Peepli Live


Peepli live, the first ever Indian film premiered at the Sundance Film Festival, projected, among others, the Berlin, and will try to enter the quintet of foreign films in competition at the Oscars, teaches a couple of interesting things about the Hindi cinema. PL is a little lacking in the original film star if you exclude the special appearance by Naseeruddin Shah, choreography, location of foreign luxury patina of romantic scenes and action. Yet at the box office has met with a resounding success, as well as to satisfy the critics.


As the events narrated are rather simple, PL has since its a script that, especially in the second half, effectively supports the film of a massive dose of irony. Not only is the producer Aamir Khan, who does not appear in the cast, has promoted PL with energy, transport and great staff availability, proving to the film industry of Mumbai which also engage non-commercial films eventually pay. We report an equally striking example: the producer Ekta Kapoor who has been able to impose on the public and critics as innovative and tricky film Love Sex Aur Dhokha.

In the first half of neorealism PL is sprinkled with a few slow too reminiscent of the films of Eastern Europe. Raghubir Yadav and Ishita Vyas is stellar, but also the actors supporting actors give good performances. In the second half the range of characters widens. PL register changes and turns in biting satire, putting to shame the inert, corrupt bureaucracy, the political opportunist and detached from reality, but especially the questionable management of news by the media.

And something more PL has a bitter aftertaste that prevents to indulge in rice and that leads us to reflect. An average of 41 suicides per day of indebted farmers in India is a shocking figure. Human beings who take their own lives because without basic means of livelihood. In comparison, our daily problems become trivial embarrassing. Observe desperation - even if represented in a way not heavy nor rhetorical - is appalling. The question the film poses is: but we viewers are so very different from ethically lazy bureaucrats, politicians, journalists shown in PL?

We appreciate PL does not complaint because a social evil, but because it illuminates a dark ravine hidden in us, a lump of selfishness and indifference we should (seriously) be ashamed. Budhia (Raghubir Yadav) and Natha (Omkar Das Manikpuri) are farmers, and they live by cultivating a small plot of land inherited from his father and unfortunately mortgaged. They do not have the money to pay the installment of the mortgage, and therefore the bank is ready to confiscation. No one wants to or can help.

Natha decides to commit suicide in order to ensure the family a substantial government contribution. The decision to Natha reaches the ears of a local reporter, Rakesh Kapoor (Nawazuddin Siddiqui), which runs the news to his idol, the television reporter Nandita Malik (Malaika Shenoy).

Peepli Live is a small film that shows the real India without masking the contradictions of our fumbling democracy. PL develops into a fresh, effective satire which ironically turns his gaze to the deterioration of rural areas, the gap with the urban world, the bureaucracy is not in sync with the civil society, the political class uncaring, the ravenous media, and the total indifference to the real country and its problems.

The strength of PL is the script, smart and bold, and even more characters. Recruit actors from the famous Naya Theatre of Habib Tanvir was a winning move for the debutant director Anusha Rizvi. Raghubir Yadav, Omkar Das Manikpuri and Farrukh Jaffer steal the show. A special mention for the soundtrack. PL towards the middle tends to become repetitive, but it still represents a strong and vibrant document of '"other" India, that is not illuminated by the spotlight. A new trick up its sleeve for Aamir Khan, this time as a producer of a film that has a lot to say, without being boring or didactic.

Peepli live exceeds the most important test for a film that narrates the story of ordinary men: the audience is really asking if the characters on the screen are real or actors. The satire is irresistible, the sub-text stimulant. The funny screenplay (Anusha Rizvi) is based in immaculate. Actually the media in India, both in Hindi ridiculous that the excitable superstar of the news in English, leave little room for parody. So in PL the risk was to parody something that already looks like a caricature of reality. Journalists such as news consumers instantly recognize the hidden truths comedy PL. The film is the most intelligent and humorous Indian commentary made ​​for a long time: it is certainly the only true black comedy in Hindi in 27 years see 1983 Jaane Bhi Do Yaaro.

Some political parties have asked Aamir Khan permission to use the song Saiyyan Sakhi in the election campaign in Uttar Pradesh and Bihar. The song, played by Raghubir Yadav, talk about prices and inflation. Aamir Khan has refused. Bollywood has lent often singing songs to politics. Last year the Congress Party adopted Jai Ho as a hymn in the general election. In 2007, Chak De! India was used by the Congress in Gujarat for the elections of the state.

The lyricist Sameer has rewritten the text in key parody of a song from the soundtrack of Love Aaj Kal, Chor bazaari, for the election campaign of Ashok Chavan, the current Minister of Maharashtra. In 1984, the song Khaike Paan Banaraswala, taken from Don and written by the father of Sameer, sung by Kishore Kumar and displayed on the screen by Amitabh Bachchan , was adopted by Congress to promote the same Bachchan during his election campaign in Allahabad. Item of The Times of India.


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