If you plan to attend the screening of an Indian film, abandon all hope and sit in your chair at your own risk.
This is the warning that accompanies all the reviews of the film Gandu, both those who hail the immortal masterpiece, both those that dismiss it as a porno Trainspotting sauce in Bengali. Having shocked audiences and accumulated several awards at the South Asian International Film Festival in New York, at the Slumdance, Seattle, London and Berlin, making escape from the room everyone cannot stand the sight of gray and noisy sex, of drugs trivial to the urban periphery, for fellatio hyperbolic and verbal obscenity.
The film has been called a rap musical by its creator, Qaushiq Mukherjee called Q, author of the rap lyrics in Bengali that accompany the narrative development of the film set to the music of Five Little Indians , the alternative rock band based in Calcutta who loves fuse heavy guitars and extreme music with classical Hindustani raga tradition. Needless to insist Gandu has not the slightest chance of passing the screening of Indian censorship , which still stifled a cry of scandal at the thought of putting on the market panindiano a kiss with his tongue.
A film that upsets the respectability of Rome and Berlin has little future among an audience raised to the sound of Mrinal Sen and Satyajit Ray, but its very existence testifies to an important change. Perhaps the Indian cinema got sick of his hypocrisy and chooses to kill the taboos by adopting the shock therapy, banging on the screen everything that the moral ostracized with extreme disrespect, and at the same time, with the sublimation of a photography master.
Gandu is all that the director had explained carefully Q almost documentary in the world with his latest work, Love in India (2009), elaborated on the basis of aesthetic enjoyment. Gandu is a poem trash that analyzes the frustrations of Indian society personified in the main character dubbed precisely Gandu, the Jerk, a young aspiring rapper without a future whose life is narrated by a camera that is blatantly interferes in its sphere more intimate, to show the viewer the shy squalor of his family life, his masturbation, its ridiculous and unsuccessful attempts to pull a living by winning the lottery, the clumsy pilfering wallets slimy mustache lover of his mother, his mental journeys and his hallucinations of tune with his friend Rickshaw, a miserable rickshaw driver in love with his unique God: Bruce Lee.
With only ninety minutes by gray scales, among which frames a sequence of scenes - perhaps confined to fantasies of the protagonist - of seduction and sex color pulp, Gandu gives us an unexpectedly India in all respects. deliberately obscene language The register is very real and is with courage and likelihood the slang of the slums of Calcutta better than they tried to do the sparolacciare of Kaminey (Vishal Bhardwaj, 2009) and Delhi Belly (Abhinay Deo, 2011).
Transformation of Kali by a benevolent deity irrepressible mother and insanely sensual is fast and with a few frames of the inevitability metaphysics of sex in substrate tantric and shamanic religions of India. The device allows the eye of the heroine of the room to creep into the surreal world of the protagonist and the resumption of lyrical nonsense with the viewer the exotic getaway of Gandu in his fulfilling fantasy in color, remembering meanwhile the bigoted fringes of Indian society the Actually the use of drugs on the soil of the god Shiva, who Gandu and Rickshaw are addressed as king of marijuana.
In a traditional context for which to be ashamed in front of their nakedness is an order, I am even more admirable the performance of the actors Anubrata (Gandu) and Rii (who plays the girlfriend of the director in the shoes of three controversial female characters, Kali, the bespectacled girl cyber cafes and the fuchsia-haired feline prostitute), who have learned to express without fear their bodies after long workshop with the method of Augusto Boal.
This is Gandu in the frame of representational art Indian contemporary art: a hymn to reality, an invitation to honest film, and a fierce struggle against the outraged sense of shame and the shame of falsehood, whose indignation is expressed by the power of the literary form redemption of the marginalized par excellence: the rap. they hope that somehow, through legal or inland virtual Gandu becomes available for public use for which it was created.
Its success is turning the four corners of the earth while in India it is virtually impossible a copy despite the uproar is going crazy just by word of mouth and the curious are being multiplied dramatically. If you really Gandu will be screened at the opening of the forthcoming Kolkata Film Festival the seventeenth edition will take place in November, then we shall see if and how the Bengali audience is inclined to exorcise their fears and heal the abysmal discrepancy between film and everyday life.
From the famous drama Tasher Desh set to music by Rabindranath Tagore. Shipwrecked on an island of your dreams, the prince and his buddy stumble upon a strange society. The islanders are all soldiers who call themselves the cards, and live according to the laws that prohibit all human behavior. When a violent faction of the islanders catch the two foreigners and leads them to court, they arouse the wrath of cards for being removed from the customs of the court. Pleaded guilty and ostracized. Before leaving, the prince asks to speak one last time, and took the opportunity to whisper to some women Charter the message of liberation that revealed his guardian angel. Shortly thereafter, in the land of the cards will be manifested for the first time dissent