Sunday, September 29, 2019

Game Over—Fight Like A Girl

Game Over is an innovative psychological thriller film directed by Ashwin Saravanan. Written by Kaavya Ramkumar and Ashwin, the film has been shot simultaneously in Tamil and Telugu and dubbed in Hindi. The film is the story of Swapna (Taapsee Pannu), a gamer living in Gurgaon with her caretaker, Kalamma (Vinodhini Vaidyanathan). Swapna is dealing with mental health issues after a traumatizing incident. She is scared of the dark, and as the anniversary of the incident approaches, she becomes suicidal. A tattoo on her arm comes to her rescue, warning her of the intruder(s) lurking around to kill her. Swapna decides to fight them instead of giving it up quickly. 
Game Over is about the persistent trauma that sexually assaulted women have to deal with in their lives later after the incident. The film uses tattoos as an allegory for the permanence of this trauma. Like tattoos, the emotional scars of the incident continue to disturb women for a long time. The tattoo studio is interestingly named 'Immortal Inks,' representing the enduring emotional turbulence faced by women. At an earlier point, the psychiatrist diagnoses Swapna as suffering from an anniversary reaction where he mentions that her subconscious mind automatically triggers memories of past traumatic incidents. The incident never really goes away entirely and remains imprinted in the mind. It is there in the subconscious of women all their life. At another stage, two boys identify Swapna from one of the explicit videos on the internet, again suggesting that, like things remain on the internet for a long time, the trauma is also experienced for a long time. 
The film sends out the message to women to never give up and continue fighting. Amrutha (Sanchana Natarajan) suffered from multiple cancer relapses, but she never gave up. She organized support groups for people suffering from cancer and inspired them to hope. Her mother visits Swapna and gives her a card that says, "We all have two lives, the second one starts when we realize we only have one. Fight like a girl." These instill in Swapna the will to fight. Swapna's tattoo that contained Amrutha's ashes forges a bond between the two where they have gone through similar situations in life. A part of Amrutha is with Swapna and warns her of the potential dangers to her life. There is also the character of Kalamma who is like a mother to Swapna. She is there for her always, unlike her real parents, who are absent from her life. Women in the film support each other through their physical and their metaphysical presence. The last film that showed this bond between women was Suresh Triveni's delightful Tumhari Sulu which acknowledged working women from all walks of life supporting each other and giving them wings of ambition. "Main kar sakti hai," became the mantra for women like Sulu (Vidya Balan) who needed an opportunity to fly.
A poster in Swapna's room reads, "What if life is a video game and déjà-vu are just checkpoints." Later, it becomes clear that Swapna's life is also playing like a video game. Throughout the film, Swapna plays Pac-Man, a popular game in which the player navigates the character Pac-Man through a maze filled with Pac-Dots while protecting it from the multi-colored characters called ghosts. Pac-Man has three lives, after which the game is over. The version of the game that Swapna plays has three ghosts. In the film's second half, Swapna becomes the Pac-Man trying to protect herself from the three masked men who could be called ghosts. She also gets three lives, signified by the tattoos on her arm. The same scenario plays thrice when Swapna tries to protect herself from the ghosts. Like the game's stages, the three scenarios get progressively tricky with an increase in the number of ghosts she has to fight. She loses her two lives but finally understands the game and emerges victorious. The words of the poster indeed come to life for Swapna.
At many points, Game Over reminds one of Pawan Kripalani's Phobia, due to the similarity and the treatment of the subject matter in the two films. Phobia was the story of an artist Mehak (Radhika Apte), who, after being sexually assaulted by a taxi driver, suffers from agoraphobia—the fear of open spaces. After the incident, she is trapped in her apartment, like a bird in a cage. Mehak had to fight her inner demons to get freedom from this cage. Swapna in Game Over starts fearing the dark spaces, a condition known as nyctophobia, after being sexually assaulted. She also works from home, trying to avoid going out. Both films are about the continuing trauma that women have to live with after the incident. At one stage, Mehak visits a psychiatrist who uses virtual reality therapy for her. Swapna's psychiatrist also uses virtual reality to reduce her fear of dark spaces. Phobia ends on Diwali, a festival that celebrates the victory of Ram over Ravan, the king of demons where Mehak is finally able to conquer her demons, and she comes out of her cage. Fireworks are marking this celebration. Similarly, Game Over ends on the new year when Swapna fights the three ghosts, and the fireworks mark the start of a new year, a new beginning for her. In Phobia, the apartment building where Mehak stayed was called the Overlook Apartments, a tribute to the Overlook Hotel in Stanley Kubrick's The Shining. Likewise, early in Game Over, there is a scene where the faceless intruder enters Amrutha's bathroom when she is taking a shower, reminiscent of the famous shower scene in Alfred Hitchcock's Psycho.
Like the different approaches of a gamer's strategy to play a game, the film offers multiple ways to look at it. Another way to look at it is that the film plays in some part in Swapna's dream, as her name also means the dream. I liked that the film stresses her name as 'Swapna' with a 'w' instead of the more north Indian usage 'Sapna.' Other small details in the film provide some more thinking points, such as the swing in Swapna's house, the little statue of Wonder Woman in her collection of toys, and the mysterious opening and closing of the refrigerator.
Game Over is set in Gurgaon, a place not known for its safety for women; however, there are some top shots when Swapna is driving back to her house, and the road is shown to be lined with palm trees which seem out of place. Although the film's length is quite short, its pace drops during the middle, making it feel a bit longer. Taapsee Pannu delivers another strong performance and carries the film solely by herself. 
Over the last few years, a new wave of horror films has come up that is often called 'Elevated Horror.' Films, such as Get Out, Us, and Hereditary, are often clubbed under this term, with their 'elevation' coming from their myriad themes and subtexts, primarily related to race and gender. Indian films, such as Phobia, Pari, Game Over, and shows like Ghoul, could also be added to this term. A horror film need not have a larger message to be called elevated. It should suffice as long as the film entertains and serves its purpose. Anything else is an added bonus giving material to film reviewers to read the film in different ways and that we would happily take.
Trivia:
1. At some stage in Game Over, Gumnaam Hai Koi from Gumnaam can be heard in the background.
2. Taapsee Pannu running in her movies—Game Over, Manmarziyaan, and Pink. 
3. The posters of Grand Theft Auto, Jumanji, and Shadow of the Colossus. 
4. The shower scene in Game Over and Psycho.
The Cutting Scissors:
Other Reading:
1. The post on Tumhari Sulu—Link
2. The post on Phobia—Link

Dialogue of the Day:
"We all have two lives, the second one starts when we realize we only have one. Fight like a girl."
—Game Over

Friday, September 20, 2019

Article 15 on Film Companion

The last few days have been like a dream. A few days ago, I got an email from Anupama Chopra to write something for Film Companion, similar to the post on Dil Chahta Hai. I just could not believe it. Then, I spoke to her on a call. It was surreal talking to her because I have been following all her work for more than fifteen years. Everyone knows her. Even my mother who does not watch films knows her from television. I asked Anupama how did she think of reaching out. So, the post on Dil Chahta Hai was tweeted by the super awesome Baradwaj Rangan (funnily, I had no intention of tweeting it myself). He showed it to Anupama and told her that Film Companion should do something like this. She said instead of asking someone else, why don't they ask me to write for them. That is why she reached out. I could not believe it. My first article was published this week on Film Companion. I have been writing posts here for quite a while because I absolutely love Hindi films. I don't consider myself a good writer yet as I don't have that literary flair. I am more an observer of films. Someday, I wish to reach the point where I can call myself a good writer and write something that is beautifully moving like the Modern Love stories in The New York Times. There are so many better writers out there but I feel they don't write. I have tried to not give it up although this year has been a little slow even by me because of some personal life changes which made writing a bit difficult. I have got to know so many wonderful and brilliant people because of this blog and I can say it has changed my life in many ways. I got messages from three of the best critics in India right now. Let's see what the future holds. The link for the article is given below. 
Other Reading:
The post on Article 15 on Film Companion—Link

Dialogue of the Day:
"Koshish karne walon ki kabhi haar nahi hoti."
—Sohan Lal Dwivedi

Sunday, August 25, 2019

Trivia Post 11

I am working on another post, so putting some long-pending trivia notes.

1. The poster of Lakshya is brilliantly made and conveyed many things. The tag line, the shadow of a soldier, and the progressively bolder style of words showing determination (Lakshya).
2. I finally watched 500 Days of Summer and what is clearly visible in the film is the color blue associated with Summer. She is almost entirely in blue throughout the film. Her costumes, her room, her accessories—all are blue. There is even a song where everything turns blue. Like it did in Tumhi Dekho Na from Kabhi Alvida Naa Kehna. There is an interesting theory behind the blue color as explained here.
3. Perfectly adequate in 500 Days of Summer and perfectly average in Ek Main Aur Ekk Tu.
4. Ending credits of Kaalaakandi.
5. Shaad Ali in Dil Se.
6. Love is never ready-made in Stree. 
7. The colors of the posters of FAN and Mission Mangal are quite similar. 
8. Ayan Mukerji has said that Dil Chahta Hai was the one film that changed his life. So, in his first film, he names his lead character Sid after Sid from Dil Chahta Hai, and like him, he also falls in love with an older woman. Tara and Aisha are older in age to the men. In Yeh Jawaani Hai Deewani as well, he took inspiration from Dil Chahta Hai where Ilahi had shades of Tanhayee. 
9. Mani Ratnam is a rare filmmaker who has consistently shown the intimate relationship of married couples in his films—Roja, Bombay, Guru, Raavan, Yuva, Iruvar, and Alaipayuthey (Saathiya).
10. In the visually stunning Super Deluxe, the most striking thing that pops out in its every frame is its color palette. Every scene is shot in the three primary colors—red, blue, and green. Even the costumes in different stories follow this pattern. 
11. Wearing the clothes of the lover in Lootera and Wake Up Sid.
12. The below scene in Kalank is reminiscent to the one in Hum Dil De Chuke Sanam where the husband and the lover, unaware about their identities, talk about the same woman.
13. Aditya in Jab We Met and Meera in Jab Tak Hai Jaan mend the broken relationship with their respective mothers after they themselves fall in love. It is their own love life that helps them understand the love life of their mothers. In Dil Chahta Hai, Akash mends his relationship with Sid when he falls in love. It is only after he falls in love, he could understand Sid's love for Tara.
14. In Ek Hasina Thi and Khoon Bhari Maang, the women take revenge from the men who harmed them using animals, such as rats and crocodiles. While browsing came across this post that talks about scenes of women cutting off their own hair in English films. Ek Hasina Thi can also be added to this list.
15. Recently, Cafe Coffee Day (CCD) was in the news. In Queen, Vijay breaks his wedding with Rani in Queen in a CCD. A lot did happen over coffee.
16. Opening credits of Waisa Bhi Hota Hai Part II.
17. In English Vinglish, Shashi learns to speak the word judgemental.
18. Naina and Bunny in Yeh Jawaani Hai Deewani would most likely end up the way Karan's parents did in Hum Tum. They love each other but want different things in life. The future is going to be hard for them.
19. Kyun Main Jagoon from Patiala House and Aas Paas Hai Khuda from Anjaana Anjaani are companion songs. A dejected protagonist asks God about their presence in the former—Jaane Kahan Chhup Ke Baitha Hai Khuda; God responds that they are nearby—Tu Na Jaane Aas Paas Hai Khuda.
20. Meri Pyaari Bindu
21. Jab Tak Hai Jaan
Dialogue of the Day:
"Yadaash bhi kitni ajeeb cheez hoti hai. Kisi cheez ko puri zindagi bhulne ki koshish karo, woh bhulti nahin. Kabhi ek chhoti si cheez yaad karne ki koshish karo, toh yaad nahin aati."
—Samar Anand, Jab Tak Hai Jaan