Desires of the undesired

I watched Margarita With A Straw last night, and it’s still on my mind. Most frequent moviegoers will acknowledge that that is quite a rarity in today’s times. Margarita is beautiful. It is the story of a girl with cerebral palsy, and her experiences as she explores her sexual desires. It is natural, understated and heartfelt. At the center of the film is Kalki Koechlin, who shines like a thousand stars in the role of Laila. Laila, who is restricted to her wheelchair and has speech impairments, is out there. She’s in Delhi University, she’s in New York University, she’s doing a creative writing program, she’s hitting on men, she’s dancing with her family and in a NYC club, and she’s also dealing with layered relationships – with her caring parents who get a little overprotective at times (for good reason), with her friends, with her crushes, with her partner. Sounds familiar? Absolutely! It’s about what you, I and everyone “like us” go through. We’re just able to enunciate our sounds better and walk on our feet.

Margarita, apart from being an endearing work of art, is also important in many different contexts. First, while its protagonist is physically challenged, the movie treats that as a fact and as a backdrop. There have been good films in India about physically and mentally challenged individuals – Gulzar’s Koshish back in the 1970s explored the marriage of two deaf-and-mute people; Aamir Khan’s Taare Zameen Par was a take on the travails of a child with dyslexia; Bhansali’s Black was about a girl who was blind, deaf and mute. All of these were beautiful movies and important in their own right. But they were essentially about the disability of the protagonist. The disability wasn’t a mere backdrop, it was the story. Margarita, on the other hand, has a most natural way of dealing with the disability. The fact that Laila goes to class every day on a wheelchair, or she makes music and performs in concerts, or the fact that it does not take a lengthy dramatic scene between her parents to decide that she will go to NYU – all of these could be happening in any home. The adjustments her limitations call for – such as her father driving a Matador van that can hold her wheelchair, the peons carrying her up a staircase when the elevator stops working, are also weaved in effortlessly, without arousing any sympathy in the audience, and yet presenting an alternative way of life.

Second, Margarita is about sex and sexuality – and not in a way that most Indian movies understand those subjects. There are no full-busted women coming out of water, or hot men doing peekaboo of butt-cracks. It breaks paradigms all over the place – a girl, a physically-challenged girl at that, is attracted to men and women along the way, and explores that side of her. In a country and an industry where the concepts of sex, women, and homo/bisexuality are bigoted and convoluted, Margarita is the most human telling of this undeniable emotion that makes us living things.

Third, Margarita is important because, yet again, it has proven that good cinema does not need male superstars. In recent years, Bollywood’s women have taken it upon themselves (of course backed by a small bunch of great directors and writers) to cleanse the stinking industry, that sees disgustingly artless and regressive movies starring 50-something actors in 20-something roles make Rs.100 crores in opening weekends. Movies such as English Vinglish, Queen, Kahaani, Lootera, Highway, NH10, Mary Kom and now Margarita will change that slowly and steadily. If this trend continues, in five years’ time, we may be able to get rid of the senior citizen brigade thriving on teenage buffoonery. Hopefully, the girls will also serve as a lesson for the new boys (Ranbir, Ranveer, Varun, etc).

English Vinglish Movie Stills

queen nh10

Last but not the least, Margarita is important because it will do well internationally. It will win prizes, be screened at film festivals, and be talked about. It will finally present India as a place where specially-abled people CAN go to college, CAN have friends, CAN have supportive parents. It will also open up to the world a country of understanding fathers and male friends, empowered women making their own decisions, and a sensitive and cultured society. Of late, India has been in the international news for its crime against women, attacks against minorities, and culture policing. This film will work as one of the many little things that will reveal another side of India. We may not want a Western stamp of approval on everything we do, but that does not mean we would like to be known to the world as barbaric and criminal. The American boy in the film asks Laila – do I have to marry you if I kiss you? We’ve all had to answer such idiotic questions – a Dutch professor once asked me in the middle of a viva voce if I was treated specially in India because my surname signified my ancestors were priests. Hopefully, with the likes of Margarita, we can do away such eye-roll moments.

One last thing – superlative works of art always remind us of other good works. I’d like to mention two here. One is the film Amu, made by the same filmmaker as Margarita. I don’t think it got a big release back then, and many might have missed it then. Do watch. The other is a book called Trying To Grow by Firdaus Kanga, that is a beautiful autobiographical account of a physically-challenged boy growing up and exploring his sexual preferences within the confines of a Parsee family in Bombay. It isn’t that readily available. I had read an excerpt of it, and had placed an order for the book at Singapore’s National Library. They promptly got it for me. Even today, it costs a bomb on Amazon, or is only available as used copies. It is imperative that we preserve such alternative literature. This one already seems to be hitting oblivion. But times have changed. Margarita will stay and be remembered for a long time to come.

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There is nothing cute about Mumbai locals

A recent short video on Mumbai’s local trains has been doing the rounds, with people sharing and re-sharing the video to celebrate the “spirit” of Mumbai. The video shows people running, pushing, pulling, shoving, hitting to get on local trains. It goes on to portray several emotions of people traveling by train, and finally ends with a catchy alliteration of a tagline – Struggle. Survive. Succeed. The aesthetic train beats and spurts of Indian music render the video a sleek cinematic quality, and manages to make the viewer feel upbeat about local train travel. If you’re wondering what to make of it, this blurb on helps you decode the message:

This short film … beautifully captures the spirit of Mumbai & provokes us to wonder, What can the city of Mumbai teach us? The answer is eloquently portrayed that without struggle there is no success. What an amazing thought to start each day with!”

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It’s okay to be busy, and it’s okay to say it!

man working on laptop

This blog was published in the Harvard Business Review recently and has been currently trending on social media. Everyone seems to be identifying with it and endorsing it whole-heartedly. In fact, some even owned up to being guilty of the syndrome that this blog talks about. So here’s what I think! This blog didn’t work for me at all. If anything, it made me feel quite the contrary to what it propounds.

For those who haven’t read it, the blog talks about the current trend of everyone being “busy”. What the author suggests is that most people, in fact, are NOT busy, but subscribe to the idea simply because being “swamped” is fashionable. She says that some even take it a step forward by being competitive about who is busier than the other. While the first part of the blog decries this phenomenon, the second part proposes a solution to this syndrome.

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14th July 2013 marked the last day of the telegram in India, a 163-year-old service known for its speed and brevity back in the day. Thousands of people must have been intimated of the news and happenings that may have changed their lives. News of births and deaths, acquisitions and losses, prosperity and destruction, countries becoming independent and being divided into two – events that shaped history and decided destinies must have been reported in short sentences punctuated by “stops”, quite literally.

As the telegram service came to its end, newspapers and social media went berserk announcing it. People, who are usually quite exhausted by the endless queues in India, voluntarily stood in line to send their last telegrams, however redundant they might have been. From the telegraph office in Mumbai, more than 3,000 telegrams were sent on the last day! And when the staff member announced the closure of the service at the end of the day, she broke into tears.

Is it not true then that as much as we applaud our progress in technology and services and ease of living, we still crave times when life was simpler? Or maybe it is because these are symbols of our childhood, of our years gone by, embossed with fond memories, only to be reminisced, never to come back again.

While the “death” of the telegram has caused much hue and cry, there are so many other things that have died their slow deaths without ceremony. Maybe because they have been replaced by jazzier substitutes, we do not miss them that often. But when the mind goes back to them now and then (and rarely nowadays), there is undoubtedly an instant tinge of nostalgia in our eyes and a happy smile on our lips. This post is dedicated to a few such symbols of my childhood days.

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The L-word

In recent times, the L-word has taken over the imagination of the world’s youth. “Leadership” is the mantra everyone is chanting. From business schools trying to attract students to fellowships worldwide giving young people the opportunity to expose themselves to new experience to companies recruiting graduates as management trainees, everyone seems to suddenly be in the business of creating “leaders”. And going by how many young people are flocking to such institutions, there is clearly a beeline to get enrolled to become leaders. An interesting phenomenon, I’d say!

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