I had been told many times that I needed to watch Black. For Rani Mukherjee. For its uniqueness. For its style.
Somehow in all of that I never managed to grasp until the opening credits that it was
a Sanjay Leela Bhansali film. Perhaps you know my very consistent mixed feelings
about that particular gentleman’s films, but if you don’t, here’s an idea:
cinematography top notch, first half builds beautifully, plot unravels,
depression results, second half crashes and burns. This somehow proved to be
the exception to the second half crashing and burning rule, but much of the
other stuff remains ever the same. Black is beautifully framed and filtered,
with thought behind each shot (although I rolled my eyes at closeups where one
can see Rani’s contact lenses) but its plot begins sloping toward the end, and
yes, there is a lot of depression lingering around it. But unlike the other SLB films I've seen, Black remains unflinchingly somber, so the sadness meshes better with the rest of the film.
In ways, Black was a great place to start my adventures
without subtitles. It has a lot of English and a lot of talking without spoken
words, including sign language (which I studied briefly in middle school and so
sort of understand).
In other ways, Black was a terrible place to go
without subtitles. Rani’s voiceovers — which kind of puzzled me in general
given the character — are somewhat poetic and completely without visual context
to help me understand what is being said. I found myself bored in these
stretches just because I flat-out couldn’t understand, and
often it proved to not be so important anyway.
But there is perhaps no more apt place than Black to
experience frustrations with language. In case you don’t already know (but I’m
pretty sure if you’re reading this, you do), Black is about a deaf and blind
girl, Michelle McNally (Rani Mukherjee), and her unusual teacher, Debraj Sahai
(Amitabh Bachchan), who himself later develops severe Alzheimer’s. So Black
chronicles for much of the time Debraj’s troubles with trying to teach Michelle
to communicate and later Michelle’s attempts to get Debraj back to
communicating.
And interestingly, in ways I found it to be somewhat more
even-handed than Taare Zameen Par in its portrayal of a person with a
disability. Michelle is not perfect character; she is much more dimensional and
real, with a temper (oh boy, does she have a temper) and setbacks and
prejudices and genuine friction with other characters. (And so, for that
matter, is her alcoholic and heavy-handed teacher — absolutely opposite of the
heroic teacher in TZP.) In the beginning, the young Michelle is cringeworthy —
without manners or courtesy, even nearly inhuman in her wildness. But I think
the film makes it pretty clear that this is her parents’ fault for not treating
her like a normal human being, for being too afraid of punishing her or
teaching her how to behave.
Michelle’s temper never goes away — as seen in her outburst
later in the film after her sister basically insults her to her face — but her
determined and rough teacher tames her into a mostly behaved, normal human
being.
And, as most good teachers and especially ones in movies do,
he opens the door to achievement for Michelle. Somewhat refreshingly, Michelle
has to suffer through failure — and calling her mother to say, “Ma fail” —
before she finds success and graduation. But Teacher — the only thing Michelle
ever refers to him as — ensures that she keeps on persevering.
The idea behind the film’s title is that Teacher brings
color into Michelle’s life, which was once black. But unless I missed it
somewhere (entirely possible), the film never explains how Michelle even knows
what black is. It’s not like water that she can put her hand out and feel.
Color is considered one of the hardest concepts to teach a blind person. And it
might have been important to explain that.
But anyway, the performance from Rani Mukherjee is truly
remarkable. I think my love for Rani — already quite enormous — grows daily.
She is one of the rare heroines who is drop-dead gorgeous but won’t depend on
it, instead being unafraid to push boundaries despite being commercially successful. She is not afraid to take on
roles that are sensitive or goofy or downright unglamorous. She’s gone without
makeup, played a prostitute, played a man, played a deaf and blind woman. And
somehow she manages it all with grace. Can you imagine another heroine of her caliber who would take on a film where there is not a single real dialogue? I certainly can't think of many who would try, let alone succeed.
Similar praises — though perhaps not quite so varied
— can also go to Big B, who is equal parts endearing and frightening (each in
turn, never together) as the teacher. But then you know Big B is always good for a solid performance. In his own ways, Debraj will make you
cringe almost as often as young Michelle. And just as quickly, he will bring
you back to a high in sharing a breakthrough moment with Michelle.
Really, who besides these two could pull off a relationship that covers the map and definitely crosses into markedly creepy territory without making your skin crawl? (Okay, without making your skin crawl much.)
Good review. Hope you are soon able to watch movies without sub and enjoy the beauty without having to read it.
ReplyDeleteWell done for trying the film without subs. I haven't tried myself yet, but I think I'm actually ready. Although this year I haven't had time for many Hindi films at all, when I watched my favourite, Main Hoon Na, recently I found that I could understand even more of the language than the last time I saw it. I was surprised that it hadn't fallen out of my head over the past six months. I think I'll try going subtitle-less with something I already know first of all. something straightforward and not too poetic. I'll let you know how I get on.
ReplyDeleteI enjoyed watching the amazing Rani Mukherjee in this film but my abiding memory is of hearing the Big B shouting all the time. What was the point? She couldn't hear him. And he never seemed to try any other strategies. I was a bit disappointed, but as it was a SLB film there was more than enough compensation by way of cinematography etc.
You are ready! Give it a try. When I first started this whole no-subtitles thing, I started with movies that I had already seen. It really is amazing how much you realize you can understand when you turn the subtitles off. :)
DeleteThat is very true — Big B does spend a lot of the movie shouting. I think, though, that the point is to show us his anger (without, say, having him hit her, which we would've reacted poorly to). And yes, I must say most SLB movies disappoint me by way of story and plot, but the cinematography is always top-knotch.
But anyway, the performance from Rani Mukherjee is truly remarkable. I think my love for Rani — already quite enormous — grows daily. She is one of the rare heroines who is drop-dead gorgeous but won’t depend on it, instead being unafraid to push boundaries despite being commercially successful. vintage locket necklace , handmade footwear , latest anklet designs , embroidered shoulder bag , embroidered belt mens , mens casual belts for jeans , belts and boots , bracelets for women She is not afraid to take on roles that are sensitive or goofy or downright unglamorous. She’s gone without makeup, played a prostitute, played a man, played a deaf and blind woman. And somehow she manages it all with grace. Can you imagine another heroine of her caliber who would take on a film where there is not a single real dialogue? I certainly can't think of many who would try, let alone succeed.
ReplyDeleteIt’s hard to come by experienced people about this subject, but you seem like you know what you’re talking about. I have found something which helped me. Thank you
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