4.1 Analysis and interpretation of movie ‘Page 3’
As the researcher has defined all the terms involved in qualitative content analysis, has been adopted for the study. But to get a clear picture of the study the movie will be analyzed on the basis of following on the basis of following criteria. And the prime focus will be on youth and how they are represented.
The various areas in film ‘PAGE 3’ will be analyzed using these tools are as following:
1) Scene by scene Analysis of the Movie
2) Narrative
3) Characterization
4) Dialogues
5) Songs
6) Costumes
7) Cinematography
8) Sound and Music
Madhur Bhandarkar
Madhur Bhandarkar was born in August 1966 in Bombay, Maharashtra, India. His father was an electric contractor. At the age of 12, his father’s business suffered a huge loss because of which he had to study and work as well. Madhur Bhandarkar did not complete his school. He used to work as a delivery boy at a videocassette library. This gave him access to large collection of movies and he learned filmmaking through this. There was a time when Madhur Bhandarkar also used to sell chewing gums at traffic signals to earn money. “I am not a commercial filmmaker. I'm an experimental filmmaker whose films make a profit without being formulistic," added Bhandarkar, who is taking the scrutiny as a compliment.
"I don't know why my films are always so closely scrutinized for real-life references. May be that is a compliment for how real my films are."
Madhur is a very talented Filmmaker and Scriptwriter in Bollywood. Known for making movies inspired from real life, Madhur has given few remarkable movies to Indian Cinema.
Frequent portrayal of strong female protagonists who, despite facing lots of difficulties in life, turn out to be very successful and fearless women in their lives. Madhur Bhandarkar is the life member of International film and Television Research Centre of Asian Academy of Film & Television, Noida. . A couple of years later he made his directorial debut with ‘Trishakti’ which took more than two years to make and released in 1999. The film had a relatively low key cast and was largely ignored at the box office. After two years he directed ‘Chandni Bar’ (2001) starring Tabu and Atul Kulkarni. The film was a critically acclaimed success, which took Bhandarkar into the top league of filmmakers in Bollywood. He received his first ‘National Award’ for this film and there on won National awards for his films Page-3 and Traffic Signal. Three National Awards winning director Madhur Bhandarkar has added one more feather to his cap. Madhur was conferred ‘PL Deshpande Award’ also known as ‘Zenith Asia Award’ for significantly shaping the film making culture in his unique works and he has been described as The ‘Film Maker of The First Decade of 21st Century’. On the Silver Jubilee Year of Aashay Film Club, this award ceremony took place on 16th Nov at National Film Archive Theatre during 8th ‘Pulotsav – An Art Festival’ in Pune. PL Deshpande was a renowned writer, stage and film actor and his literary works are still revered in Maharashtra and others parts of the world. In his honour, Zenith Asia Award was given to Madhur Bhandarkar and his film CHANDNI BAR was also screened during the fest amongst landmarked 25 films from the world cinema.
Frequent portrayal of strong female protagonists who, despite facing lots of difficulties in life, turn out to be very successful and fearless women in their lives. Madhur Bhandarkar is the life member of International film and Television Research Centre of Asian Academy of Film & Television, Noida. . A couple of years later he made his directorial debut with ‘Trishakti’ which took more than two years to make and released in 1999. The film had a relatively low key cast and was largely ignored at the box office. After two years he directed ‘Chandni Bar’ (2001) starring Tabu and Atul Kulkarni. The film was a critically acclaimed success, which took Bhandarkar into the top league of filmmakers in Bollywood. He received his first ‘National Award’ for this film and there on won National awards for his films Page-3 and Traffic Signal. Three National Awards winning director Madhur Bhandarkar has added one more feather to his cap. Madhur was conferred ‘PL Deshpande Award’ also known as ‘Zenith Asia Award’ for significantly shaping the film making culture in his unique works and he has been described as The ‘Film Maker of The First Decade of 21st Century’. On the Silver Jubilee Year of Aashay Film Club, this award ceremony took place on 16th Nov at National Film Archive Theatre during 8th ‘Pulotsav – An Art Festival’ in Pune. PL Deshpande was a renowned writer, stage and film actor and his literary works are still revered in Maharashtra and others parts of the world. In his honour, Zenith Asia Award was given to Madhur Bhandarkar and his film CHANDNI BAR was also screened during the fest amongst landmarked 25 films from the world cinema.
National Film Archive of India (NFAI) which falls under Ministry of Information & Broadcasting, Government of India preserved all the films of renowned Indian Film-Maker Madhur Bhandarkar. Chandani Bar, Page-3, Corporate, Traffic Signal, Fashion and Jail, are all the films of the realistic film-maker which will now find space in Government’s Archival data for Indian Films.
The film has won the following awards since its release:National Film Awards for ‘Page 3’ (India)
- Golden Lotus Award - Best Film - Bobby Pushkarna
- Silver Lotus Award - Best Screenplay - Nina Arora, Manoj Tyagi
- Silver Lotus Award - Best Editing - Suresh Pai
- Best Female Debut - Konkona Sen Sharma
Style of movie Making
In most of his Films Madhur Bhandarkar has made the female the main protagonist. This has been seen in five of his films: Tabu in ‘Chandni Bar’, Raveena Tandon in ‘Satta’, Konkona Sen Sharma in ‘Page 3’, Bipasha Basu in ‘Corporate’, and Priyanka Chopra in ‘Fashion’. He has also depicted gay characters in his movies like ‘Page 3’, ‘Traffic signal’, ‘Fashion’ to name a few.
In an interview with Sanjay Ram of Businessofcinema.com he said "My movies are not exposes, maybe they just hold up a mirror to society. My movies are not judgmental; I just show what happens in our society, sometimes there could be a solution and sometimes there may be none. Life goes on."
Career
As an Assistant Director
Madhur has assisted directors Ashok Gaikwad and Ram Gopal Verma. He assisted on making of ‘Doodha Ka Karz’ (1990), ‘Raat’ (1992), ‘Drohi’ (1992), and ‘Rangeela’ (1995). He also played a small played a small role in ‘Rangeela’.
As a Director, Writer
1999 -Madhur made his directorial debut with the movie, ‘Trishakti’ (1999). The movie was a big flop and sank without any recognition.
As an Assistant Director
Madhur has assisted directors Ashok Gaikwad and Ram Gopal Verma. He assisted on making of ‘Doodha Ka Karz’ (1990), ‘Raat’ (1992), ‘Drohi’ (1992), and ‘Rangeela’ (1995). He also played a small played a small role in ‘Rangeela’.
As a Director, Writer
1999 -Madhur made his directorial debut with the movie, ‘Trishakti’ (1999). The movie was a big flop and sank without any recognition.
2001- After the very disappointing ‘Trishakti’ (1999), Madhur directed ‘Chandni Bar’ (2001). The movie depicted the Mumbai Underworld, Prostitution and Dance Bars. Tabu and Atul Kulkarni were seen in the lead. The movie was declared a hit. Even the critics appreciated the movie. Madhur Bhandarkar was also the writer of the movie. The movie won 3 National Film Awards. Madhur Bhandarkar won Screen’s Best Story Award in 2002 and was nominated as Best Director for ‘Chandni Bar’in Screen Awards.
2003- Madhur Bhandarkar wrote the story and directed ‘Satta’. The movie took a closer look at the kind of dirty politics; ministers play to stay in power. The role of, the main protagonist of the movie, was played by Raveena Tandon.
2004- In the year 2004Madhur Bhandarkar directed Firoz Nadiadwala’s Aan: ‘Men At Work’. The movie starring Shatrughan Sinha, Sunil Shetty, Akshay Kumar, Paresh Rawal, Jackie Shroff, Lara Dutta, Raveena Tandon is based on the life of a police officer fighting crime. The movie bombed at the Box Office.
2005- One of the hits of the year, ‘Page 3’ (2005) was the movie written and directed by Madhur Bhandarkar. The movie talked about the film industry, people who appear on page 3. The movie was a hit and the box office and it won three National Awards in 2005.
2006- Madhur Bhandarkar also directed, wrote the Screenplay and Story of ‘Corporate’ (2006). The movie was a success at the Box Office. The movie was also successful in the critic’s view. Bipasha Basu playing the lead won number of Awards for the movie.
2007- ‘Traffic Signal’ (2007) was written and directed by Madhur Bhandarkar. The movie deals with life of people living around traffic signals, life of street people and goes into Mumbai Underworld and Politics. It was the third consecutive hit given by Madhur. The movie starring Kunal Khemu, Konkana Sen Sharma, Neetu Chandra, won National Film Awards’ Best Director of the Film Award and the first National Film Award for Best Make-Up artist.
2008- Success was all that was there for Madhur. And in the year, Madhur gave the biggest hit of the year, ‘Fashion’ (2008). The movie dealt with life of struggling models, who come from small cities to Mumbai. The main protagonist in the movie was Meghna Mathur, played by Priyanka Chopra. The movie brought number of Awards for Piggy Chops but Madhur just received Filmfare lady for Best Direction for the movie.
2009- ‘Jail’ (2009) written and directed by Madhur Bhandarkar. Starring Neil Nitin Mukesh and Mugdha Godse, the movie talks about the torturous life of the Indian prisoners. The movie didn’t do well at the Box Office.
2011- ‘Dil to Bachcha hai ji’ was directed by Madhur Bhandarkar, and has made a huge hit at the box office.
Crew of ‘Page3’ Movie
| Genre- Drama Language- Hindi Executive Producer / Co-Producer- Kavita Pushkarna Director- Madhur Bhandarkar Opening Weekend- INR 11,398,000 (India) (28 January 2005) Star Cast Konkona Sen Sharma...... Madhavi Sharma (protagonist, worked for the nation today daily paper.) Tara Sharma...... Gayatri (A struggling actor trying to get into the film industry, shared the room with Madhvi and pearl.) Atul Kulkarni...... Vinayak Mane (He has played the main role in the movie, he is the political news reporter who is accompined by Madhvi in the later half of the movie covering political news.) Boman Irani...... Deepak Suri (Editor of Nation Today, he tries and supports the budding journalist Madhvi in all possible ways.) Sandhya Mridul...... Pearl (An airhostess and a roommate to Madhvi, in the movie she is portrayed as the person who is straight forward but at the same time true at heart.) Kurush Deboo...... Hiren Sanghavi (He plays his character very well, he has come to India after many years and want to be a star in the page 3 world, the movie begins with him wanting to throw the party.) Jai Kalra…… Tarun (Struggling model who gets friendly with Madhvi and also turns out to be gay) Soni Razdan …… Anjali Tapar (she is the wife of Romesh Tapar and she would not like to go for the page 3 parties as he would find everything around was plastic everything was fake.) Suchitra Pillai….. (designer flaunts about the diamonds and the accessories that she own) Dolly Thakore...... (she writes books mostly on sex and she is the publisher's wife) Upyendra Limaye...... Inspector Arun Bhosle (in this film Upuendra Limaye, played a very good role as a police and has portrayed that the media and police works together.) Anju Mahendro……Ritu Bajaj (she has a cosmetic consultant and has many branches all around the globe ) Maya Alagh...... Kurshid (had 2 marriages and divorced, but still has a boyfriend but wants to get married to Tapar) Kunika…..(she is a dominant wife) Manoj Joshi...... Bosco (he has played the role of a car driver in this he along with the other car driver’s gossip about their bosses and madams.) Suhasini Mulay…. Pratima Bharve (social worker but according to her she attends page 3 parties to get publicity for her organization and for funds) Nassar Abdulla...... Romesh Thapar (in the movie he has played the role of a rich and famous personality and owns many companies, he has also seen as a pedophile.) Bobby Darling (the character was well played in the movie, the character played in this movie was that of a fashion designer.) Dinesh Lamba (photographer assigned by Nation Today to accompany Madhvi Sharma) Navni Parihar(she is what the other ladies call a ‘new money’ she believes that the woman should follow the same cultures they were brought up with) Bikram Saluja…. (a new actor who likes Gayatri and has sexual contact with her) Rehaan Engineer...... Abhijeet Patnaik (Madhur Bhandarkar has portrayed Abhijeet as gay and he plays the role of a make- up artist.) Suniel Shetty...... Himself Mukesh Tyagi...... Business Man Cassettes and CD's on- Virgin Records Singers Lata Mangeshkar Adnan Sami Sapna Awasthi Blaise Shaan Sagarika Shabaab Sabri Amit Kumar Tannishtha Chatterjee Suresh Wadkar Sadhana Sargam Asha Bhosle Abhijeet Editor Madhvi Sharma: ‘I don't know what has happened to journalism.’ Vinayak Mane: ‘Who told you that you are a journalist? This is what you write in the page 3 columns isn't it? Who went in whose party, with whom who went... And with whom who came back... What one wore, ate and drank what... And what one didn't wear. Miss Madhavi Sharma, this is called entertainment, not journalism.’ |
Plot of the film: Madhavi Sharma (Konkona Sen Sharma) arrives in Mumbai and soon lands a journalist job. Her boss Deepak Suri (Boman Irani) assigns her to write articles on the third page with updates on celebrities she meets at parties and get-togethers, which start late at night and go on in to the wee hours of the next day. She shares her room with Pearl Sequiera (Sandhya Mridul) an outspoken air-hostess, and wants to marry for money she needs wealthy man, age immaterial, and settle down anywhere on Earth.. While traveling by a Borivali-bound Western Railway train on her way home to Malad, she meets with an attractive young woman named Gayetri Sachdeva, who has no place to live, is sick because she drank alcohol for the first time, and has also been the subject of sexual abuse at the hands of Charu Mohanty, a parallel film-maker. She is an aspiring actress and gets into a relationship with a leading actor Rohit Kumar (Bikram Saluja). When she informs him she is pregnant he suggests she have an abortion; due to her depression and shattered dreams, she tries to kill herself and in the process loses her child. Meanwhile, Pearl marries a wealthy old man and moves to the United States. Madhavi tries to expose Rohit Kumar by writing an article on his relationship with Gayatri, but her editor fires her for publishing the article without his knowledge and she is forced to apologies to Rohit Kumar.
Madhavi gets very upset when she finds out that her boyfriend is gay when she finds him in bed with her best friend Abhijeet (Rehaan Engineer).
As soon as Madhavi begins to get disillusioned with her job of covering lives of these celebs she declares that “the party is over” for her. She soon realizes that the glamorous world of celebrity life is not as glamorous as it seems. As well her roommate Gayatri who supposedly returned to Delhi sleeps with a director and gets selected in a movie.
The biggest turn in the movie is she turns for a page 3 reporter to a crime reporter. She accompanies Vinayak Mane to the field and covers stories. As once Vinayak had to go to Nasik to get a scoop it was the informer who informed Madhvi about the children getting abducted for sexual pleasures of the rich and famous. These children were from the orphanage that was run by Anjali Tapar. Romesh Tapar would use these kids to have sexual pleasures, he was a pedophile in nature. Madhvi covers the entire story and she also stops the press the article is written and was sent to Deepak Suri the editor of the paper. Here Deepak Suri sends the entire story to chief as he was told not to send the article for publication. The next day Madhvi was fired from the job, but not as the will of Deepak Suri but because the management wanted it to happen.
With this huge shock that Madhvi gets she finds it very difficult to get over it. She is now looking for a job, she tries in various places but then there is no space for her type of beat. The type of story that she would want to do, that is the crime beat. In the end she goes for an interview at a publication house where the editor puts her back into the page 3 section of the news, and this time she is forced to do it. She goes along with her camera person guiding what he has to do, she look at the same faces all over again and they accept her the way that she is a page 3 reporter and not a crime reporter. She feels the same fakeness in the people and the talk that they have.
Most of the scene of the movie is important as they depict various moods, emotions, humors, romance and love. But some of the important scenes which depict the portrayal of the youth in movie Page 3:
In the scene 1 there is a NRI Hiren Sanghavi, who comes to India and wants to start a business. For him the only way to get the contact is to be amongst the rich and the famous people from the film industry. So he hosts a party in which all the famous people of the city are invited and is thrilled to take photographs with these people hoping to be soon on page 3 of the newspapers. The first scene shows how the entire page 3 clan is getting themselves ready for Hiren Sanghavi’s party. In this scene there is a lot of Fakeness which is shown among the page 3 celebrities.
The movie does not begin with the title name as this is how Madhur Bhandarkar generally begins his movies. The entire page 3 clan is shown getting ready for the party and there are calls that are made to many people inviting the press for the party or the celebrities for the party.
Scene 2:
The party begins and the host Hiren Sanghvi has been shown by the agent introducing the guest and the host to each other. In this scene, the host is shown as an aspiring businessman, who wants to join the clan of the rich and the famous. This is apparent from the way he behaves while giving his visiting card to the guests and he keeps requesting the reporters to get his name published in the newspaper. This scene has shown the ways the page3 people are, their clothing, lifestyle, the way they talk, the way they are, in totality. Fakeness is seen in them with the dual personality that they posses. For instance, in this scene when the agent along with the host Hiren Sanghvi gets introduced to Ritu Bajaj she accepts the visiting card and she throws it out once he has left the place, this shows that the people have come for the parties to enjoy and not just because of the party hosted by the NRI. Madhur Bhandarkar has introduced the characters in a very innovative manner. In the party hosted by Hiren Sanghvi, the Agent introduces the famous personalities who arrive for the party and in this way the viewer also gets to know of the people and what their roles and positions are. The music played in this scene is “yaha zindagi ek elak zindagi hai, yaha kyaeshe assama se badi hai” which means ‘the life here is different from the others, here the dreams are higher than the sky’ which is the title song where the party goers are shown along with the scantily dressed girls. The party lights, smoke, people drinking and dancing gives the feel of a pub.
This scene also has the people who want to get into the film industry. In the movie, the character of Gayatri Sachdeva, who is an aspiring actress, is played by Tara Sharma. She desires to get herself into the film Industry but according to her secretary Tiwari, one should attend such parties to become famous. Attending parties helps one to get contacts of famous people who are influential in the film industry. This is the only reason why many known people from the NGO also come and mingle with these celebrities. This way they hope to raise funds that are needed to invest for the betterment of the people. Here in this scene Gayatri is not a habitual drinker and does not want to drink alcohol, but the secretary is forcing her to get drunk which is the only way she can show the people is also happening and modern. In this scene the determined youth would have to sacrifice on their moral values but to get their dreams come true they have to assort to such behavior which they would have never done before.
Scene 4:
In this scene the protagonist Madhvi Sharma travels back home by the local train and this is very common in Mumbai. On the way, she narrates the story of her life before she joined Nation Today, she remembers the day she was leaving from Bangalore and how her mother was not willing to send her to an unknown place like Mumbai she says
Mother: how will you stay alone in a place like Mumbai?
She continues by saying that “My mother had stopped me but my father had supported me a lot.” This shows that metropolitan cities are open to the fact that their children can go to a different place and work. With this scene the director wants to show that India is slowly trying and getting developed. This scene also shows the incident that takes place with Gayatri in the train. She runs towards the train entrance and throws up, this is seen by Madhvi and she runs to help her out. That’s when they strike the conversation. Gayatri tells madhvi about her problems, which is her ongoing struggle to get in to the film industry and also that she is looking for a place to stay.
When it’s the turn for Madhvi to introduce herself there is an excitement in her voice when she says “I am a journalist”. This scene shows that the journalist has a lot of excitement in her voice only because she has seen the glamour world and not the other realities that take place in the world. Secondly it had been only six months since she joined the newspaper organization
In this scene, the actress, Aarti is getting ready for her shoot. She has an ongoing affair with a cricketer but of late, the papers have mentioned that she is friendly with another actor. Through telephonic conversation, she convinces her cricketer boyfriend that there is no affair and not to believe the gossip papers. Mean while the make-up artist Abhijeet finds a love byte on Aarti’s body and sarcastically jokes saying “your boyfriend for last 3 weeks is in London, so did he send the love byte through courier?”. To this Aarti replies saying, “Chill, Abi, Just cover it.” This shows that there is an understanding that both know what is happening. The director tries to show in the movie that in the glamour world, relationships are not very steady and can break the bonds in a jiffy.
Scene 6:
The movie has shown the youth are willing to work in the film industry or be it in the news industry. In this scene the young actor seems to be liked by the crowd and the reporter is also a young girl and by watching this movie the youth will get influenced to work for a channel or in the glamour industry.
In this scene Gayatri meets the director Charu Mohanty where she goes as a reference of Rohit Kumar, but here Gayatri is sexually abused by him. Though Gayatri clears the audition for the role of ‘Suntalika’ the next movie to be directed by Charu Mohanty, he wanted to have sexual pleasures with her, which Gayatri was not willing to give. This scene shows that there are a lot of people in the country who have the capacity to do things but due to such give and take the attitude only a few will succeed who are willing to give it to them.
Scene 9:
In the scene above the pre- marital sex is shown, the daughter of Romesh Tapar and Anjali Tapar has been shown sleeping with a young boy in a car. This symbolizes that the younger generation is more vulnerable towards pre- marital sex. The influence of movies and television viewing makes an impact on the youth. This scene clearly shows that the two are willing having sex and behind their minds know that it is a bad idea to do so. Hence the venue selected for the sexual pleasures is a car.
In this scene the character of Make-up artist, Abhijeet is played by Rehaan Engineer who is gay and is not accepted by the society. This scene is at the railway station where the common people travel. Abhijeet is waiting in the queue to purchase the tickets where he is eve teased by two youngsters who make fun of Abhijeet saying “one gets such people everywhere.” As Abhijeet turns back and asks if the boys had a problem with him. In turn it ends up as fight and this leaves Abhijeet injured. Here the scene shows that all the people who work in the glamour industry live a normal life not all of them are seen in high end cars. The scene depicts that the gay community is still not accepted in the society. The society has a lot of cultural norms that one is expected to abide by. If someone happens to turn the other way round, it is considered shameful.
In this scene Madhvi requests Abhijeet to stay over at her place because of the injuries that he got. In this scene Abhijeet asks Madhvi if it was his fault that nature has made him a homosexual. As Pearl, the roommate of Madhvi returns home she opens the door to Madhvi’s room and is surprised to find that a boy is on the bed. She investigates as to who he was and later realizes that it was Abhijeet the make-up artist. Because of the movies that portray Gay’s have a tendency to make hand gestures like shown in the picture above. This is not true, homosexual do not behave that way, their walking styles or their talking styles are not the way they show in the movies. Until and unless movies portray them as normal human beings who have feelings and can understand, the local public will still find it very strange to live with this issue.
In this scene the youngsters are in a club drinking and having fun this types of parties are called rave party where a lot of drugs are trafficked and these are sold. For these parties, the children of the rich and famous are found. The music director has played a major role in bringing out the trance music, so also the cinematographer in the camera movements have brought out the feel in the movie. The report of drug dealing is informed by the informer to the reporter Vinayak Mane, whose character was played by Atul Kulkarni, this is supposed to be published on the papers the next day. Here the relationship between the police and the reporter has been shown. If the police and the reporters help each other in their work, India will definitely be a better place to live in. when such scenes are shown the youth gets influenced to go forward and try.
In this scene the actor Rohit Kumar visits the hospital where they have HIV/AIDS patients. He goes to their wards and speaks to them shakes hands with them. The press was seen there clicking photographs and taking interview. It has been shown that if one has AIDS he does not become untouchable and AIDS is not spread by touching or hugging, but by having unprotected sex, and by not using new injections. In the interview with Rohit Kumar the journalist asks that people consider AIDS as untouchable and such a known Bollywood star coming to meet the AIDS patients does’nt he get scared? To which Rohit Kumar replies that all are humans and this could happen to any one, it could happen to you or to me. Another reporter asks if Rohit Kumar believes in safe sex? And for this he replies that one should use condoms and should not feel shy to ask for one at the pharmacy. This scene shows that whatever is the case one should have safe sex and only through movies the people can be educated about such social messages. It has been seen that many people who have AIDS are not allowed to stay with families because of the fear of contracting the virus but such myths should be brought to light.
In this scene the well known industrialist Romesh Tapar is shown as having sex with young children and is a pedophile. In this scene there are foreigners who are also seen having sex with the children. These children are from the orphanage that is run by Anjali Tapar. In this scene, the director has kept the aesthetics in dim light, which means that there is illegal trafficking of children going on. The journalist, Madhvi here along with the social worker Pratima Bharve who’s character was acted by Suhasini Mulay reaches there and it is an eye opening incidence for Mafhavi, who was still living in a bubble of beautiful glamorous world. In this scene there was a social message that was given out that these children have a future and should be treated as children and not as sex objects. The children who go through this have horrific memories of the incident which will eventually affect them in some way or the other in future. In the beginning of the scene, the music which was played has made the viewer finds that there is some suspense which will be revealed.
This scene is where Romesh Tapar is with the police inspector Bosle, who gets a call from the higher authority who tells him to release Romesh Tapar immediately but in this case inspector Bosle tries to convince them that it was child abuse, and the children were under aged, and there was also drugs that was being trafficked, but through the telephonic conversation, the higher authority commanded inspector Bosle to let go of Romesh Tapar. Inspector Bosle on the other hand tried to give as much as evidence so that they could put Romesh Tapar behind bars. In the scene there are Inspector Bosle, Romesh Tapar and Martin, a foreign National. They seem to have a smile on their face which symbolizes that they are sure all is going to be fine and there will be no worries. This symbolizes that money played a huge role in the world. If the same incident had to take place with a normal income person the punishment would have been more severe.
The next shot is that when the inspector hands over his mobile phone to Romesh Tapar while he hands over the phone over to him inspector Bosle has bent down his head which symbolizes that the battle over the truth has ended. Here the smile on Romesh Tapar shows that everything in the world can happen if one has money. In the movie having money is given a lot of importance. It has portrayed in a lot of ways that money speaks everywhere, and that the society is ruled by the rich. At the end Romesh Tapar sarcactically says “thank you for your help Mr. Bosle” This shows that the problem has been solved, as they both leave to the room Romesh Tapar puts his arm over Martin assuring that the situation is under control. The disappointment is seen on the face of the Inspector and the music at the background also emphasis the discontentment.
The scene begins with the chief editor speaking over the phone with inspector Kadam, the highest authority in the police department to try and solve the case or rather dismiss the issue. To which the chief editor says “our relations go way back”. This sentence makes a lot of threads bind together. thsi means that there are a lot of other happenings that have been dealt before the Tapar incident took place. In this scene is the editor of the newspaper Nation Today, Deepak Suri acted by Boman Irani who is along chief editor of the newspaper is seen. In the scene Deepak Suri hands over an envelope to the Chief in this contains the entire documents and report that was to be published in the papers. The shot which has Deepak Suri handing over the envelope, has his expressions say that the news would bring into light the realities. Deepak Suri tries to convince the chief editor that this story should not be overlooked at. In turn he says that most of the advertisements are of the Tapar group of industries and if this news was to be published the revenue would be stopped, which is a source of income to the organization. He calls Mr. Kadam, to inform Tapar not to worry about anything, as the situation was under control. Trying to tell the truth Madhavi had to face the resignation letter the next day. If the media plays a role in hiding the truth than why do we need to have media? The only way to get the world to know of the truth the media has to bring out the truth and not to hide it.
This scene is when Madhvi goes to visit her boyfriend Tarun to surprise him that she knows about his new job. But in this scene Madhvi seems to get surprised by her boyfriend. She happens to go looking for Tarun in the next room as she hears the sounds of music, she follows the music which leads her to his room. When she opens the door she realizes that her boyfriend is bisexual. The protagonist is shocked to see that her boyfriend is having a relationship with her good friend Abhijeet. In this scene there is voyeurism used in three angles that is when the camera is looking at three of them. Here the camera is the eyes of the viewer; the viewer is now looking at the three who are shocked. The camera is now panned towards the two who are having sexual contact. And later the camera looks from the perspective of Abhijeet, the feeling of guilt and shame is seen on the face.
The portrayal of the youth being homosexuals and bisexuals in the movie has tried to prove that it is not evil or embarrassing to say that one is a homosexual. The films brought about the fact that they too need to be accepted in the society. The awareness of such less spoken concept is discussed.
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