Rang De Basanti Movie Review

Rang De Basanti is an entirely new kind of Bollywood film. It does not use conventional Bollywood filmic techniques and even deviates from the formulaic nature of Hindi films. In fact, it resembles Western films in several ways and seems to have a goal of harmoniously combining the two cultures. Nonetheless, there are still residual features of classic Hindi films such as the reverential mother figure or loyalty to country. Rang De Basanti is a platform for more serious issues in India to be displayed without as much sugar-coating. It takes a long, hard look at patriotism in the 21^st century and actually transfuses the old passion that existed in Indian citizens into the apathetic youth of today.

One of the most noticeable changes in Rang de Basanti is the camera work. Without getting very technical, the movie has more sporadic, quick movements of the camera than the traditional smooth and flowing filming. Camera work in Rang De Basanti resembles filming done by real human hands, like in a documentary. It has the same kind of flaws a human might make in the filming process like shaking or angling the camera slightly off. It seems to me like there is a goal of creating life-like conditions and this camera style is one way of doing so. Another change from the norm is how this film uses collages, time-lapse clips, and the blurred, picture-like images to represent memories. The scene where Ajay proposes to Sonia and the group of friends celebrates is an example of all of these techniques. The scene is filmed as if it is a snapshot of a memory, with a collage of images sown together and some of them slowed down for a crisp illustration while others are fuzzy like an escaping memory. This type of editing creates the feel of a documentary rather dramatic setting of a regular Bollywood film.

While Rang De Basanti appears revolutionary on the outside, it still perpetuates some of the classic trends and themes in Bollywood cinema. One obvious example is how the mother figures are still viewed as the moral center and held in great esteem. Another common trend that we see once again in RDB is how women are pushed aside by the end of the film in order to make room for the male characters to develop. Sue, who was the center of the action for a majority of the film, disappears near the end and is left totally out of the loop. Then there is the matter of patriotism. RDB is based entirely on patriotism like many of it’s predecessors in the Hindi film industry,

One of the more innovative features of the film is it’s attempt to reach out to youth culture. The whole movie is catered to young people and their interest. Sonia and her friends engage in behavior that is considered risky and hip which causes younger audiences to at least be interested. It combines the older, more traditional theme of love for one’s country and puts it in a modern context. Personally, I found it hard to relate to all the notions of undying patriotism as well, but the movie put into perspective how I can interact with the emotion as well. RBD addresses youth’s apathetic nature and then clearly shows how and why they should change that around.

There is an unveiling of India in RBD that we’ve never seen in previous Hindi movies. The rot under the shiny exterior is visible in this movie and acknowledged. India is not portrayed as a perfect and moral example of how a socially conscious nation should be. Instead, there is direct confrontation of the corruption rampant through the country but there is also evidence of the things that make the country a place worth saving and loving. The only other movie I can think of that has been so candid about the state of India is Slumdog Millionaire. Both films seem to be applauded for their brave presentation of the truth.

There is also less emphasis on the song and dance sequences than normal. I have taken the stand that RBD would have been better given more eloquent and descriptive songs. While it is a refreshment getting a break from all of the lengthy songs we see in every Bollywood film, I believe a Bollywood movie needs to have adequate songs in order to be effective. I realize that RBD was going for a more realistic angle and a dream sequence would just ruin the style of the movie. There are other ways to go about creating a meaningful song within the movie and keep the realistic feel. They could have made the music more inspirational than anything, kind of like Lagaan. The songs in Lagaan helped the movie and it’s message immensely; I can only imagine it would have done the same for Rang De Basanti.

Overall I enjoyed the movie. The first time I saw it, however, I didn’t like it because I just was not used to the new format of filmic RBD employed. I found it difficult to adjust and simply decided not to like the movie. Having watched it again, I realize that the new style is opportune for promoting the morals that RBD advocates. The different style complements the message and makes it better understood. I also really appreciate how practical the film is. It inspires youth, teaching them what can be done to make the world a better place instead just how to fantasize (mostly about the opposite sex). Although I wouldn’t want every Hindi film to emanate the techniques used in Rang De Basanti, it does make a great addition to the vast collection of great Hindi movies.

Maisha Mir

Rang de Basanti

Uday Reddy

Rang de Basanti, directed by Rakesh Omprakash Mehra in 2006, tells the story of a British woman making a documentary about India. Inspired by her Grandfather’s diary, Sue (Alice Patten), travels to India to recreate the story of early Indian freedom fighters. She recruits five college kids to star in her film, and they reluctantly agree to cooperate. Her friend Sonia (Soha Ali Khan) helps her find four guys to play the part of the revolutionaries, Daljit or “DJ” as he is referred to (Aamir Khan), Karan (Siddharth Narayan), Aslam (Kunal Kapoor), Laxman (Atul Kulkarni), and Sukhi (Sharman Joshi) are all cast to fill the roles. Filling their days with partying and shenanigans, the group is very representative of modern day youths in India. They are not really concerned with social issues, or political issues, or anything other than childish things really. They participate in things that the previous generation considered seedy, such as being flirtatious and bribing police officers. The one exception, though, is Laxman who is inspired and is able to identify the problems with corruption India is facing. He thinks that India’s youth is far too concerned with popular culture than social issues.
The next big plot shift in the movie happens when Ajay, Sonia’s fiancé and also a Flight Lieutenant in the Indian Air Force, is killed when his plane crashes. The government insists that it was caused by a pilot accident and that Ajay is to blame. Sure of Ajay’s abilities, Sonia and her gang suspects that foul play has occurred and investigates. Eventually, they learn that the reason for the crash was due to faulty parts that the corrupt defense minister signed off on as part of a political contract, and in a shocking turn of events they learn that it was actually Karan’s father that was behind the faulty parts, the defense minister was only in it for the money.
Shocked by this new discovery, the gang decides to take action and protests in New Delhi. The police and protesters clash, leaving many injured including Rathod’s mother. The gang is even more fired up and realizes that the only way that they will get through to the government and the media is to assassinate the defense minister. Karan embarks on his own vendetta, against his father and ends up killing him as punishment for his corruption. What the gang didn’t think of is if the public would realize why the two have died, and instead the defense minister is considered a hero by the Indian people. The gang takes things to the next level when they storm a local radio station. Unfortunately for them, the radio station is evacuated of all employees, making the Police’ job of storming the building and killing all the freedom fighters that much easier.
While the gang isn’t exactly the most elite group, they definitely show many important themes and ideas throughout the movie. The group is used to show audiences that even the most uninspired Indians can come together for the greater good of the country. The group shows that even though one may die while fighting for one’s cause, it is still the just thing to do. Ajay is an obvious hero in the movie, dying for his country and serving as a catalyst for all the change that the group fights for. Even in the beginning of the film, Ajay is always pro-India, and the others (especially Karan) are decidedly anti-government. I feel that Karan is definitely the end hero in this movie though. He always is becoming the “better man”, and during his speech at the end of the movie, actually encourages joining the military and government to fight corruption from the inside out.
Sue was a critical part of the introduction of the film, but I feel that she really takes a back seat role in the film as it progressed. The film started being less about the previous revolutionaries and started shifting to the modern day issues that plague India. The song and dance in this movie were quite different than previous Bollywood movies, they were much less glamorous and much more heart touching and meaningful, in my opinion.
Rang de Basanti inspires and captivates audiences. I really enjoyed this movie because it showed that one does not have to be violent to get their point across. And actually, if they were not violent they would probably still be alive. But at the same time, they probably would have not been as successful. Nevertheless, Rang de Basanti is a great movie that really mashes past mentalities, with modern day controversies and issues.

Rang De Basanti

Grace Hennessy
HIND 2441
26 April 2010
Rang De Basanti
Written and directed by Rakeysh Omprakash Mehra, Rang De Basanti was released in 2006. The movie begins by telling the story of a young British girl, Sue McKinley (Alice Patten) who aspires to travel to India to make a movie following the events of her grandfather’s journal. Her grandfather was stationed in India during the early 1920s and witnessed the start of the independence movement, with a small group of freedom fighters. She becomes inspired by the will of the young men and hopes to find similar characters to play the roles on her visit to India. With the help of her friend Sonia, (Soha Ali Khan) she meets a young group of college students, begins to make a movie, and falls in love. She casts Daljit (Aamir Khan), Karan Singhania (Siddarth Narayan), Alsam (Kunal Kapoor), Laxman Pandley (Atul Kulkarni) and Sukhi (Sharman Joshi) as the young revolutionaries: Chandrasekhar Azad, Bhagat Singh, Shivaram Rajguru, Ashfaqulla Khan, and Ram Prasad Bismil.
At first the group of young college students are uninspired. They come from priviledged lives and have never had to fight for anything before. However, as the movie progresses they learn about the sudden death of Sonia’s fiancée, Ajay Singh Rathod (R. Madhavan), caused by cheap, faulty airplane purchased by the government. After this, the characters’ feel the intensity felt by the original freedom fighters they were scripted to play. Further injustice is held against Ajay’s family and friends when their family is forcibly removed from publicly mourning his death. Everyone is injured, and Ajay’s mother slips into a coma. From here, the group begins a plan of action. They decide to bring justice to Ajay’s death they will have to murder the corrupt Defence Minister (Mohan Agashe). After nothing is brought to light on the corruption regarding Ajay’s death, they decide that in order to bring light to the situation, they must publicly announce it to India. Fortunately, they have a friend who hosts a talk show for All India Radio, and the group decides to hijack his morning program. On live radio they reveal their secret of killing the Defence Minister and their motivation, and crowds gather outside, along with the military. The movie ends with all of the young men being shot.
So far, I feel like this is the most modern movie we have watched. The way the young college students are portrayed, with the drinking and smoking seemed realistic. I thought that it accurately displayed the injustices of India’s government and left you feeling with the hope that it can change.

Rang De Basanti

Rang De Basanti was released in 2006 and for the most part was well received. It stars Aamir Khan as DJ, Siddarth Nayaran as Karan, Soha Ali Khan as Sonia, Kunal Kapoor as Aslam, Sharman Joshi as Sukhi, and Laxman Pandey as Atul Kulkarni . The leading character is played by British actress Alice Patten as Sue. Sue travels to India to film a docudrama about five individuals who gave their lives for the independence and freedom of India. With help from her friend Sonia she recruits four guys to play her lead characters- Dj, Karan, Aslam, and Sukhi, Sonia of course lends a hand in the film and later Atul comes in. The interesting thing to note with these characters is that they all come from very different backgrounds. Aslam is a Muslim who appears to come from a family that could be considered lower class. Dj is a Sikh and his family background seems to be middle class. Karan is a Hindu who very wealthy, we are not shown Sonia or Sukhi’s background but it is safe to assume they are middle class/upper middle class Hindus. Then you have Atul who belongs to the Hindu right and is not shy about showing his contempt for Muslims. All are good friends except for Atul who clearly does not like Aslam because of his religious beliefs. While filming at first does not go well, not everyone is taking it seriously and then you have the tension with Atul; but then things start to come together. One begins to see the characters become their “characters”. Everything changes when Sonia’s fiancé, Ajay, dies in a plane crash. It is then revealed that his death among many others pilots before him were a result of a corrupt government. Because of the government’s refusal to take responsibility for Ajays death, the group of friends plan a “sit in” I protest. This of course creates a riot resulting in almost everyone getting hurt and Ajay’s mother winds up in a coma.

While Sue was a central character in the first part of the film, we don’t really see her in the second half. It is in the second half that we see these six characters take on the “freedom fighters” personas. They decide that they must kill the defense minister, because he would never take responsibility and he had to pay for his corruption. In a rather quick transition the minister is killed and the guys decide to turn themselves in. It is never explained why Sonia is not an active part in the killing. The guys hijack a radio station so that they can tell their story. Swat teams storm with the order to leave no one alive. The audience watches as each of the men die. This is to mirror the men they were playing in Sue’s film. Life was imitating art and well history.

This film had some really great moments; however, it was not perfect. While in the beginning Sue has good intentions it seems as if she lives too much in India’s past (in her grandfather’s journals). It seems irresponsible that she would go to India and engage with people about politics, without understanding the political situation. She also seems to not even try to understand why these guys act the way they do. Her ignorance does not help her situation, it is also strange that no one explains the situation to her and why everyone is acting the way they are.

Despite the reenactments being rather cheesy, one look at Aslams (from a female perspective he was by far the best looking of the bunch –swoon-) face and they are forgivable. While at first I was irked at the thought that once again we have a situation in which a white foreigner comes in to teach the people their own culture/heritage/history, however, sometimes it takes looking at things from another perspective, or rather someone shaking you to see what is in front of your nose.

This is not your typical Bollywood film. Yes there are songs and dancing, however, there is nothing flashy about this film. This film touches on situations that are likely to happen. One can see Bollywoods/ Indian cinemas turn towards realism with this film. It is a definite must watch!

-Sonja

Inquilbad Zindabad, Youth Culture and Recognition of History in Rang De Basanti

Mark Wiebers

Inquilbad Zindabad, Youth Culture and Recognition of History in Rang De Basanti

In contemporary India there is a constant reminder of the revolution for independence and empowerment. A picture of Gandhi or Nehru is on many walls in government offices, Gandhi’s face is on all rupee notes, and there are thousands of statues of Gandhi, Neru and Ambedkar. All only material remnants with symbolic left over ideals of the empowerment of all Indians. The phrase Inquilab Zindabad (long live the revolution) seems to have as much meaning in the present as the past. The revolution of the empowerment of all Indians and to end their suffering is still in effect. But in the current day this idea has seemed to passed as the Indian youth are becoming more cosmopolitan. This is similar to how some groups during the Independence movement are emphasized, and others like the Hindustan Socialists Republican Association and Subas Bose are put to the background. These groups that used violence were also a part of the revolution. Rang De Basanti was a monumental film, that targeted the young Indian and challenged them the recognize other groups in Independence movement, and realized that Inquilab Zindabad was still in effect.

Rang De Basanti starts with a British filmmaker (Sue) whose grandfather was jailer of Bhagat Singh. The jailer received Bhagat Singh’s journal. The jounal was going to be used for Sue’s film. Sue learns Hindi and goes to Delhi University to find the cast for her movie. She soon finds that college students now days are much like their Western counterpart enjoying partying and being with friends. She has a difficult time finding the characters but soon finds DJ Sonia Karan Sukhi Laxman Ajay, and Aslam. They were going to play members of the Hindustan Socialists Republican Association. After some trials Sue makes the crew realize that they are doing more than a movie, they are reenacting their own history. Through making the movie and by their best friend dying during duty with the air force, they transform their perception about their country, empowerment and their inquilab. Then during a candle light visual for Ajay (air force pilot) Ajays mother is beaten to death by the police. Interesting enough, the students at this point realize Bhagat Singh’s writings.

In Bhagat Singh’s writing he warned about tyranny. Bhagat Singh explained that the changing of power from the White Sahib to the Brown Sahib, maybe would only pass the tyranny on. Thus the true empowerment of the people would be impossible. In the film, after the police beatings, the students understand the writings of Bhagat Singh, and the slogan Inquilab Zindabad. The revolution was not over nor a piece of history. The students decide to take action and destroy a radio station giving miss information. In their quest they are shot and killed by the police. Like during the HSRA movement, like the character the students played, all sacrificed their life for their revolution.

One very interesting aspects of this film is that it was partly made for a renascences in history. The main characters were like many contemporary Indian student. Because of this the movie spoke directly to students, reminding them of their lesser known or publicized history. The film also brought up the point that empowerment preached by revolutionaries of independence has not been met. And the revolution is not over, nor will be over until the goal is met. The phrase Inquilab Zindabad was used in the film numerous times, possibly with the hope that it will re-resonate with the youth, so that the dream of revolution and empowerment will not end.

Rand De Basanti

Sydney Blach
April 26, 2010
Bollywood; TR 3:30-4:45
Film Review #4

Rang De Basanti

Rang De Basanti is a unique story about a group of young friends living in India during the late 90’s and the journey they embark on, the lessons they learn, and the risks they take. While the film is set in the present, much reference to India’s past is referenced and introduced to the characters by the unsuspecting English woman, Sue. Sue is visiting India to fulfill her dream to make a film about the diary of her grandfather which tells the factual story about the prosecution of the group of Freedom Fighters led by Bhagat Singh. On her quest to create her movie, Sue befriended Sonia, a young Indian girl who introduces Sue to her country and serves as her assistant in making the dream of the film turn into a reality. Upon Sue’s arrival, the two hold auditions to find the perfect caste members to personify Bhagat Singh, Ramparasad Bismil, Rajguru, Ashfaqualla Khan, and Chandrashekhar Azad. After the grueling auditions, feeling a bit discouraged the girls decide to take a break from work and go to the “classroom” where Sue and the audience are introduced to DJ, Sukhi, Karan, and Aslam. After a night of introductions, partying and feasting Sue has an epitome that these are exactly the young men she is looking for to represent the freedom fighters in her film. Within this scene we are also introduced to Laxman who will also eventually be apart of the group despite that he is the one that breaks up the party at the “classroom” suggesting that this generation is hopeless as they are much too influenced by Western culture.
The next day the group gets to work but it is hard for them to focus because they are much too disconnected to the feelings the freedom fighters had, and the devotion they had for the country. It’s not until later in the film, after the death of Ajay, Sonia’s future husband and best friend to the group of boys, that there is passion and meaning behind the characters they are representing. Ajay was a flight lieutenant for the India Air Force, and was constantly telling the boys that no country is perfect, but he is proud to fight for his because he is proud of his country regardless. Despite his true patriotic nature and heroic deed in saving a village from death and destruction in exchange for his own death, the Defense Minister calls him a “rash pilot,” ultimately taking the blame off of himself and onto Ajay. These insults infuriate the group of friends, and just like the freedom fighters, they begin on a quest for revenge starting as a very peaceful protest against the corrupt government. They begin by holding a candlelight vigil in Ajay’s honor which is violently disrupted by the police sending Ajay’s elderly mother into a coma, and leaving Aslam viciously beaten. This is the very instance the morality of the group changes, inciting in them passion to be the change they want to see.
There is a clear transition in the film when we see DJ sleeping and Sue’s lap and Sue thinks to herself “maybe DJ wasn’t sleeping, maybe none of them were, maybe they were all waking up.” The last part of them film is about their transforming into the Freedom Fighter they were acting as in Sue’s film and the actions they take in order to seek justice from the government. The very next scene is a flashing between a conversation between Bhagat Singh and his men and DJ and his men on the top of the roof discussing what the only thing left to do is to kill the source of the problems. This is when the boys decide the best way to avenge Ajay’s death and the abuse they have received ever since in to kill the Defense Minister himself, and so they shoot him on his morning walk, and there is an uproar in the country about the terrorist acts. Disappointed with the reactions their actions receive, they then decide to broadcast over the radio and explain that the reason for the assassination was not an act of terrorism but instead an act of justice. When government officials get word that the Defense Minster’s assassinators are at the radio station they send patrol with the orders to kill them all. Police bombard the radio station in the midst of live news broadcasts and do exactly as told, first they shoot Sukhi, then Aslam and Laxman die next to one another, and last Karan and DJ are killed while sharing a last joke about the color of DJ and Sue’s kids’ skin.

Rang de Basanti

Kimberly Crater
Movie Review: Rang de Basanti
Rakesh Omprakash Mehra’s 2006 film, Rang de Basanti, combines the stories of a modern-day group of friends and a pre-independence era group of freedom fighters. Rang de Basanti was nominated and won several awards, including its nomination for an award in 2007 from the British Academy of Television and Arts.
Sue (Alice Patten) is a novice British filmmaker who, inspired by her grandfather’s journal, goes to India to make a documentary based on the lives of pre-independence freedom fighters, Chandrashekhar Azad (Aamir Khan), Bhagat Singh (Siddharth), Rajguru (Sharman Joshi), Ashfaqullah Khan (Kunal Kapoor) and Ramprasad Bismil (Atul Kulkarni). Sue’s grandfather had been an officer in the British army who captured, tortured and eventually killed some of the freedom fighters. Once in India, Sue meets a group of self-described rebels and casts them in her film. Daljeet/DJ becomes Azad, Karan R. Singhania is cast as Bhagat Singh, Sukhi as Rajguru, Aslam for Khan and Laxman as Bismil completes Sue’s cast. However, when their friend dies in plane crash due to faulty parts provided by the India government, the group of friends, who had once cared about nothing but drinking and staying out of trouble, begin to embody their historical counterparts in a plot to avenge their friend and inspire a generation.
Rang de Basanti is riddled with irony. Sue, who is quintessentially British, is the granddaughter of a colonial British jailer who worked against the revolutionary movement in the 1920s. Yet, Sue chastises DJ and his friends for not caring enough about their history. Despite her unforgettable connection to the colonial past, Sue lectures the boys on the importance of remembering the men who died for their freedom. However, as DJ, Karan and the others begin to embody their historical counterparts, Sue fades into the background of their lives. When they decide to kill the Defense Minister, Sue is noticeably absent from the meeting; even through it was her movie that inspired their bold decision.
DJ and his friends are, at first, carefree and uninterested in the problems facing their country. They are quick to join in the corruption as they bribe police officers to avoid punishment. Karan even excitedly anticipates going to America for school and leaving the problems of India. When Ajay enters as a patriotic pilot in the Indian Air Force, everyone seems eager to refute the notion that anyone would be willing to die for the country. Dejected, the boys imply that the corruption is rampant from the head of the government trickling down to even the local police force. Karan leads the others in a decisively anti-government, anti-army mentality. Ajay is the opposite believing that by joining the army; anyone could make a difference and fix what is wrong in the country. He is adamant that it would be an honor to die for the country. When his plane malfunctions due to substandard parts, Ajay proves his dedication to his country by sacrificing his life to save civilians. Following Ajay’s death and subsequent dishonoring by the government, DJ, Karan and their friends are inspired to fight the corruption and kill the Defense Minister and Karan’s father who they see as responsible for the faulty parts that led to Ajay’s plane crash. However, during Karan’s final speech at the radio station, he admits that killing the Defense Minster was not the best choice of action, acknowledging that politicians are elected by the people. Karan implores the youth to take appropriate actions to fight what they see as wrong in the country. Instead of murder, Karan encourages joining the military, police and take other government positions. News interviews near the end of the film showed that Karan succeeded to inspire a generation to do what he, just a few days prior, was steadfastly against. Despite blaming the government and military for Ajay’s death and the police for the beating of Ajay’s mother at a peaceful protest, Karan passionately pleads for people to join those agencies as a way to fight the corruption inherent within them.
Rang de Basanti is an inspiring political film taking aim at unbridled political corruption and the lackadaisical and apathetic attitude of the youth.
Works Cited
"Rang De Basanti (2006)." The Internet Movie Database (IMDb). Web. Apr. 2010.
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Rang De Basanti. Dir. Rakesh Mehra. Perf. Aamir Khan, Siddharth. 2006. DVD.