Khelein Hum Jee Jaan Sey: A historic waste of effort

Management Guru Arindam Chaudhuri Dean Business School IIPM

There is a scene in the movie “Khelein Hum Jee Jaan Sey” (KHJJS) where the teenage kids try to load bullets into their rifles and they do that painstakingly one bullet at a time. Those were the 1930s, before the era of automatic weapons. True to the spirit of the times, Ashutosh Gowarikar creates a world that transports us to a bygone era in an attempt to tell us a long forgotten story. Unfortunately, his assumption that not just the content but the speed and format of storytelling from the 1930s would work for the current generation with an attention span shorter than the speed of a machine gun totally misfires.

KHJJS tells the story of the revolutionary leader Surjya Sen (Abhishek Bachchan), who along with his comrades inspires a bunch of teenage kids to take up arms against the British in the Chittagong region. Sadly, the mission doesn’t succeed as planned and the gang is forced to beat a hasty retreat into the jungles only to be chased by an unrelenting British army. The way the story pans out, the revolutionaries seem to have achieved very little at the end and the same holds true for the people who made this film too.

KHJJS ends up looking more like a documentary rather than a piece of cinema, the main culprits being the linear characterisation which leaves no scope for any conflict or drama within the characters and the second is the unimaginative use of camera and background music. Barring the Vande Mataram track that plays at the end of the film, no other scene leaves an impact. One can only feel sad for the massive effort the team has put in because the same film in the hands of a more stingy editor and imaginative dialogue writer could have become an instant masterpiece.

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I would love to remake Amar Akbar Anthony

IIPM Mumbai Campus

The maker of "Lagaan", "Jodhaa Akbar", and now "khelein hum jee jaan sey", Ashutosh Gowariker has his eyes trained on history. in an interview with Neha Sarin, Ashutosh comes clean on his penchant for patriotic themes, and his sensitivity to criticism.

How did you as an actor decide to become a director? Did you always want to become one?

No. First of all, I never thought I would be an actor. I became an actor by accident. In college, I was a part of plays and I got picked up for one of those parts in Ketan Mehta's "Holi". That’s how I became an actor. I have not trained as an actor or director. My only thing was intention. I realised, even as an actor, when I was on sets, I would keenly observe everything going around even if I was not in the shot. I would observe the director. I was like Eklavya, where I was watching and learning by proxy. Luck favoured me when I got my first opportunity in the form of "Pehla Nasha"; it was by Deepak Tijori. Aamir and Shah Rukh knew that I had an inclination and they also felt very strongly that I (Ashutosh Gowariker) should become a director.

How did you stumble upon the story of "Khelein Hum Jee Jaan Sey"?

I stumbled upon the book “Do and Die” by Manini Chatterjee about the uprising of the 1930s. I initially thought the book was called “Do or Die” but it was actually called “Do and Die,” meaning there was no option; I found that intriguing. It was about a massive uprising which consisted of 64 people attacking five different sects of the British power one night. It was led by Surjya Sen who was a school teacher and 55 of the 64 people were teenagers. I was absolutely embarrassed that I did not know anything about it except the little in the school books. After I read the account, I was fascinated with the book. You have so many attempts at achieving freedom and revolutions – some of which have been violent, some non-violent, some known and some unknown. I think this was one of those on the path of violence but in a manner that the mercenaries felt strongly in their hearts. The emotion I felt while reading it, I want the nation to discover the same thing. The teenagers’ involvement had a sense of daring because in a way, they are playing with their lives. And to reflect that aspect, I chose the title “Khelein Hum Jee Jaan Sey”.

You have worked with some of the finest actors in the industry including Aamir Khan, Shah Rukh Khan and Hrithik Roshan. How was it working with Abhishek Bachchan?

I've been waiting to work with Abhishek for quite some time but never found the right script. The first impression I got of Surjya Sen, Abhishek's face came to my mind right away and I thought here is an opportunity to work with him and have him play this particular part. What attracted me the most was that he was a school teacher who planned the entire revolution. On one hand is this act of rebellion, but along with that is this purity and innocence. He is a man with a dream in his eyes. I felt Abhishek has these qualities. In his persona there is strength and rebelliousness but at the same time there is a certain degree of purity. It has been tremendous working with Abhishek in this film.

Deepika is such a generation Y girl. What made you select her for the role of Kalpana Dutta in KHJJS?

Kalpana was part of the Congress, but around those times, women couldn’t get into the revolution in a big way. She was someone who had a very rich background; she was a land owner's daughter. Still she wanted to give it away and participate in the revolution. I found an uncanny resemblance between Deepika and the original Kalpana Dutta.
How did you get around to casting Shah Rukh Khan in "Swades", a movie that did touch many a heart, but somehow didn’t set the Bollywood cash registers ringing?
There has been a lot of exchange of ideas and likes and dislikes with Shah Rukh through the acting years, and then during "Kabhi Haan Kabhi Naa" and "Chamatkar". When I discussed the idea of "Swades" with him, his immediate reaction was, “I want to be Mohan Bhargav”. For me Mohan Bhargav had to be someone who did not belong. You don't often see Shah Rukh sitting with a book or in a train. I felt the contrast between someone qualified and someone re-entering the world at the grassroots to rediscover. I thought those two opposites helped make Shah Rukh Khan as Mohan Bhargav convincing.

Out of all the films ever made, if you had to remake one film, which one would it be?
I would love to remake “Amar Akbar Anthony” because it’s absolutely escapist entertainment. It’s something that I have never done. I have done more of realistic cinema. What inspires me is the (concept of) three religions. It’s about tolerance and coming together and living in harmony. I like the theme of the film.

Does it bother you when you get negative feedback or comments on your films?

It saddens me but it does not bother me, if you know what I mean. I like constructive criticism; I definitely like to know why it wasn't liked so that I can understand that and see whether I agree or disagree with it. It helps me in taking a step ahead. Opinions and criticisms do matter to me and I try to turn it into something positive.

From where do you draw inspiration for films like "Lagaan" and "Swades"?

One of the things that attract me is that there are people who can come together and make something happen if they want it. We can have different backgrounds and we might have divergent opinions like in the case of “Lagaan” but they decide to come together to fight a common enemy. Even in the case of “Swades”, the way the villagers come together and put their mind to it to improve their way of life. KHJJS too reflects that because there is a revolution led by Surjya Sen with 64 key members; all of them came together for the freedom of the country. If we can come together, we can do it. That is a theme that has an element of patriotism and that subconsciously interests me.

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Film Festival: A not-so-sweet sixteen

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Kolkata's annual cinema celebration has been run to the ground by ill-equipped bureaucrats

The Kolkata International Film Festival (KIFF) is riddled with flaws. The principal one is that the Bengal government runs the show. When a festival of this nature is managed by the government, it can only be bad news. No festival in the world is state-controlled to the extent that KIFF is and none is as badly run.

Take the example of the International Film Festival of Kerala. It is organised by a state where the leftist LDF and the Congress-led UDF wield political power by turns. But never does the government get directly involved with the conduct of the film festival. The event is run by an autonomous body made up of filmmakers, producers, actors and cinema experts. The person who is appointed the director of the festival is somebody who has put in years of work in cinema. In contrast, the film festival in Kolkata is headed by the CEO of Nandan Film Centre. It makes no sense at all.
Take the Pusan Film Festival in Korea as another case in point. Currently it is Asia’s number one film festival. It is also counted among the world’s top six or seven film festivals. Like the Kolkata Film Festival, the Pusan event is 16 years old. While the Kolkata festival has steadily lost its lustre, Pusan has gone from strength to strength. It isn’t difficult to see why.

The Kolkata festival is plagued by corruption and nepotism at every level. The event is controlled completely by bureaucrats and politically connected functionaries. They have a free run of the field. No wonder affairs have come to such a sorry pass.
It is not as if the Kolkata Film Festival was always like this. When it started 16 years ago, and for several years thereafter, it was a much-awaited annual celebration of the art and craft of cinema. The first director of this festival was the unimpeachable Prabodh Maitra, whose knowledge of and passion for the medium was beyond question. He has been replaced today by people whose only claim to fame is that they are close to the CM.

These men have decided they can organise a festival by doing DVD projections. They have no clue that DVD projections can never be the real thing. Amazingly, the festival director has argued that major festivals like the one in Cannes also screen DVDs. This false claim obviously stems from a lack of awareness. Has this gentleman ever been to the Cannes Film Festival? If he had, he would never ever said what he has. He would have known that what he claims to be a DVD projection is actually the screening of a master tape, or digibeta.

It is a natural urge for every nation to promote its cultural identity. An international film festival is an important means of doing that. The essence of Kolkata’s intellectual spirit could have been raised to new heights in the 16 years that this film festival has been in existence. The event could have given the city a unique branding of its own. Were that to happen, the exercise would have had the involvement of a wide cross-section of people. However, the bureaucrats at the helm have not allowed that to happen.

To get down to a more specific problem, is every film that the Kolkata Film Festival screens backed by formal permissions from the rights owners? Do they invite the makers of these films as a rule? I have my doubts. Last year, they screened my documentary film, Wagah, but they did not seek my permission nor did they extend a formal invitation to me. In the West, many producers and sales agents refuse to screen their films at festivals unless they receive a screening fee.

Why are policemen deployed in such large numbers at the festival venue? A cultural activity should be a liberating experience that encourages a free exchange of ideas. In the Nandan complex, freedom is conspicuous by its absence. Why should a filmmaker have to seek the permission of policemen to enter the premises. It’s a shame. The complex has no space for adda sessions, no restaurants and no lounges. There is no infrastructure here for people who might want to meet each other in a convivial, relaxed atmosphere.

Several steps need to be taken to salvage the festival from its inertia. First and foremost, it should be taken away from the government and handed over to an autonomous body manned by people who understand cinema. The event should also be turned into a competitive festival – that is the only way to attract high quality films. Pusan and Kerala have competitive festivals. In Kerala, the prize money is to the tune of Rs 20 lakh. Moreover, the focus of the Kolkata film festival should always firmly be on Bengali cinema.

I have another crucial suggestion: the festival should have two directors, one creative, the other financial. And to make the festival really worthwhile for aspiring filmmakers, a film fund should be set up so that grants could be given to promising new projects. It is important to save the Kolkata Film Festival because the fortunes of Bengali cinema are intertwined with its health.

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