Jottings - Slice of life - 225 ( The talent of Alia, and the genius of Gulzar come together in “Raazi” )

Jottings - Slice of life - 225 ( The talent of Alia, and the genius of Gulzar come together in “Raazi” )

It is ironical that actors are often criticized for being artificial, when their very art demands artificiality and impersonation. One cannot act unless one knows how to put on a mask, and good measure of acting and quality of an actor lies in how much of the mask reveals the character played, and how much of the artist is revealed through that mask. Its a double edged sword, and a delicate balance needs to be achieved to avoid leaning to either of the extremes. The greatest of actors manage to bring a harmonious blend of both in their work, and when that magic happens, audiences are scarcely conscious of watching an “actor” playing a role, but simply dissolve in the story and the role portrayed with consummate artistry by the actor. But such sublime performances are rare, only possible at the peak of ones career - and to a large extent depends on luck, coincidence of being available at the right place at the right time - when stories and characters align themselves to suit an actor's temperament and artistic calibre. More often than not , for most artists, it is incessant struggle to find right roles, constant effort to remain artistically relevant, and above all the need to secure themselves financially that pushes them to accept mediocre roles. Like in any other art form, in cinema too, actors will consider themselves lucky if they can pull of few great performances appreciated by discerning critics and general audience alike. When such opportunities present themselves, talented artists find a way to rise to the occasion and bring out the very best in them. That is the trick to success.

Alia bhatt, in my opinion, is one of finest actors to grace the Indian screen in the last few years. Daughter of the maverick film maker Mahesh Bhatt and Soni Razdan - an actor herself, Alia has all the right genes. It is impossible not to grow up with films with such a father around. Mahesh is one of the rare blend of film makers with necessary intellectual apparatus to justify his commercial ventures. A deep thinker with ties to Osho and UG Krishnamurti, Mahesh presents a face of Indian cinema rarely seen today. An intellectual, yet a commercial film maker. An iconoclast, yet capable of producing a tear jerker catering to popular sentiments. Bought up in such vibrant household, where originality and freedom to live life on ones terms is highly valued and encouraged, it is natural, that Alia would imbibe the spirit and confidence to be herself and explore the world of cinema on her own terms, and not follow the demands of legacy, as most children from movie families tend to do. I had written a piece sometime ago on Alia's splendid performance in “Udta Punjab” where she played a rural girl drugged and abused fighting her way to freedom. She played that role with great finesse and maturity. Recently, I watched her in “Raazi” - her lastest performance as a young girl, married to a affluent and influential family in Pakistan to work as a spy for India. Based on a novel by Harinder Sikka, published in 2008, the movie is set in late 60’s, when tensions between India and Pakistan was reaching a crescendo with the issue of Bangladesh looming large. It was only a matter of time before both countries would go to war. Indian cinema has beaten to death this theme of rivalry between India and Pakistan. There is hardly a nuance of it which had not found expression in films and books. Raazi also attempts to reprise this theme, but with a refreshing difference. A young girl, in the prime of youth, is sacrificed to the rigors of espionage. She accepts the task as national duty and with patriotic fervor, only to find the people she is asked to spy upon aren’t really enemies they are made to look. Young Sehmat ( her name in the story) realizes her new family in enemy territory are loving people who can clearly distinguish between personal and national interests, and treat her with utmost respect and unconditional love. However, she sticks to her task as a spy as required of her. The conflict between what she set out to do, and what she encounters in an alien land forms the basis of Sikka’s story. To play Sehmat’s role, an actor should be capable of understanding the shades of emotions which passes through a young girl as she transforms herself from a fun loving girl, to a dutiful daughter, to a married woman, to a passionate lover, to an aggressive and uncompromising spy, to a pregnant mother, and then eventually to a sense of personal desolation and betrayal by the very system she chose to serve with diligence. It is kaleidoscope of emotions packed within two hours. Alia bhatt, once again, shows her tremendous sense of understanding of Sehmat’s precarious psychological balance during all these phases. She is blessed with a face which is transparent and mirror-like, in which expressions can change and flit across at moments notice. Like Meryl streep, in her younger days, her petite figure oozes sensual innocence, and her bright eyes - like a clear pond reflecting the full moon on a clear, cloudless night - expresses different emotions truthfully and with great intensity. When she smiles, there is charm; when she cries, there is piercing agony, when she is diffident, there is strength; when she loves, there is sultry passion. She is a complete actor, and in her able hands . “Raazi” is lifted to a dimension beyond the reach of commercial cinema. Her father, Mahesh bhatt, would have smiled at her performance with satisfaction. The right genes have been passed.

It is hard to believe Gulzar is 83 years of age, and been writing poetry, short stories and movies for over half a century. There is an unique quality to Gulzar’s lyrics, which no amount of commentary can capture. Each time I listen, I peel a new layer of meaning. His choice of words, his metaphors, his meter, the freshness of vision and experience, his understanding of how words fit within a tune and embrace a situation, and above all, his rich baritone voice whenever he renders his own poetry - make him one of the finest lyricists, poets and thinkers of significance in independent India. In Raazi, the poet laureate , mesmerizes listeners once more. There is simplicity in its lyrics, and profound meaning in what it reveals. The dancing cadence in the background song ( Dilbaro) when Sehmat is sent home with her Husband, reveals a poignancy , an intimacy and at the same time a distance echo of a farewell of never being the same again. It is impossible for any music composer not to set these lines to glorious music; the words only need just a little nudge to coalesce into a tune of it own. And in the title song “Raazi”, Gulzar explores the meaning of the word Raazi and its ambivalent quality. The inner turmoil between acceptance , duty and self interest is painted in few beautiful strokes and sung in the rich voice of Arjit Singh. Gulzar’s lyrics added a depth to the film which only enhanced the performance of Alia. Like a perennial well that never dries, I pray that Gulzar fertile brain and facile pen keeps churning verse after verse of charming and meaningful poetry. I cannot wait to hear more. His daughter Meghna Gulzar is the director this film, and it is fitting her father shared as a gift his words to embellish an important film in her blooming career

God bless…

yours in mortality,

Bala