The DSIR Founder's Issue 2021

Founders’ Issue 2021

Rohan Taneja

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Arjun Prakash

Anime: Tokyo Revengers Sai Arjun

Vivaan Sood

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The Perks of Being A Wallflower

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Svanik Garg

Karan Agarwal

Brooklyn Nine Nine

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No Time To Die

Shreyan Mittal

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Silence of the Lambs

Manipulation of Reality

03

The Genius of Alan Moore

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Editorial Dear Readers, It is with great sadness that I write this editorial, not because it is my final piece as the editor-in-chief of the DSIR, but because of how I have seen publications within school decline over the past six years. Publications once held gravitas in school, and when they were released in the CDH, the long tables were overrun by a sense of excitement as students tried to get their own issue. As students read an issue during a free school or perhaps on a bathroom break, it was not only informative for the reader, but also rewarding for the writer and the editorial board. As a school, we seem to have lost that culture, maybe because of the shift to online publications or COVID and decreased attention spans.

Each publication has now been reduced to a series of mails that get discarded and ignored in the void that is a reader’s inbox. As I sign off, I beseech you to try and revive the culture of reading and writing that once thrived in school.

Enough despair, in this issue, the editorial board brings to you reviews of the recently released Bond film, ‘No Time to Die’ and of the Stephen Chbosky movie, ‘Perks of Being a Wallflower’ released in 2012. The issue also delves into the realm of psychological thrillers and attempts to throw light on the elements which make a psychological thriller an invigorating experience.

Furthermore, we have included articles about the impact of Brooklyn Nine-Nine in the era of police reform and one on how football players are being assessed on the basis of their ratings in the FIFA game, and not on the basis of their skill. We have also included articles of the ‘Runners-up’ of the Bakhle Literature Prize Test.

Picture Credits: Vulture

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Special Section

Independence marks a turning point in the history of our nation and pop culture plays an instrumental role in shaping our perception of the moment we became independent. To this end, the ‘Special Section’ of this issue celebrates 75 years of Indian independence by reviewing iconic movies such as ‘Lagaan’ and the biographical war film, ‘Shershaah’. Regional cinemas, although not as popular as the currently infamous Bollywood, cannot be forgotten while evaluating India’s pop culture journey, so we have an article targeting the same. Lastly, the section culminates with a list of independence-related books and movies.

We hope you enjoy reading it!

Signing off, Kabir Subbiah Editor-in-Chief

The Genius of

Alan Moore

Rohan Taneja

Comic books have always been seen as childish, somewhat ‘illiterate’ substitutes to genuine literature. Adults who read them are laughed at, while children are heavily discouraged from doing the same. After all, they are just pages filled with large illustrations, with the only literary element being minimal dialogue in speech bubbles with the occasional onomatopoeia. Before I was introduced to writer Alan Moore, I probably would have agreed.

Comics, despite their stereotypical lack of literary value, surprisingly hold a massive amount of potential to be a leading popculture medium. The ideal example of this would be Moore’s most acclaimed novel, ‘Watchmen’. At the face of it, it seems to be like any other superhero comic book, where the hero selflessly fights for the greater good of humanity, and always emerge victorious to live a life happily ever after. Even though that may be likeable, fantastical, and appealing to most ages, it is very far from realistic. In this context, by realism, I am not referring to the idea of fictional elements such as superheroes in themself, but rather the portrayal of that idea. Despite it being a superhero novel, the heroes in Watchmen don’t fight because they are obligated to; bad things happen to the best of people and the hero doesn’t always end up living a happy life. While many may find this disturbing or negative, Moore simply believes that it is how the real world works and for comics to be considered as serious literature, it is essential to find that balance between a fantastical idea and harsh realism.

‘Watchmen’ is an example where Moore made modifications to the story to incorporate those realistic bits and pieces. In contrast, even when restricted by the storyline, he is able to elevate the status of a book from a comic to a novel. ‘The Killing Joke’ for instance, unlike Watchmen, follows a relatively cliche storyline, much like any other Batman-Joker comic.

These branded comics have always followed certain conventions that a writer cannot go against. Not even someone as renowned as Alan Moore. To cope with these restrictions, he more or less kept the same storyline but entirely changed the area of focus. Any other comic’s focus would typically be action sequences and plots and mysteries. Moore, being himself, laid the book’s focus on the antagonist’s mindset, much like Todd Philips’ Joker. The book, quite interestingly, paints the Joker and Batman not as heroes and villains or good and bad. Rather, it paints them as human and human.

Moore is in many ways comparable to William Shakespeare. His comics are surprisingly similar to plays. Even though he doesn’t have literary elements at his disposal, he uses elements of drama to convey information. A large amount of psychological exploration in the book is done through elements found commonly in play productions, for instance the Joker’s monologue.

Comics may never be fully accepted as genuine works of literature, but as long as writers like Moore exist and try to make a change, we readers can at least live with the knowledge that its future is in the right hands.

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Arjun Prakash comments on the immense responsibility and influence the game posseses to The ‘FIFA’ video game series, made

by EA sports, released its 22nd edition recently. Among the football community, it has become more than just a game. Due to its annual release, it now serves as a player performance review of the previous year, recognized as an essential for football fans and players across the world. Its popularity can be largely credited to the fact that football is a global sport with a huge following, but also to its interminable legacy, passing through generations of people alike. If football were a religion, FIFA would be one of its temples.

As a result of the game’s huge fan following, it holds a certain responsibility. Each year, people save up money to buy the game, with high expectations for what the new features could be. But more specifically, to see how the game has rated players who have performed better, or worse, over the course of the year. The responsibility of statistically rating each player to reflect their individual ability is not an easy task, especially when an entire population is eagerly waiting with high expectations.

Sometimes they might get it wrong,

at least in the eyes of the viewer.

Although it is understandable, this can have a negative impact on a player’s mindset, and here’s why. When we play a game of FIFA, we usually assemble our best team according to the players’ in-game ratings, as it gives us a good sense of their abilities. We use this player in the game on a daily basis, and if he is very good, we seem to maintain that perception when it comes to his real-life performance.

This applies to a player who we don’t like using in the game as well. Maybe he feels too slow, or his shots are too weak. The issue with this is that when we watch a proper football game, we directly associate a player with their rating, be it good or bad. This puts a certain level of pressure on the players themselves, who may seek to improve their rating, by avoiding the possibility of being called ‘too slow’ just because his FIFA stats reflect it.

This is good to a certain degree, as it provides more of an incentive to the player. However, as much as the game may feel realistic, we need to separate in-game player performance from real life, which holds a lot more value.

Regardless

of

these

inadvertent

negative impacts, the FIF will continue to flourish a the ‘beautiful game’ is al cherish those memories, as old, coming back home fro and playing a quick game with my friends. It was the of our miniscule social life, that mattered was scoring screamer with Aguero. B know it, another edition of will be released, with a stiff falling on ‘EA sports’ to insurmountable responsib to influence the next gen football fanatics.

oday

FA legacy as long as live. I still s a 10 year om school, e of FIFA e epitome , when all a 30-yard Before we the game challenge carry this bility, and neration of

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balance between emotions is what connected me to story and etched it in my mind perpetually.

The acting, combined with the camerawork was t amazing, but to be frank, I liked the supporting actor (E Miller as Patrick) more than the lead (Logan Lerman Charlie). Don’t get me wrong, I liked all the actors in film, but the way that Ezra Miller was able to repres his character, in all his glory, was just a sight to be se To pinpoint it though, it was probably the boldness charm that Ezra Miller had that gave a breath of life to character of Patrick, and turned it into something uni and fascinating.

Karan Agarwal ‘And in this moment, I swear we are infinite.’ This singular line from the movie was perhaps the line that left the biggest impression on me. It was this singular line that was able to sustain the feelings of the characters and was able to capture the emotions that this jarring story contains.

Stephen Chbosky uses these strikingly beautiful moments to resonate with the audience in his coming-of-age film ‘The Perks of Being a Wallflower’ Every character in the film fits together to play their part to produce a beautiful symphony of joy, sadness and heartbreak, which are probably the three most common emotions of any high school story. And yet, Chbosky managed to create something fresh and exciting, something that keeps the audience on their toes and allows them to relate on a deeper and personal level. This precarious

the

truly Ezra n as the sent een. and o the ique

Acting aside though, the way complexity was achieved in the plot was astounding. The plot never overwhelmed me, as an audience member, but rather played on the simplicity of conversations and glances to convey deeper emotions. The movie is also able to touch upon many psychological and societal issues, such as the Identity crisis and mental health, and is a grim commentary on the state of things. The fact of the matter is, many of these issues continue to go undiagnosed or even unspoken about, which is explored further in parts of the film.

All in all, I think that the film is truly a cinematic masterpiece, and something has earned its reputation as a coming-of-age classic. It’s one of those rare films that leaves you content even if you’re one of the people that enjoy commenting on the disparities between the film adaptations of books (like myself). I truly believe that it’s an accurate representation of not just society then, but a representation of our era, an era of changing perceptions and tough conversations.

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Fun Fact Novelist Stephen Chbosky knew Emma Watson was perfect for playing the role of Sam after watching the Harry Potter movie, The Goblet of Fire, where she acted out a crying scene after the Yule Ball.

m r o f e R e c i l o P f o e g A In the d

Soo Vivaan

The best part about Brooklyn Nine-Nine is the sheer amount of subjects it has addressed throughout its 8 years and 8 seasons. Unfortunately, this beloved show about a group of seemingly ridiculous, but surprisingly good detectives, has ended this year.

When I first heard the news of this hit show ending, I, like many others, was a bit disoriented. Why in the world would a show with incredibly high ratings, and a massive following and fan base end so abruptly.

However, amidst a year rife with discussions surrounding police reform and police violence, the answer starts to become clear.

In a tweet by producer Dan Goor, he said that ‘Ending the show was a difficult decision, but ultimately, we felt it was the best way to honour the characters, the show and our viewers’. The cast of the show also expressed their gratitude for the series, and fans replied in kind, showing their despondency from the show ending.

Fans saved the show once before, back when Fox decided to cancel it. Fans pleaded with other networks to pick up the show, with NBC finally picking it up for a sixth season. However, in the case of season 8, the situation is completely different.

Following the murder of George Floyd, a large number of protests such as Black Lives Matter (BLM) and police reform ensued. Along with it, debate surrounding the role of police, and police brutality began. All of this, of course, did not help Brooklyn Nine-Nine’s chances at a renewal (to be clear, the show was not cancelled for this reason).

The show did try to address the elephant in the room in its final season, with our team of detectives leading the fight against systemic racism, and making changes in the policing system. However, this change in direction for the show is not enough to save it.

activities of police officers, was pulled down by the network. Even TV shows that do not feature the police are being cancelled due to the part they play in systemic racism. The Netflix show ‘Little Britain’ was removed due to its portrayal of Black and Asian characters by White Men.

Brooklyn Nine-Nine, and many shows about the police may find it difficult to survive in this era.

For example, the TV series ‘Cops’ by Paramount Network was cancelled, after 31 years on air, which was a reality show that glorified police actions.

Another reality show about police, ‘Body Cam’

by A&E Network, featuring actual footage of the daily

Now, this is not to say that the BLM movement and other movements are taking it too far. Rather, it shows us that an era of racial reckoning has finally reached our media organizations, and that to solve the issues in the system, we must first change how they are portrayed.

One thing that Brooklyn Nine-Nine did right was addressing current problems before it ended, thus vindicating itself. While it hasn’t succeeded in eradicating racism and police brutality, it shows us what a society that tries to tackle these issues should look like.

I’m sure I speak for all Brooklyn 99 fans when I tell you that the last 8 years of humour, suspense and one-liners has been undeniably, and indisputably, ‘noice’.

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Bakh e iterature Aditya Saraff Runners-up, Senior Prize Test

Prompt Orson Welles, the famous American Filmmaker said, “In Italy, for thirty years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love, they had five hundred years of democracy and peace, what did they produce? The cuckoo clock!”

Is conflict therefore, a necessity for acts of creativity? How would you understand Welles’ statement with specific reference to your two texts which deal with the World War?

Conflict is the architect of necessity, which, in turn, sparks creativity. There’s nothing new to this. Brilliant people, ideas and inventions seldom come at a time of peace for it is often the need of the time- the tense, terrifying moments after the Borgias’ red bull has been unleashed upon you, that enkindle, or accentuate, the creativity within. This is why, while steeped in blood, Italy was able to produce not only creativity in the form of art through Botticelli and Michelangelo but also creativity that led to the various inventions, like printing press, that we so enjoy today.

However, do not let this create either of the two illusions: neither is war something that, consequently, should be promoted nor is it a mandatory situation for inspiring creativitythere will always be exceptions To connect conflict to the acts of creativity, we must follow a three-step programme.

Firstly, we must establish the existence of a conflict; then we must establish the presence of an anti-conflict sentiment and thus, necessity; and finally, we must establish the birth of creativity. As soon as we have done this, we would have found that the inevitable link between creativity and conflict is as axiomatic as any mathematical rule.

...neither is war something that, consequently, should be promoted nor is it a mandatory situation for inspiring creativitythere will always be exceptions.

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Alan Turing: The Enigma by Andrew Hodges Hodges’ book is a masterpiece and provides the most potent example to show how much truth Welles’ statement bears. It brings us face to face with the genius enigma-breaker, and an enigma himself, Alan Turing, a product of conflict.

The book does not make effort at hiding the political turmoil at home, i.e. United Kingdom. While describing the ideals of the school that Alan Turning went to in his teenage years, it is quick to add that the school, which was a ‘nation in miniature’ and thus, a reflection of the nation itself, had ‘dispensed with even the lip service paid to such ideas as free speech, equal justice, and parliamentary democracy’ and started to concentrate ‘upon the fact of precedence and power’. The uneven distribution of power in the book is, then, also coupled with the class divide that was present in Britain, where ‘masters and servants still knew their places’, to give us a clearer picture of the conflict. The society was intolerant towards new ideas and being an ‘English homosexual atheist mathematician’ is not taken very lightly either. ‘It would not be easy’, as Hodges says, to fight the conventional notions and dogma that had been built up around sex and religion over the years by the society. All this, of course, was in addition to the fact that the battle-scarred Britain was itself passing through the desperate times of the World-Wars.

Therein, we find, lies the entire conflict that the book is built around: a fragile political and social state.

While the conflict builds up, the book is quick to mention the ‘anti-war sentiments’ displayed by college students, of which Turing too was a part. He found incomparable safety in the world of Math when looking at the overly dangerous amount of uncertainty everywhere. He felt that Math was a ‘safe, secure world in which nothing could go wrong, no troubles arise, and no bridges collapse’, entirely ‘different from the world of 1939.’ This conflict and the sentiments against it were what birthed the genius in this book: Alan Turing himself. Turing wanted simplicity against a backdrop full of chaos. This is why Hodges uses simple and compound sentences to describe Turing and his ideas, while saving up the complex sentences for the much complicated world.

As the German enigma codes got tougher and tougher, the conflict, destruction and violence in the World-War society increased too but, with this, the creativity that is often sparked in such times of need too was re-awakened and the codebreaking evolved too. Thus, for every code, that was more harrowing

than the last, we saw the conception of an idea, that was more evolved, more ingenious, and more creative than the former. The necessity and scarcity inflicted by the conflict during the World War was what inspired Turing to let go of the different individual machines and build a computer brain- the first of the Universal Turing Machines. Steeped in the world of conflict, an ‘English atheist homosexual mathematician’ laid the building blocks for not only an entirely different branch of mathematics but also the very ‘conception of the computer’ that, today, I sit in front of, typing away. Perhaps this why even Hodges, in the plain biographical narration that he sought to present to us, we can still see the sense of admiration and respect that he has for Turing.

The readers know that even after the conflict, the societal dogma and conventions continued, for Turing too, like Wilde, was sentenced Guilty for ‘Gross Indecency’. However, what is heartening to see is that there was some noise made by the forward-thinking individuals of the society unlike the dead silence that would have been seen, in this regard, before the

conflict. The change was distinct and noticeable, as the creativity birthed during the conflict provided a progressive base to the society.

There stands no greater proof that Welles is correct, for Britain, a country whose very soil was reddened by the blood from the World War, gives us Turing, the Computer, and a society that is built upon free-speech and progressive mindset.

Fun Fact Alan Turing had multiple eccentricities, including chaining his mug to a raditor to prevent it from being stolen, wearing a gas mask to protect against allergies and adapting to ride a bike with a broken chain

The Boy on the Wooden Box: Leon Leyson Welles’ belief is much more than just his belief that creativity is sparked by conflict. Creativity here is not something that can be quantified as something just artistic. Turing’s creativity was much more directly linked to the concept of creativity with reference to arts and sciences. However, the creativity explored in this book is the creativity for compassion, for performing the small acts of kindness to keep the spirits from dulling down and the creativity that a finds suddenly finds himself with when trying to save himself or someone from certain death.

None of us can escape the inexorable chills that run down our spine when we hear the stories from the Holocaust and Leyson’s book, that comes from his own personal experiences in the concentration camps, even with the simplification of the multitude of emotions, cannot ease the feeling that you may burst into tears any moment while reading the book. Leyson too, like Turing, is a product of war even if he is not as

It is almost as if the Kristallnacht broke not only the Jews’ shops but also shattered their hopes

decorated as him and though Leyson tries to escape the spotlight by making Schindler the protagonist, both occupy our minds equally.

The conflicts in this book exist at multiple levels, other than the most obvious ones that can be seen.

Narewka, while having brotherhood, is shown to lack ‘most of what we consider necessities today’. While ‘the hustle-bustle on the streets’ of the town makes it seem that the town is so full of life, we can almost feel the innate coldness radiating from the lack of warmth and trust. Even in the peace time, we see that Leyson is called ‘Mosiek- “little Moses”, an insult reserved for

any Jewish boy’ showing the truth behind the utopianlooking society. The facts about the ‘past persecutions of Jews’ and the multiple pogroms are also laid bare as Leyson talks about his family history, the ‘patriarchal society’ has a set pattern of beliefs that it is unwilling to leave behind and finally, all these already existing minute conflicts are exploited by Hitler and Goebbels when they start to spread the anti-Jew propaganda to turn the society against them.

War spares no one, not even children and sometimes, we just don’t get enough time growing up. We see how quickly Leon’s initial innocence is snatched away from him as we see his evolution from a boy who ‘couldn’t understand why the Germans would want to make them look like something they were not’ to someone who understood the dire situations at hand.

It is almost as if the Kristallnacht broke not only the Jews’ shops but also shattered their hopes. The things that mattered to them the most- their pride and their home which is a symbol of their sense of safety are taken from them in the most ruthless manner as Nazi officers enter their home and ‘with their bare fists’, slam Leon’s father ‘to the floor and choke him’. While we see the clear conflict at hand, we can also see that Krakow, which at that time was an epicenter of conflict, having the Krakow-Plaszow Concentration Camp, was a cosmopolitan- ‘a glittering cultural center with theatres and cafes’, and thus an establishment of Welles’ belief.

While the conflicts are present, we can also clearly see the sentiment of going back to normalcy. While living inside the ghetto, with ‘crowding, poor nutrition, and lack of hygiene which made disease rampant’, Leon cannot help but look outside and wonder if he could be that kid on that street that was happily licking away his ice-cream. While he was ‘exhausted and depressed, struggling to survive’, he wanted nothing more to be with those boys on the street who were ‘exuberant and so full of life’.

This conflict and the sentiments against it are what produce Schindler, who despite being a Nazi, is not complacent towards the feelings of the Jews. He understood that though his acts of kindness may ‘seem insignificant given the scale of evil in those years but, in fact, they were anything but.’ It were these acts of kindness that make Leyson forever feel indebted to Schindler and this is why he becomes as important as any other person in History. He finds his creativity in his business attitude- he makes deals with officials, creates illusions that Jews are being mistreated within his factory to escape any criticism and comes up with

the Schindler List- a list of Jews that he claims are workers in his factory and so, are needed by him to do his work. These acts require no less creativity than that needed by great artists like Michelangelo.

Leyson, a prisoner and refugee his whole childhood, did not know what to do once he was free; he did not know the meaning of freedom. Yet, he did not take to thieving as many others did to survive; he took up a profession where he could express himself through his creativity and became an Industrial Arts teacher. Over the years, he produced many students who became not only adept at design and arts but also were as kind and benevolent as him.

While Germany was undergoing the cleansing, as a part of Hitler’s ultimate solution to his final problem, and was steeped in the blood from the political mayhem from the Night of the Long knives and Kristallnacht, we see that two creative and benevolent people were produced: Oskar Schindler and Leon Leyson, both creative in their own ways. Thus, once again, we see that Welles’ statement holds good.

When we walk away after reading both the books, we can’t help but wonder why we have been hardwired this way that we cannot spark our creativity in times of peace. These examples- Turing, Schindler, Leyson, Michelangelo, that, in some of the bloodiest and darkest times in history, became inspirations for anyone who wants to accentuate his creativity within, erase any shadow of doubt that directly or through the means of necessity, conflict and creativity have a connection and go hand-in-hand.

Fun Fact Leyson was a Polish American author, who was the one of the youngest Schindler Jews to escape the Holocost. He passed away in 2013.

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Bakh e iterature Krtin Goel Runners-up, Junior Prize Test

Prompt Imagine you are with your school party returning from the midterm. The bus has a flat tyre and all of you step down to stretch your legs. You go to the edge of a nearby broken building to relieve yourself. As soon as you turn the fog rolls in. Suddenly you are face to face with two of the villainous characters, one from each novel. You panic and scream, but they just tell you, “shut up or else...”. You are sweating and quiet when one of these characters asks you to sit down and says that “We just want to have a conversation about why we were created by our authors the way we were. After all who does not want to be a hero?”

Write a conversation which details out the episode mentioned above.

You will need to remain faithful to the language and character of the characters chosen. Even if your characters are not human, imagine they speak or can communicate with a human being. Imagine you are a correspondent for The Weekly. The focus is on the conversation, not the context.

How much time to Barbeque Nation? I asked the driver. I was starving. Suddenly, the bus halted. We had to get down. I yawned, stretched, walked a little when to my horror, something unbelievable happened.

I thought it’s an illusion but I was incorrect.

Fear burst through my nerves and I screamed madly as if I had gone lunatic. I was dragged away by two villainous characters of two stories - Duryodhana and Ravana To my surprise, I wasted my energy shivering since they asked me something as simple as the question mentioned in the topic. I thought that at least, this is worth my time and better than waiting for that bus-tyre replacement so here goes: Krtin: Well. Some people are born with a purpose and when it’s fulfilled, they depart. Your stories are the biggest epics of Hinduism. The ocean of knowledge and

values existing in those books conveys messages that define the rules and limitations of life. Every incident leaves behind some moral. Let’s begin with you Duryodhana by talking from the perspective of the woman who faced the maximum destruction from your doings-Draupadi.

You chucked out Draupadi-Hastinapur’s Queen with her husbands from your kingdom. They shifted to the smallest kingdom under Hastinapur’s rule, yet, it became the most beautiful kingdom you ever saw. The lesson here: Jealousy is the key to destroying relations and you can’t stop others from succeeding.

Duryodhana: Right...

Krtin: Once, you visited their kingdom, fell in a pond, got furious at Draupadi, and adopted a grudge against her. Then, you invited her husband Yudhishthir to Hastinapur for gambling, but this showered light on the worst meaning of gambling known to mankind.

Draupadi was waiting for her husbands to return from gambling in a room. Obviously, you had shamed

her for having multiple husbands repeatedly but the reason? Following an order given by their mother unintentionally. Their morals were commendable.

Coming back...While she waited, There was a commotion at the door. Had my husbands returned early? she wondered before she saw your attendant.

Imagine how destructive it was for her to know that her husbands and she herself had been gambled in a stupid-useless game. Who gave the right to her husband to gamble her? Had the position of women deteriorated so much? Unbelievable! She screamed “That’s preposterous! Surely he wouldn’t do that.”

How to believe it? but then Dussasan, your brother stormed in, grabbed her hair brutally, dragged her down the corridors on your order. You commanded “Remove the fancy clothes and jewellery of these slaves. All of that belongs to us now! And why should Draupadi be treated any differently? Take her clothes too!” That day you polluted that court with such sinful acts like never before. But a lesson awaited everyone.

Draupadi screamed “I’m a queen. Daughter of King Drupad, Sister of Dhristadumna, Mistress of the greatest place on Earth. I can’t be gambled like a bag of coins or summoned to court like a dancing girl!”

But defenseless she was. Husbands? Became slaves themselves. Grandfather-in-law? Remained quiet. She could just hear your wicked laughing.Karna(a moralruler)? He couldn’t do anything because you made him promise loyalty. King Dhritarashtra? No response.

Guru Drona? Silence. Helpless, furious, stunned, she closed her eyes and remembered her God, her friend, Krishna. Dussasan walked up to her and tried to pull off her sari. When she opened her eyes, Krishna had protected her honour, she was clothed, Dussasan lay on the floor, and all men present were disrobed.

Anger burst through every cell of her nerves. It looked as if she’d turned into a Goddess herself. She screamed with all the energy her voice box could generate.

Her red eyes gazed at the court. Her messed-up hair reflected the moonlight and moonlight beamed through the injuries on her face. It looked as if the fire which she was born in came back into her. She cursed everyone present and what next? You know about the massive war that took place. You, your hundred brothers were killed along with Guru Drona, Karna, and your grandfather who were moral men. This left a message for the society and taught it how to treat women respectfully. It showed that arrogance, jealousy, and disrespecting women are the key to the ultimate-inevitable-demise and that whoever supports an immoral side also fails even if the immoral sins were not committed by that person.

Duryodhana: Got my answer.

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Krtin: Ravana, you didn’t know how to treat women either and you have committed unlimited sins. But let’s move to the woman who got most affected by your acts. Your sister went after a married, loyal man and his brother cut her nose. But the moment you saw that madness drowned you. You screamed, “What’s the meaning of this? Who has done it?”—in such a tone that all nature shrank and slunk away from the scene.

Gods held their breath unable to gauge the upheaval that would follow when Ravana struck in revenge.

While everyone in the assembly held his breath and waited, Ravana inquired with deliberate calmness, “Who has done this to you?” When you got to know about it, you abducted innocent and harmless Sita, his wife. You kept a goddess like her captivated on your island. Rama got ready to find her beloved wife Sita.

Meanwhile, you requested a married lady to marry you and even insulted Rama. “Rama’s arrows cannot touch me; you could as well expect a mountain to split at the touch of a straw,” Ravana said. “Be kind to me. I am dying for your love. I will give you a position greater than anything a goddess can have. ” Your brother and wife advised you repeatedly to surrender when Ram was about to declare war on you but you didn’t listen.

Finally, your disrespect for women, unlimited pride lead to your destruction. This left a message for the world.

Ravana: Got my answer.

While most of us perceive film viewing as an effortless and almost mindless process, this is far from the truth. Our brain is actually working overtime when watching movies, especially psychological thrillers, in order to cope with the fast-paced action and massive amounts of CGI. It ultimately falls upon the directors of these psychological thrillers to ensure that their movies always keeps the audience’s minds stimulated and on full throttle to keep with the various twists and outof-the-world plots.

The exposure to dangerous situations, a haphazard storyline combined with the edge-of-seat drama allows the audience to experience something similar to that of riding a rollercoaster One of the most major of these factors is the manipulation of reality. Some of the most popular psychological thrillers of all time, such as The Matrix, Memento and Inception, all have a unique take on how reality is viewed by the characters and the viewers. This constant manipulation of time throws off the audience, making it nearly impossible to follow the plot. It allows for constant twists and turns being introduced by the director, keeping the viewers guessing. The twists and turns of the thriller keep our adrenaline flowing.

It sets off chemicals in our brain that invoke a feeling of euphoria, and it is this feeling that psychological thriller lovers crave. The exposure to dangerous situations, a haphazard

storyline combined with the edgeof-seat drama allows the audience to experience something similar to that of riding a rollercoaster, all from the comforts of your plushy chair with a side of buttery popcorn on the side. It provides not only the adrenaline flow, but also allows you to experience a real-life drama through the eyes of the protagonist.

The altering of reality in movies also serves as a distraction. While your brain is constantly working, trying to size up all the characters and predict the plot twists, the director is setting up for the grand finale, leaving small clues behind. Take ‘The Fight Club’ for example. Directed by David Fincher, one of the decorated directors of the genre, ‘The Fight Club’ is a perfect example of how the director plays with the audience’s minds. The movie’s plot follows a clear path right up until the end when all of a sudden the rug is pulled from beneath your feet. It is only then, as you are on the ground and are able to see the movie as a bigger picture, that you can marvel at its genius.

How all the plot holes you thought of as mistakes are actually revealed to be integral parts of the movie and how each and every character, scene, and dialogue has a purpose.

Another type of manipulation involves dramatic irony. In The Truman Show, for example, the audience is aware that everything the protagonist is going through has been set up and planned. It provides a different angle, one that shows how the human psyche can easily be tricked into thinking their decisions are their own, but in reality, that is not the simple truth. Movies such as this challenge the fine line between fiction and reality. They test the limits of the human mind, stretching our beliefs of what is possible and what is not. Movies such as ‘Blade Runner’ and ‘Mulholland Drive’

follow the same principles, putting the audience’s mind through a rigorous test.

As of late, the genre of psychological thrillers has expanded greatly.

With new movies from some of the veterans of the genre, such as ‘Tenet’, releasing alongside fresh takes on the genre as a whole, such as ‘Run and I Care a Lot’, I truly believe that there is so much more to be explored. As new plots with different twists on the perception of reality come along, we can only hope that they meet the standard that has been set by the classics, and maybe, just maybe, exceed it.

Shre

eyan Mit

19

tal

In recent times, there has been a dramatic increase in the audience of psychological thriller films. Although a rush of adrenaline experienced by the viewers is a contributing factor to this trend, the primary reason lies in the sense of association the audience feels towards the characters. The unrealistic action scenes of the so-called ‘heroes’ thrashing the ‘villains’ with the utmost ease have been replaced by complex protagonists who have immense emotional depth, something far more relatable to the viewers.

Humans are seldom akin to the ‘heroes’ portrayed in films, instead, we can relate to the complexity of characters present in psychological thrillers. The fact is that the audience views multifaceted persona in movies as mere reflections of themselves or of those around them, in the process, forging an emotional bond with those very characters. This connection is heightened by the narrative perspective employed in such films with the world being viewed from an ambiguous character’s perspective. This permits viewers to gain an insight into the life of such a character and truly understand the rationale behind his or her actions, making the experience of watching the film more intimate. The film ‘The Shining’ is one of many that portrays dark characters, however, with the requisite context making the experience of watching the film far more realistic and relatable.

More importantly, psychological thrillers never fail to stimulate the mind. The film ‘Inception’ is a prime example of the challenge which psychological thrillers pose with each rerun proving to be more informative yet seemingly more convoluted than the previous. Although the complexity often leaves you searching for answers (much like in Inception), you unravel the extent of the human mind. Laced with profound statements, such films shed light on ideas that you have known subconsciously, however, have never really thought about.

This gives the audience members a sense of catharsis as they are finally able to view a true expression of their suppressed thoughts in a movie. Furthermore, these films outline facts about human behaviour,

Gurmehar Bedi analyses why the demand of psychological thrillers is rapidly growing

facts which the audience consequently begins to observe in the actions of those around them making the experience of watching the movie linger on in their mind for a considerable period of time.

However, the most significant reason, in my opinion, for the growing demand of psychological thriller films is that they cater to the youth. Periodically, a wave of righteousness and morality grips our society, something which the majority of teenagers simply abhor. In an effort to tear away from this wave, they seek an outlet and psychological thrillers present them with this opportunity. These films allow the young mind to lose itself for a few hours in an expanse which celebrates the vices in an individual rather than the virtues ultimately, giving rise to a personality which resonates with the audience far more than the clichéd ‘hero’ does. Not only does this breed a feeling of empathy towards the character, but also makes this genre more compelling than others.

The Secret Ingredient

Lastly, the phase when the audience’s shock knows no limits: the ending. Martin Scorsese’ ‘Shutter Island’ has an ending so unpredictable that viewers, including myself, hope to see a more mundane and foreseeable ending with each subsequent rerun. By this point, each viewer is deeply engrossed in the film owing to the intellectual challenge presented by the film which demands the full attention of the viewer. However, the impact of this intellectual challenge is that the viewers are constantly attempting to predict the path the characters will take. With the viewers waiting for their predictions to materialize, a sudden twist ruins everything and often leaves them baffled. But it is this very state of confusion that is a mark of a true psychological thriller as any viewer simply cannot get it out of his or her mind leaving a deep impression on the mind.

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Silence

of the lambs

Arjun Prakash I feel this film encapsulates the essence of a classic psychological thriller.

It is suspenseful and unpredictable, but leaves room for it’s star studded cast to shine through with intriguing dialogue and gripping scenes.

“The Silence of the Lambs” deals with a young female FBI trainee who is sent to interview a captured madman, Dr. Lecter, to gain information about another cannibalistic serial killer called ‘Buffalo Bill’.

I did not know what to expect from this film, but after the first interview of Dr Hannibal ‘The Cannibal’ Lecter, I realised it was something out of the ordinary...

The gruesome nature of the film caught me off guard, however the malevolent yet fascinating personality of this convicted psychiatrist captured my attention. He is never given centre spotlight but his spontaneous chemistry with the female FBI agent gives his character a sense of omnipotence. There is never a dull moment with Dr. Lecter, played by Anthony Hopkins, with dialogue highlighted by unforgettable one-liners.

Everything he says has a profound meaning, and even for a cannibal, his view of the world from his own personal

perspective and upbringing is something we can all relate to. His acts are not justifiable, but the way he thinks and perceives his surroundings is unique to say the least. He is, after all, a brutal killer with revolting habits, but he’s also very intelligent and charming.

It may seem cliche for such characters but his chilling portrayal in this film from body language to camera angles’ makes it the thriller that it is.

Lecter seems to be a step ahead of everyone, but not in the physical sense. His mind is the weapon he treasures most.

A feeling of powerlessness over our own lives can often lead to us having the urge to ruin the lives of others.

The film does a brilliant job of subtly pointing out such reasons as to why cannibals exercise such primitive acts, without coming close to justifying them. This constructs a well- balanced narrative.

Throughout the film’s riveting plot, there is a running theme of male dominance, through blatant killing of women and the working environment of the FBI itself. The character of Clarice Starling, played

by Jodie Foster, is a breath of fresh air in the FBI setup.

She is not fazed by the

vulgar nature of the and her courageous att when faced with a dau proposition is inspiring watch.

There is never a clear re given as to why ‘Bu Bill’ does such thing the focus switches regularly to the other protagonists, Starling Lecter, whose chess mat words created an atmosp of uncertainty, somethi became accustomed to the end of the film. This m dilemma of a cannibal he a young woman ca another cannibal is an that puzzled me at first that is where the brillian the film’s narrative lies.

All in all, this movie will your eyes glued to the sc The contrasting persona of characters make up a that leaves you beggin answers with each s offering an experience worth the two hours spen

case titude unting g to

eason uffalo gs as back r two and tch of phere ing I o by moral elping apture idea t, but nce of

keep creen. alities a plot ng for scene well nt.

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Svanik Garg

25 James Bond movies are famous for gadgets and guns, cocktails and fights, and heroic acts of servitude. Daniel Craig’s legacy is surrounded by the ideals of a macho soul, living up to societal expectations, in a league of his own. But the recent spate of films starring Craig has given him the license to kill along with a heart and mind to match. And while the actor’s final bow in “No Time to Die” is not without its problems, , the latest action-adventure nicely places the exploding cherry on top of an evolutionary period in the British superspy’s cinematic masterpiece. Craig started in 2006, with Casino Royale, carrying out the role of the iconic 007 for 4 sequels. It is safe to say, it’s not a perfect stop but a most apt one, to say the least.

No Time to Die is no different from other 007 classics. Craig’s secret agent wrestles with mortality and finds himself on the opposite side of Her Majesty’s Secret Service amidst the familiar aspects we have come to love- death-defying situations, ridiculously cool cars, breathtaking scenery, and, of course, an evil intentioned European supervillain threatening the globe. The film continues the elusive story of the infamous ‘Spectre’ from 2015, with Bond and his ‘partner’, Austrian psychologist Madeleine Swann, zooming around in an Aston Martin. On an Italian getaway, 007 visits the grave of a departed love, and a bomb explodes. Bond survives but is pursued by goons from the evil organization SPECTRE, leading him to question his trust in Madeleine and force an unfortunate separation, a heartbreak for many fans.

The film dives forward with Bond now chilling in Jamaica. As always a CIA friend locates an old aide Felix Leiter (Jeffrey Wright), who wants his help finding a kidnapped Russian hightech bioweapon used to target people through their DNA. Bond’s old pals at

MI6 have moved on with a new replacement named Nomi, who doesn’t seem right by any stretch of the imagination. Bond Has an initially awkward reunion with Madeleine and when he’s fully back in suitbedecked action, he’s forced to play mind games with his counterpart, a frenemy of sorts, SPECTRE boss Blofeld. The climax approaches when Bond discovers that his nemesis is a mysterious figure named Safin, who has a connection to Swann, a sweet island lair and a vengeful agenda.

No Time to Die is the longest Bond film ever, and it feels right, an emotionally exhaustive yet satisfying end that takes forever to complete, but you never truly want it to end. Played by a delightful Ana de Armas, who continues her great “Knives Out” chemistry with Craig, she’s a breath of fresh air, side-kicking dudes while in a high-slit dress, in a bold yet brilliant piece of acting. The essence of the movie is to display the classic Bond vibe, propagating the masculinity, and swagger you associate with 007. The movie produces some of the best action scenes, from one in the Aston Martin to the cliched chase for the villain towards the end. Simply put it’s a movie you associate with the franchise. Although it is found wanting in the innovative aspect, however, that isn’t to say that the style is bad, even if a tad overdone.

An emotionally exhaustive yet satisfying end that takes forever to complete, but you never truly want it to end.

Overall, the movie in two words is a ‘fitting end’, to a career that has ruled the hearts of many over the years. The future of the Bond franchise is unknown, however, Daniel Craig has done the right thing, leaving it before it becomes redundant. The legacy will move forward, and Craig’s contribution cannot be undermined. As far as the movie is concerned, it’s a one-time watch thriller, which fans and general viewers alike, will enjoy to the fullest. It’s not the best, neither the worst, but definitely, one to watch, for the Bond we know and admire.

As people have been boxed up in their houses for almost the entirety of 2020, they have been forced to explore various sources of entertainment to keep themselves busy. As the lockdown forced people to creep into their cocoons, some sought escape through books, while others explored new kinds of video games. I often found myself browsing through Netflix looking for the next show to call my favourite.

I had come across Naruto in my suggested list multiple times, but I thought of anime as cartoons meant for kids. I was soon proven wrong after being forced to watch it by at least ten separate people. I was hooked.

Anime makes every person feel like they’re the main character of their very own story. It makes everyone feel like they’re the “Real slim-shady.”

While the anime and manga “culture” has been around for a while now, it just hasn’t had the exposure it deserves.

However, it was not until the lockdown that many people were forced to explore different genres, since they ran out of shows to watch. Since 2020 the number of people that have gotten into anime sums up

to about 102,000,000. This sudden spurt also helped in breaking the cliche of anime being “cartoons for children.”

An example is the movie of an anime called ‘Demon SlayerMugen Train,’ which broke the Japanese box office with a whopping $494.5 million USD. It was the highest grossing film in both Japan and the United States. This movie isn’t alone in the long list of popular anime. For watchers who are interested in shows with mind bending thriller plots, the anime “Death note” and “Shingeki no Kyojin’’ (Attack on Titan) do exist. For the younger audience there are many historical anime as well, such as “Vinland saga” which is about the Norse and the Vikings. If you are a fan of computer graphics and special effects, shows like Attack on Titan and Demon Slayer won’t fail to leave you in awe after every other episode.

Tok Reven

Sai A Personally, an anime and manga that got me through these trying times was “Tokyo revengers“ written by Ken Wakui. It first entered the manga world in 2017, and the immense popularity it acquired allowed it to break the manga charts and enter the world of anime. The manga is about gangs and the Japanese

kyo ngers

Arjun underworld. It also talks about how gang violence or delinquency was almost every teenager’s middle school fantasy in the early 2000s. The anime starts off as an action-thriller and comedy. But gradually there is a well defined character development.

It shows that even the strongest feel weak sometimes, and has touched the hearts of many. The charismatic character of Mikey, the inspiring character of Takemitchy,

and the kind Tachibana Hinata just make this show immensely likeable. Moreover, the plotline is enthralling that keeps the spectator engaged. The almost Bildungsroman kind of character development, wherein we see the cowardly Takemichy transform into a person everyone looks up to. The unique selling point of this anime is that unlike every other Shounen manga out there, the main character isn’t some unbeatable killing machine, he isn’t a prodigy and doesn’t have the power to take down an army, but he embodies what it is to never give up. “One doesn’t lose a fight when he starts bleeding, he loses it when he realises he’s bleeding.” It is also one of the first anime where a secondary character steals the spotlight, the invincible Mikey, aka Sano Manjiro the deity. Mikey is a representation of the typical hero that saves the day, but every time we see his CB250T bike reach just in time, everyone can feel the thrill in their blood.

Every time he eliminates entire gangs alone, he manages to win every heart. But that isn’t the best part.

The manner in which Wakui manages to show that even the strongest feel weak and alone at times, gets to you.

T h e

depth in which Mikey’s character is dug into is truly awe inspiring.

He represents the people that take everyone’s burden on their shoulders, and cry only when alone, but still put up a smile to give hope to the same people.

The type of person who suffers the most, but never asks for help. The characters aren’t the only magic workers, Liden films, the animators of Tokyo Revengers have done wonders with the animation. Each fight receives special attention and really hooks the audience.

...the main character isn’t some unbeatable killing machine, he isn’t a prodigy and doesn’t have the power to take down an army but he embodies what it takes to never give up

As of now the anime is ongoing, and the manga lovers are desperately awaiting the release of the new season later this December, while the Manga is at its final arc.

Every anime I watch leaves me in awe, some more than others.

No matter what genre, each anime holds a different value for me. I really love it because unlike the filmmaking industry, in anime, the Hero doesn’t always win, anything could happen here.

27

Krish Agarwal At this point, each one of us has probably seen atleast one Avengers movie in our lifetime. It is no secret that Marvel studios had and will continue to have an important place in modern-day cinema. However, with Marvel’s shift towards Disney+ and streaming in general, it has a brand new opportunity to make its mark on the small screen format as well. Part of Marvel’s lineup for shows for 2021 is What IF. An animated anthology adapting a fanfavorite comic book series, What if serves as an amalgamation of comic books and the MCU. Put simply, What if presents the

viewer 8 episodes each set in a different universe, however a single event played out differently in this universe compared to the one in the MCU and the show then explores the alternate reality. This all leads to one grand multiversal finale in the 9th and final episode of the season.

What If is Marvel’s 4th and only animated foray into shows so far. While the animators have done an amazing job animating the show and it is visually pleasing, but at the same time, it comes off as dull and uninspired when compared to something like the absolutely stunning “Into The Spiderverse”. The voice acting is also what we look forward to with many of the original MCU cast returning to voice their characters.

It would be wrong to describe each of the eight episodes to be of the same quality. What If has a very rocky beginning,

however, it hits the towards the middle a to say the least. The 30-minute weekly ep what causes What If t in its overly ambitious rush through stories to condense a plot w feature film into a 20 especially true in the seems like an animat Captain America mo ending. Some episod this better than other comes towards the m Other episodes suffe and storyline, often a Marvel fan instead of While one of the me unique it is, it often finesse expected from

Despite its problems,

e ground running in and ends with a bang, e very nature of the pisode format is also to fail in some places s goal. Some episodes and plot lines, trying worthy of a live-action 0 min episode. This is e first episode, which ted remake of the first ovie with a different des manage to handle rs, however, this only middle of the season. er from poor writing aimed at the hardcore the more casual ones. erits of What If is how feels like it lacks the m a Marvel production.

, in many ways, What

29

If is also a refreshing take on the superhero genre. Rather than the traditional formulaic and “playit safe” Marvel movies we have come to love, What If is given the liberty to go beyond the ordinary.. While it is still a family-friendly watch, the animated and episodic format allows the creators to have the rare moments that transcend the Marvel formula.Often while watching an episode, you wonder how a major event in the movies is going to be addressed, only for the threat to be discarded in 5 seconds leading to a completely different outcome than expected. Neither does the show hesitate in killing off its characters on screen. Some episodes do take advantage of the blank canvas and often lead to completely new situations.

All of this leads to a highly promising finale which is one of the best Marvel has done in years. It takes full advantage of its setting, however it still lets you down as

it feels slightly forced. Only characters from previous episodes show up instead of the endless possibilities in terms of character development. The silver lining, however, is that the What If ends on a high note.

The very nature of the 30-minute weekly episode format is also what causes What If to fail in some places in its overly ambitious goal Overall, What If isn’t perfect however the later episodes and finale make it a rather entertaining watch for any Marvel fan. The concept is rather interesting although the execution wasn’t the best. But with talks of a second season, we can hope that Marvel gets it all right the second time around.

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The Doon School Information Review

Special Section

India has long been known for its outstanding movie industry, and it claims to be the global highest film producer.

Nonetheless, like in a number of wealthy nations with established film industries, films look to be diminishing.

It is critical to discover the characteristics that make films interesting to Indian consumers. When we hear the phrase “Indian Cinema,” we instantly think of Bollywood, the glitzy film industry behemoth. However, India’s regional movies are equally worth seeing.

Tons of films are made in India each year. Hindi films, local films, and classical cinema are all part of the Indian movie industry. Though Bollywood films have been garnering significant popularity throughout the rest of the globe, especially in nations with large concentrations of emigrant Indians, the Indian film industry is primarily sustained by a huge cinema-going Indian public.

India is a vast country with a diverse population. Many of the major languages have their own film industries that they support. Bengali, Tamil, Telugu, Kannada, Malayalam, and Punjabi are among India’s most popular regional cinema industries. Bollywood is the Hindi/Urdu film business centred in Mumbai, previously Bombay. For the Tamil film world, Kollywood, and the Telugu film industry, comparable neologisms have been developed. Tollygunge is a nickname for the Bengali cinema industry, which has traditionally been headquartered in Kolkata’s Tollygunge area. The director Satyajit Ray, an internationally renowned director and multiple award winner, owes his success to the Bengali language business.

For just a myriad of purposes, our local film industries are gaining traction. For example, in recent decades, the Marathi and the Malayalam cinemas have seen a revolution in terms of quality and types of films produced, and they are rapidly receiving national and worldwide attention for it.

Nevertheless, if accomplished in those other regional sectors, many people migrate to Bollywood for more exposure or opportunities. A.R. Rahman, a well-known music director, is an intriguing illustration of this phenomenon. He started his profession in the Tamil cinema business before transferring

Aarush Agarwal

importance of

Regional Cinema

33 to Bollywood.

Apart from Telugu and Tamil cinema, regional films are recognised for their lesser finances and less focus on star culture. This permits filmmakers to interact with various types of films while focusing on the substance and plot. Regional films are likewise based on a particular culture and address local concerns.

We ought to be appreciative of the fact that India is among the few countries on earth where Hollywood does not take precedence. That’s because we produce movies with Indian sensitivities and cultural complexities in mind for our consumers. Additionally, considering that we will be a country rich in legacy with several perspectives and languages thriving, there is a strong justification for regional cinema appealing to the audience’s more proximate cultures. Bountiful Bollywood superstars are now giving these local film fraternities more respect, backing, and attention, with many of them making a concerted effort to outperform filmmaking in the country.

Ultimately, it’s impossible to quantify the extent to which India’s diverse cinema industries have affected one another, whether directly through official or pirated remakes, or informally through the exchange of directors, performers, and storylines. Even the most adamant “Hindi film-only” fans are unaware of how much the regional industries have influenced and moulded Bollywood.

Therefore, what’s the big deal about regional cinema?

It gives Indian cinema a lot of variety, which sets it apart from most other filmmaking industries across the world. What other nations can boast of having such a diverse diversity of cultures and tongues portrayed in their films? These regional films have a big part to play in establishing our country on the map for its daring and inventive filmmaking. In reality, some of the finest films made in the nation in recent years, such as Court, Baahubali, and Bangalore Days, have originated from local regions rather than Bollywood.

When you examine some specialised sectors more deeply, you can notice a revival of types in the types of films created in the previous decade.

Films by a younger generation of filmmakers have already been investigating unexpected and difficult themes.

Even though the regional industry doesn’t have as much popularity as Bollywood, they are something which we should be proud of, being one of the factors which gives a spicy taste in the Indian movie industry.

SHERSHAAH Anant Jain ‘Shershaah’ is a 2021 biopic based on the life of Late Captain Vikram Batra (PVC), whose indomitable spirit and unparalleled courage contributed enormously to India’s triumph in the Kargil war.

The Kargil war was fought in extremely hostile conditions at a height of 17,000 feet.

In the film, we see how soldiers exhibit a great

patriotic spirit and sometimes absolute daredevilry to defeat the enemy. The mission was to capture point 4875 which overlooks the National Highway and would figuratively end the war. The movie deals with the subject of how it became a matter of life and death for many who fought the war including Capt. Batra.

Director Vishnu Varadhan and his writer Sandeep Srivastava have done an astonishing job creating the strong and selfless character of Captain Vikram Batra played by Sidharth Malhotra Sidharth Malhotra has impressed even his detractors this time with his stellar performance. He sparkles especially in the conflict scenes and

his performance evol The sincere efforts of Captain Vikram Batr pays off on screen ma his best performances

Shiv Pandit is very a Sanjeev Jamwal, wh outside, but emotio character is that of a officer, who has a sob mindset that can wit any difficult situation He has been shown a a very strict captain un

lves through the film. f the actor to recreate ra’s amazing persona aking this surely one of s.

aptly cast as Captain ho is tough on the onal from within. His straightforward army ber and stable thstand n. as ntil

35 he meets Vikram Batra, after which the two of them become best friends. Yet, what’s important is the manner in which the actor portrays the seriousness of his character. It was believable and incredibly authentic. He proved to be one of the finest actors in the film.

The importance of music in the narration of the film cannot be downplayed. The movie has some great songs that back the storyline and evoke powerful emotions. Music helps in bringing forth the core feel of the movie. In “Shershaah”, I felt the songs and background score also helped in character development as well as plot movement.

I could feel the energy of the characters through the music. I was intrigued by the love and devotion of Captain Vikram Batra towards his nation as it

provided us an insight into what soldiers do for the nation. Towards the end, we see how Vikaram Batra and his team progress towards point 4875 with full strength. The mission was accomplished but at the cost of Vikram’s life as he made the ultimate sacrifice. In conclusion, this movie serves as a painful reminder of the consequences of the British Raj in India including the present day conflict between India and Pakistan. It is a testament to the divisiveness created by the British which bred an immense hatred between the two warring countries resulting in a war more than half a century post the departure of the colonisers. As we celebrate 75 years of Indian independence, it is imperative that we recognise the efforts of those who defended our nation till their dying breath.

Aryavardha

Some things never get too old, and so is the case with the movie Lagaan. It vied for the “Best Foreign Film” in the Academy awards that year alongside Jean- Pierre Jeunet’s Amélie and Danis Tanović’s No Man’s Land that eventually won the coveted statuette.

In a highly elaborate plot with well defined characters and themes ranging from the Indian independence movement, Cricketgame that is almost a religion but harks back to colonial times, and to top it all a love triangle! t The movie was directed by Ashutosh Gowariker, a relative newbie at the time but ably supported by a superb cast led by the inimitable Aamir Khan. The film is set in a rural village of India, in the late 19th century during the British Raj where the residents of the village face-off against an arrogant British officer in a tough wager over a back-breaking “interest” or

Lagaan, hence the title of the film.

The rag-tag team of villagers challenge the experienced garrisons to get free from the ‘lagaan’ that has been imposed upon them. As the movie progresses we see sheer dedication and determination from the people who are fighting to win a battle against a formidable opponent.

What makes this movie an all-time great is the fact that the plot narrates a simple tale of the underdogs winning against all odds, albeit with the background of India’s struggle against colonialism. It is easy to relate to it because each and everyone in India has heard stories of what it was like to be a part of the country during the British Raj and how the colonisers lorded it over the native Indians and tortured them. Thus,

when a motley crew o British officers literally instils pride and reaffi age-old adage of goo

The casting director job with the wonderfu AAamir Khan, known a had just stepped into his choice for the role He carried it out sp emotions such as ang proficiently. The lead suited the role of a vi young boy immensely with another girl. Sh emotions such as jea shape the romantic as Personally, when I saw years after the initial

37

an Agarwal

of villagers defeats the y at their own game, it firms one’s faith in the od vs. evil.

has done a fabulous ul ensemble of actors. as a capable actor who o production, justified e of the lead Bhuvan. plendidly and showed ger, love and passion d actress Gracy Singh illage girl who loved a y and couldn’t see him he portrays important alousy and love that spect of the movie. w the movie exactly 15 release, I stood awe-

struck by seeing how adeptly the film was made without high technological privileges and high-level mechanics that shapes a movie of the modern-day. One might ask, what is there in this movie that drives the whole nation to stand mesmerised and marvel at the beauty of this long three and a half hour movie, I would say that firstly, the movie is able to connect with the people at an emotional level which movies today rarely do and the realistic portrayal by all actors adds to the flavour. Secondly, Ashutosh Gowariker and his talented crew are able to instil the typical Bollywood trademarks and include a rather complicated but interesting love-triangle that adds on to the film.

Unlike the typical hit Bollywood movies

these days where the end result is quite predictable, Lagaan does succeed in bringing in suspense but after a certain point of time the plot becomes too obvious and the audience is able to anticipate the climax. The movie portrays the theme of inspiration and teaches us values such as leadership, teamwork and decision making with Bhuvan’s team fighting hard when all the odds are stacked against them. The battle is not just a game of cricket or even to be free of the “lagaan’’ but rather for their self-respect, freedom, country and ultimately for themselves.

It captured the hearts of people from all around the globe and became a benchmark for the Bollywood film industry. This film had taken the level of acting skills and script-writing to a whole new level and had shaped the way for future Bollywood classics. If I had to just tell someone about this in a few words, I would simply say that the movie is about ordinary people doing extraordinary things.

Chak De India is a movie that simultaneously promotes nationalism, battles gender prejudice, rips apart class disparities, and makes a reasonable critique of regional chauvinism and minority bashing. Director Shimit Amin tackles all these issues with a subtle delicacy and a careful avoidance of clichés, and in the process, ends up creating a film with enormous lasting power, incredible integrity, and zeal. It is no mean feat that in spite of its fair share of melodrama, the film manages to leave behind endearing characters and hearkens back to a sequence of well-crafted Hollywood films regarding team cohesion and underdogs winning despite all odds. It has all the features - a low-spirited team, discredited and exiled coach who empowers the team while also reawakening his dormant essence, and a dramatic climax.

“Chak De India“ invites us back to the happy days of movie viewing in which the protagonists were unfairly reduced in size and then transformed into warriors battling their way through the pessimism that surrounded their aspirations.

While telling a pretty conventional tale of a down-and-out, all-girls hockey team‘s path to worldwide glory, the filmmaker exudes an endearing charm borne out of genuine love for a disregarded game that has the power to bring together people from different walks of life. The ragtag ‘Bhartiya naari‘ squad does take the Lagaan route and achieve the unthinkable victory, but it does so with many stumbles and falls, making the plotline a total winner. While there were hints of it in Swades, Shah Rukh‘s portrayal as Kabir Khan in Chakde remains one of his best: measured, direct from the heart, and devoid of any

mannerisms. And the result is we see a megastar transformed into somebody that everyone can relate to. Kabir Khan, like the rest of his team, is the underdog. This underdog must overcome a twin curse of being a loser as well as a traitor. He is accused of being the sole reason for the Indian team’s loss in the all important World Cup Finals, and that too against arch rivals Pakistan. Religious prejudices soon reduce him to being branded a traitor with the obnoxious epithet ‘Gaddar’ written on his house and spirit. Now, some years later, he has the opportunity to disprove all of his detractors. He is roped in to coach the Indian women‘s hockey team, and his ambition is to see them win the World Cup, which he knows is next to impossible to achieve. First and foremost, there is no team. Instead, there is a group of girls who have gathered together, albeit with a baggage of status, regional and religious rivalries. Seniors can‘t stand juniors grabbing the spotlight.;Short training camps turn into a veritable street brawl, culminating in a revolt against the disciplined coach.

The only thing that unites them is gender prejudice, which they have all experienced at some time in their lives – and later a heightened spirit of nationalism (desh-bhakti) and reverence for their coach (guru bhakti).

Finally, Shah Rukh Khan‘s performance is a masterpiece.

Without the romance props that already have granted him his shining image of the eternal loverboy, Shah Rukh is stripped of his star status and is able to hence stare blankly into his character Kabir‘s moral compass. I believe it was a huge risk that Shah Rukh took and it paid off in this case. Shah Rukh isn’t afraid to portray some inconvenient harsh truths about how we treat our minority groups,

be it Muslims in India, or even a woman thrust into the public eye.

Chakde India is an unrestrained homage to devotion without any frenzied chest-beating, thanks to great portrayals by a group of unknowns, a gritty pace, and magnificent control exhibited by the director.

In the perspective of the compact yet subtle method used in Amin‘s narration, “Chak De India“ ranks alongside “Chariots Of Fire“ as one of the best sport dramas in recent history, if only there was a soundtrack to rival the other picture. And, for all SRK lovers and detractors, the judgement must be clear this time: Chakde Shah Rukh!

39 Aarush Agarwal

Chak De

India

Patriotic movies that shaped India

Independence iconics Gandhi 1982

Mother India 1957

M

20

41

Swades 2004

Kranti

Mangal Pandey

005

Char Adhyay

1981

1991

The Discovery of India 1946

2019

Rang De Basanti

Kesari

India Divided 2004

Freedom at Midnight

Chittagong

1975

Train To Pakistan 1956

Uri

2019

Wa

2006

43

Remnants of a Seperation 2019

Shaheed 1965

Raazi

2012

2018

atan ke aage

Kuch Nahi...

Editorial Board Kabir Subbiah

Krishnav Singhal

Editor-in-Chief

Chief of Production and Design

Lorcon Conlon

Agam Bhatia

Senior Editor

Senior Editor

Gurmehar Bedi

Shreyan Mittal

Associate Editor

Associate Editor

Shrivar Kanudia

Rohan Taneja

Designer

Senior Correspondent Designer

Arjun Prakash

Vivaan Sood

Junior Correspondent

Junior Correspondent

Malvika Kala Master-in-Charge

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