like this one could’ve easily done with fresher talent in this department, instead of using an established technician, who would be better utilised in films requiring a wider visual framework. So while YRF introduces a new director and music director (a comeback really, but still commendable), it plays it safe on the DoP front.

One the whole the film is just about passable, with the second half saving the film. The director religiously follows the Yash Raj format without infusing any personal touch to the film.

The Filmmaker of 2011 - my bet's on Onir

The year gone by saw scores of films on fresh and contemporary themes hitting the screens. Among the contemporary filmmakers, or even otherwise, the filmmaker that unanimously stood out was Dibakar Banerjee, with Love Sex Aur Dhoka. Dibakar had already proven himself with Khosla ka Ghosla; he followed it up with the tepid Oye Lucky Lucky Oye. Dibakar has always displayed a strong sense of craft, and with LSD he hit a pinnacle, and displayed complete mastery over a novel format of filmmaking (as far as Indian films are concerned). 

This year too there are going to several films to look forward to, and several young and contemporary filmmakers will be making their debuts. Although the current line-up doesn’t look too exciting, 2011 should be a better year as compared to 2010.

My bet on the filmmaker who is going to spring a positive surprise this year is Onir, with his film ‘I Am’. This film essentially consists of four different stories connected by a common theme. The reason for choosing Onir is more to do with gut feel – having a keen interest in filmmaking and following films and filmmakers over the years, one develops a certain instinct on films and filmmakers. Likewise, other film enthusiasts will have their own takes and opinions on the line-up of the films under production. 

Onir has been around for a while, and is essentially remembered for his first film My Brother Nikhil, which won critical acclaim and was a mediocre success. His next two films – Bas Ek Pal and Sorry Bhai – didn’t manage to connect with people and failed at the box office. I haven’t seen My Brother Nikhil, and I’ve only seen patches of Bas Ek Pal on the tube. Sorry Bhai is the only film that I've seen. Sadly this rather nice film went unnoticed, having released during the 26/11 terror attacks. Although not very impactful or without flaws, it was a rather pleasant watch – most characters were real and believable, with Shabana Azmi and Boman Irani essaying particularly well-etched out characters. There is certain genuineness in Onir’s approach to filmmaking. As a person too, Onir seems quite genuine and endearing. Having observed this evolution in him, I have a strong feeling that he might just hit that sweet spot with his next, and finally manage to make that connection with the audience. 

No One Killed Jessica – Review

When I first heard about this film, I wondered what was the objective of making the movie, and what was it going to show, because most people were quite aware of the Jessica Lal case. What was particularly perplexing was the casting – one could understand Vidya Balan – but Rani Mukherjee?? The combination was a bit jarring. Of course, there is nothing wrong in making films based on real events – for example the brilliant Black Friday, made by the director’s own mentor. But the difference here was that the material in Black Friday was much more complex and exhaustive. Then we heard from Rajkumar Gupta that the film was intended to be made as a thriller, and on a slightly more commercialised format. So I said, hmmm....well, let’s see. Considering the maker’s sensibilities, it would definitely be a film to watch out for.

A half-hour into the film, I started wondering why I was getting a bit restless, even though NOKJ seemed like very well-made movie. The answer is that the film does not really rise much above being a plain account of the Jessica Lal case, with some parts spiced up by fictionalising it, and has some great performances.

The entire point of making this movie should have been to add some new perspective to the case or some ignored aspect. For example, it could have shown some insight into the stark realities of society. I have always wondered why the rich and the middle-class are so apathetic and selfish. They are so wary of to stand up for someone, scared of exposing themselves to even the slightest danger, and unwilling to face the drudgery of the judicial system. But the same people are so over-protective when it comes to their family, and would go to any lengths to protect them, including breaking all legal, ethical or moral standards, without an inkling of shame or guilt. The defence being that anything is justified if done towards the well being of one’s family. To be fair, the film does succeed on this count to an extent on this count, through some brilliant moments. On the other hand, some crucial characters like the accused person’s mother have been caricatured. My guess is that the director wanted to infuse some humour to lighten the proceedings, but in doing so he dilutes the script. Even the portions representing Bina Ramani are flawed and unexplained.

Coming to performances, Vidya is brilliant, and manages to infuse lot of depth to her character. Rani’s character is quite banal and she plays it high-pitched. Still, the role is a step-up for Rani – we are used to her mouthing lines like “pyar dosti hai”.  It was as if the casting question got mystically answered – Vidya representing the ‘core’ and the facts, while Rani representing the fiction quotient. Sabrina's mother was awful....the way she starts bawling and suddenly becomes all sedate and sullen – it was almost scary!! In fact, even Sabrina’s father is a cardboard cut-out. The director could have added some more personality to the characters.   

Overall, it is quite a well-made film and Rajkumar Gupta’s craft is quite assured and confident. The film does intermittently manage to evoke some emotion and would be a very good watch for people who are not very aware of the case. If only it had some ‘freshness’ quotient to it. Finally, what stayed in my mind when i walked out of the theatre was D-D-D-D-D-Delhi Delhi....

Rajneeti – Et tu Mr. Jha?

Prakash Jha’s films have been earthy and engaging portrayals of problems in rural India. As a teen, I remember watching Mrityudand and being quite hooked – it was about the problem of moneylenders and land reforms in rural India. Both Gangajal and Apaharan gave brilliant insights into the scenario in Bihar. They transported the viewer to Bihar, and one could almost smell the earth of the locations. Also, the dialogues were such a delight – just as they would be spoken in Bihar, with that smattering of English  – “Bilkul half-mind hai saala, sahib ko bhi nahin pehchaana”. 

So, ever since I had first heard about Prakash Jha making Rajneeti - a film on politics; with that snapshot in the newspapers, of Katrina in a saree, waving out, a-la Sonia Gandhi – I was sold. Especially, since this would be Jha’s next after Apaharan – a movie that completely bowled me over. I just couldn’t wait to biting into a juicy portrayal of Indian politics, and being mesmerised and thrilled once again.

But as Rajneeti’s release date grew nearer, the marketing pitch of the film kept on increasing, i downgraded my expectations from the film a bit. Because, i believe that more often than not, a film’s quality is inversely proportional to the magnitude of its promotion.

So when i finally saw Rajneeti, i was completely let down. Instead of a nuanced script with sharp insights into the working of politics, what we get is a racy thriller with just too much killing, too many betrayal, and just..... too much of everything. The film was more like an Abbas-Mustan thriller rather than a Prakash Jha film. This is what happens when a filmmaker becomes successful and is finally established as commercially viable. Then come the big production houses ready to back you, provide you with a cast comprising of the top notch stars, big budgets, and essentially all the trappings required for a large scale commercial film. It is indeed hard for any human, to resist the lure of all this and remain grounded to your true style of film-making. So, with all the noise and attention, and the bigger budget, it becomes necessary to expand the target audience. In that process, scripts become racier, with too much plot and little sub-text and insight. The overall decibel level has to be raised and subtleties go out of the window, since it has to appeal to the average gross popcorn-eating viewer. The result is that that one gets a larger audience but the filmmaker’s core and loyal audience gets alienated. In fact, Mr. Jha clearly admits that he succumbed to this phenomenon in an interview with Anuradha Sengupta, post-Rajneeti – “how does it matter” he says, when asked whether he was happy over compromising his job satisfaction in favour of commercial success. The same phenomenon already happened with RGV – his films began resembling Abbas-Mustan potboilers with all the twists and turns – the best example being Sarkar Raj.

Now, I do believe that Mr.Jha has his head firmly on his shoulders, and the above explanation can only be partially attributed to the way Rajneeti turned out. The other reason being his own endeavour over the years to constantly adapt his grammar of film-making towards making it more commercial, and palatable to a larger audience. One can see that progression through his films. I think he achieved that perfect balance with Apaharan – the film was racy and still had a enough depth in content, with wonderful insights into the kidnapping scene in Bihar. But with Rajneeti, he clearly overstepped that line.