Of heroes and absolutes

“My name is Maximus Decimus Meridius, commander of the Armies of the North, General of the Felix Legions, loyal servant to the true emperor, Marcus Aurelius. Father to a murdered son, husband to a murdered wife. And I will have my vengeance, in this life or the next.”

Gladiator – The story of the Roman general who became a slave, who became a gladiator – a gladiator who defied the emperor. A story accentuating that aspect of man’s eternal morality that justifies victory of good over the evil, of the moral over the immoral. A story depicting the invincibility of man’s courage, motivation, and ambition over seemingly insurmountable obstacles. A story of one man’s greatness evolving out of the desire to be reunited with his murdered family, and see to their commemoration. A story of a society turned rancid by petty ambitions, scheming politics, excessive hedonism and necrophilia. A story of a true hero’s fight for the upholding of his principles, and pursuit of that moment of finality that justifies his immortality forever.

Gladiator – The story of a hero. We all love heroes because of their abilities to astound, fascinate, stupify our faculties of reasoning by their acts of extreme consequences fuelled by their pereception of society’s founding principles and morality. We love heroes because they ignite our inherent passion and desire to oppose and struggle against any form of establishment and conformance. We love heroes because their singular devotion to their ideals, because of their knowledge and confidence in a definite path to the achievement of the ideals, and because of their often successful ventures in uniting with these ideals. We love heroes because while they’re everything we are not, they are everything we aspire to be.

Most of our heroes, or villians for that matter, have been propounders of theories and ideas gearing towards extremism. Interpreting extremism as hot blooded violence in this context would be inaccurate, for what is meant here is extremism of ideas, be they of peace, violence, romance, happiness and such. Ever heard of a hero who compromised on his ideals, his principles and yet lived up to the concept of heroism as defined by society? The hero, of our society has ideas dealing with absolutes, ideas that are either black or white. And his heroism, in our eyes, is qualified, justified by his abilities to translate those absolutes into actions.

So we have heroes leading armies of a handful soldiers against enemy armies numbering in thousands. We have heroes who challenge dictators, notwithstanding the fact that in a dictatorship, the dictator is the absolute. We have heroes who find their ways through the most complicated of mazes, even when they have no eyesight. Our heroes are absolutes, or people who challenge absolutes. As someone once said, heroes are ordinary people who behave ordinarily in extraordinary circumstances…

“Ultimately, we’re all dead men. Sadly, we cannot choose how but, what we can decide is how we meet that end, in order that we are remembered, as men. “

Critiquing films

To be frank, my tastes in films don’t often match those of my peers (and the general populace), and the last few films I’ve watched seemed to make this quirk of mine more apparent than ever. Considering the fact that on principle, I don’t give a dime’s worth to a movie critique, this post, in all probability, is an extremely incriminating and wasteful exercise, and should be treated as what it is…an unavoidable mistake of galactic proportions, whose consequences can and should be overlooked, and the precious time wasted on it, accounted for as time which was never meant to result in any tangible output for the individual (myself) or the society (you).

Batman Begins – The alpha beta and gamma of the batman saga. The one movie that was supposed to open the gates to the unfolding of the mysteries surrounding the famed nocturnal industrialist whose alter ego was fashioned after a bat. Did it live upto its responsibility of doing full justice to the dark legend of batman? My answer to that would be a resounding NO. Batman, to me (and probably the entire generation) has always been a fantasy at best, never making even the most feeble attempt to enter the realm of realism and logic. Why should I try to rationalize the life of a rich industrialist who likens himself to a bat, and crusades along the dark streets of a sin city playing the role of the true justice dispensing vigilante? So why did this movie try to inject sense, and attempt to give realistic portrayal of how batman came to possess tremendously lethal skills by training with mercenaries. Why did this movie have to make the stagnating Gotham City look so real, with skyscrapers modelled on the New York skyline, metros borrowed from singapore, and the crime striken areas (a.k.a the hood) of washington d.c.? Why did the movie not do justice to the creation of Batman’s mortal enemy, The Joker, when he is so very intertwined in the very fabric of what makes batman? And how could anyone be so WRONG in interpreting the aesthetics of the BATMOBILE? What makes the batmobile THE BATMOBILE is primarily the sleekness and suavity of the vehicle, and not a pseudo macho appearance, which reeks of a battle hardened design of a military tank! For god’s sake, how difficult is it to understand what makes the batmobile what it is? And the actor playing the batman, a classical blunder, with a somewhat un-majestic lower jaw, and a overtly dark sounding voice trying to whisper all the time, is the antithesis of the proverbial feather in the cap. I could go on and on….

Paheli – A hindi movie based on a rajasthani folk tale painting a classical romance between a lady and a spirit, who has taken the form of the lady’s new husband, and seeks to live the husband’s life while he is away on an extended business trip for several years to a distant city. I have immense respect for the director, Amol Palekar, and it pains me to say that he does not do justice to himself in this movie. To begin with, why are there so many marathi actors in the movie? It embarasses me to see talented marathi actors, rendered absolutely ineffective due to their inability to mimic the rajasthani accent. Forget the rajasthani accent, it is a well known issue with most of the marathi actors that they can barely speak hindi without a heavy infusion of marathi pronounciations! Add to this severe incapacitation, the lack of a decent storyline, and what you get is an amateurish attempt at re-enacting a folk tale, which is, in the first place, wrongly chosen to make a movie out of. And the pathetic attempt at trying to woo the audience by using the age old charms of bright colors, flashing jewelry, breathtaking landscapes, glamourous lives just makes this half baked pie totally unpalatable to even an unrefined viewer such as myself.

Wow, this really was a waste of time. But I can sleep well knowing that the time wasted in writing this critique was probably insignificant as compared to the time forfeited in watching the two movies….

Follow

Get every new post delivered to your Inbox.