THE HUNGRY TIDE

BOOK: THE HUNGRY TIDE
AUTHOR: AMITAV GHOSH

Not a thriller, not a murder mystery, nor even a romantic fiction, yet The Hungry Tide will get one easily glued to one’s seat till the end. Amitav Ghosh takes readers to a fascinating variety of islands inhabited by poor but land-loving people. Having been awarded the best work in fiction, Ghosh has undoubtedly succeeded in giving readers a feel, a complete descriptive image of the Sundarbans, especially the tide country. With classic descriptions of places and the various characters, the author, who is known to bag an award for every other book he writes, easily manages to enthrall readers with this book.
Amitav Ghosh elucidates his distinctive, polished and profound literary skills. The description of the various places and characters imprints perfect and clear images on the mind of the reader; it would not be a surprise if one imagines oneself to be character of the book, for the book really takes one to the tide country.
A carefully, masterfully woven novel, it contains understandable metaphysics.
As a skilled practitioner of Indian writing in English, Ghosh’s story-telling is at its best. A powerful combination of narration and story is what that makes this book worth reading. It is an ideal book for readers reading books to improve and develop their language; for the language used is prosaic, making the piece of work truly admirable.
The novel starts off on the Kolkata railway station where Kanai, one of the protagonists sees Piya another protagonist. As the story progresses, Kanai, the sophisticated Delhi businessman becomes fond of Piya, who is a cetologist. The story describes an excellent love-triangle when another protagonist, Fokir, a local fisherman enters into the picture.
The Hungry Tide depicts a detailed character sketch of each of the characters in the book. Ghoshji derives an amazing character out of the simple, illiterate Fokir, which makes the reader like him. A few scenes- for example, Piya offering a bunch of notes to Fokir for saving her from the muddy water and for agreeing to take her to Lusibari and Fokir, and Fofir taking just on enote and letting her know through gestures to pay him after she reaches Lusibari safely- not only makes admire the character in Fokir, but also shows that communication can be done effectively wiyhout spoken words.
Another character portrayed is that of Nirmal’s, Kanai’s uncle, who does not have a specific role in the book. Nirmal’s character is portrayed excellently through his diary. The diary not just shows how good a writer Nirmal is, but also shows that Ghoshji is a writer par excellence.
All the characters in the book are admirable in their own way. Kanai and Nirmal showing a particular interst towards language, Piya interested in a specific breed of dolphins known as Orcealla or the Irrawady dolphins, Moyna, who regards education more than anything else and who is highly ambitious, Nilima showing a specific interst in social service and Fokir interested in …catching crabs! Kusum is yet another charater who is portrayed as a mentally strong person. Yet, what makes the book truly admirable is that, Kusum, inspite of being morally strong is also vulnerable and is also at times driven to tears.
Even though the book, as a whole is interesting, there are certain chapters that draw the attention of the reader and make him remember the book. A chapter named “A Killing” shows various kinds of human behavior. In the chapter, a tiger that is renowned for killing two people and innumerable livestock is captured. Here, Ghoshji elucidates three types of human behavior and thinking; the villagers and Fokir who mercilessly capture the tiger and burn the animal, Piya who is sympathetic towards the animal and thinks that even animals are same as humans, and Kanai and Horen who are indifferent towards the situation and do not really care if the tiger is killed or not.
Throughout the book, Ghoshji narrates interesting stories like those of Bon Bibi’s glory and of how she and her brother Shah Jongoli saves a lad named Dukhey from Dokkhin Rai, a devil king. Other interesting stories include those of Port Canning; how Lord Canning, a viceroy builds a port inspite of repeated warnings from Mr. Piddington, a lowly shipping inspector, about cyclones and later finds the port blown away with a minor storm. The story of Sir Daniel Hamilton, of how he builds a school and shows everyone his dreams and almost making them a reality is also very interesting.
The Hungry Tide is a fascinating book and is definitely a must-read. The book transports one to another world and shows one various kinds of cultures and people.
All that can be said now is that the book is so good that after reading it one would be inspired to write something like this!

TASTE OF CHERRY

MOVIE: TASTE OF CHERRY
DIRECTION: ABBAS KIAROSTAMI
CAST: HUMAYOUN ERSHADI

This would be one movie stuffed with enough symbolisms to keep one busy thinking throughout the day. The plot of the movie is quite plain. The story speaks of a man (Badii) who wants to commit suicide and seeks help from anyone who is ready to put earth over him after he is dead. This is in exchange for a large sum of money. Much of the movie has been shot in Badii’s Range Rover.
Badii is initially refused help by two people, but then, there are only three people who get into his car and speak to him. First is a boy who wants to reach the barracks at a particular time. The boy when comes to know about the job that he has to do in exchange for the money, refuses to help and flees when he gets the opportunity. This could be symbolic of helplessness and failure to understand and solve a problem, usually faced by teenagers. So their solution is running away from it. Next person to get into Badii’s car is a seminarist. This is a youth who tries to state that suicide is not an appropriate option, but is quietened by Badii who says that he does not require help from one who is “learning” and would rather seek help if he had to from someone more knowledgeable. This could be symbolic of the extent of a youth’s knowledge. Badii’s words prove that one gains more knowledge and experience about a subject with age. The third person to be inside the car is an old man who narrates his own experience of attempt to suicide. The old man (Bagheri) does his best to convince Badii that suicide is not the correct option and that one mustn’t choose to end one’s own life. He explains how one simply wishes to see the morning sun, and how one wishes the taste of mulberries upon his tongue. Bagheri’s conversation with Badii proves the persuasiveness of elders and their ability and knowledge about various things.
A particularly interesting factor is the sequence at which these three characters appear. The first was a lad, the second a youth, and the third an old man. In short, the three different stages of life, each character portraying different angles to solution of a problem.
Another statement that the movie subtly makes is that being rich has no part in making one happy. Badii is a tremendously rich person (evidently brought out by, the offer he makes to people for burying him after he is dead, the Range Rover which is not an ordinary car that he drives and the bundle of notes that he draws out to buy a ticket to meet Bagheri). So even though Badii has plenty of money, he wishes to die for reasons left to the audience’s guessing.
However towards the end, one can say Badii finds hope, though he still sticks to the earlier decision to die. This is brought out from the scene, where he runs back to Bagheri to tell him to throw stones at him and to shake him awake to confirm that he is really dead and not just asleep. Also Badii notices the beauty of the setting sun and children playing in the ground.
The end, i.e. the part after he enters the grave he has made and everything is blacked-out is a bit confusing. Here the director himself is seen talking over a walkie-talkie asking soldiers who had been marching round a hill to take rest. The actor who played Badii casually walks around. Probably the director tries to emphasise in the end that it was after all, just a movie. As to whether the character Badii is dead or alive is not shown.

GIRNI Review

MOVIE: GIRNI
DIRECTION: UMESH KULKARNI
CAST: MADAN DEODHAR, RENUKA DAFTARDAR, CHANDRAKANT GOKHALE

Girni is the right movie to watch for all those who aspire to make a good short movie. One thing that would immediately shoot up into your head is a family’s poverty and its struggle to earn money. What’s more is the twenty minute long movie throws light on the influence of a grinding machine on a child’s psyche. Surely the theme of the movie is such, it’s no wonder the film has won the National award and Maharashtra State award for the best short film. Though the script remains simple, good visual motifs cover it up and remain a stand out. Just to prove how good the visual motifs are here are a few scenes you must not miss. First of all, the one where Sameer (the protagonist) is shown sleeping; and instant later he is shown leaving to school. This is an excellent method to cover the passage of time. Repetition of certain scenes, like those where Sameer’s mother pays installment show routine activity. So the direction overall has been good.
Furthermore, viewers get a feel into the boy’s psyche, thanks to good sound designing. Throughout the movie the audience hears the sound of the grinding machine which actually is the sound going on in the boy’s head. Scenes like the boy banging his head, in short trying to make the sound stop is symbolic of this. Another good example is when the boy hears only the sound of the machine even when there are lots of other sounds around. This technique has been well used, which also was used in Fountain (starring Hugh Jackman).
Humour though not the ones that would make you laugh your gut out, is well portrayed. Scenes to look out for humour are the boy’s initial enthusiasm towards working and not playing with the rest of his friends who tease him. Also a combination of rage, humour and frustration has been effectively put in (the scene where the boy shouts and learns his math tables)
The climax of the movie is one that could be predicted, however the best part is the end- as to what happens to the boy- is left to the viewer’s interpretation.
In a single line, good direction, visual motifs, sound and not to forget, good acting skills by the child actor makes the movie worth a watch, perhaps more than one!

SONS AND LOVERS Review

BOOK: SONS AND LOVERS
AUTHOR: D.H. LAWRENCE

Those of who have a passion for literature and enjoy reading literary works of really great authors shall not miss out Sons and Lovers by D.H. Lawrence. To write about D. H. Lawrence and his works could take up a lot of pages, but in a single line one can say the book is a masterpiece.
Sons and Lovers throw light upon many psychological elements. The language used is poetic; the characters could be related to any person. D. H. Lawrence’s writing in terms of description has been par excellence. Vivid descriptions about places and a still clearer description about minutest feelings of a human being make the novel a stand out.
The novel majorly revolves around one central character- Paul Morel- and his terrible relationship with his mother. The presence of his mother and his love for her forces him to repel the love offered by two other characters- Miriam and Clara.
A story that has a tragic end, D. H. Lawrence’s poetic style of writing and psychological insights makes this book worth a buy.

Shyamchi Aai Review

Movie: Shyamchi Aai
Directed By: Acharya Atre
Cast: Vanamala, Madhav Vaze

Those of you who wish to know what a true mother-son love and relationship is like must watch this movie. It is a movie that teaches every human being moral values thus making him a respectable person in the society. The storyline is simple yet stuffed with ample meaning in it. The story follows the life of a prosperous joint family which towards the end splits up and leading to poverty and struggle and the eventual death of Shyam’s mother. The movie in itself is like a mother and the viewer a son learning moral values. The movie elucidates excellent directorial skills of Acharya Atre and the acting performances by Vanamala and Madhav Vaze are fabulous.

The movie starts with a beautiful poem on mother and continues with Shyam’s childhood mischiefs for the first few minutes. A scene from the school which shows the teacher asking the kids not to sing songs about Tilak shows the mentality of teachers and students at the time. The freedom struggle, the movie shows, was shared by both the students and elders alike.

What makes the movie a distinguished one from other movies is scenes where the mother and son communicate. A child’s innocence and ignorance of plucking buds instead of full bloomed flowers is kindly explained by the mother; also mother’s love for a son is highlighted effectively when Shyam’s mother wipes his feet after his bath. The term ‘freedom’ was also highlighted in the movie in two different senses. While India was obviously fighting for freedom, Shyam’s mother’s reaction towards the landlord’s words throws light on the honour, respect and freedom of a woman.

The script of the movie stuffs in meaningful symbolisms. This is proved in the scene where Shyam teaches his brother prayers which condemn stealing and Shyam stealing money while teaching these prayers. The irony in the actions and dialogues in the scene makes the script worth applause.

Also the movie is one which would bring tears into your eyes but also leaves you smiling in mirth at the actions of the characters. The scene where Shyam’s mother forgets to add salt in a curry is a mixture of love, intense emotions and also humour.

Just as the movie starts it ends with a song on mother, leaving you commemorating about the lessons taught by a mother to her son.

Adaptation Review

MOVIE: ADAPTATION
CAST: NICHOLAS CAGE

A well written movie, though the last half hour seems to be too fast and overly dramatised.

Something worth noting about this movie is its creative story line. It is not the first time a movie has been made out of directors’ or writers’ own experience, but the difference here is that Charles Kaufman has merged both fiction and reality into this movie. Creating a twin brother completely in contrast to Charlie himself, he writes about his struggle adapting a book into a movie. The latter meanwhile attends screen writing workshops and finds fame over what Charlie thinks of as a “taut” story.
Nicholas Cage’s acting performance is worth an applause. Surely our primary attention is drawn towards Charlie who has been assigned to write a screenplay of Susan Orlean’s “The Orchid Thief”. Here he wants to do something different and plans to make a movie about flowers. A character observation of his twin- Donald- shows that he is somebody who sets rules and principles for writing. Charlie’s lines where he tells his brother that one can’t follow rules while one writes could be an eye opener for all those making efforts to write a screenplay.
Psyche of Charlie and Donald:
Charlie has the most commonly found human character- that filled with fear, tension and lots of anxiety. Any common or creative person who looks at Charlie would be at ease about their own behaviour towards different circumstances. Naturally, these descriptions are enough to speak volumes about Charlie. He is a person who worries too much thinking what others think about him.
Donald on the other hand has a carefree attitude and believes that “you are what you love, not what loves you and that no one has the right to take away what you love”. Donald is open to accept help from others. There are instances when he comes to Charlie to discuss the plot of his script. He even attends workshops by an eminent personality, Robert McKey.
Towards the end when Charlie is helpless as to how to start (having chucked out all the previous ones he had written) and move ahead with the story, he finally succumbs to attending the workshop.
The start of fiction, end of reality:
Charlie’s attending McKey’s workshop could be the turning point of the story. At this juncture, there is a conversation between McKey and Charlie where the former asks Charlie to put a twist towards the end.
This is where the dramatised fiction part starts and it ends with the death of John Laroche (the main source of Susan Orlean for her book) and that of Donald.
In case you forget the last half hour of the movie, this could have been an excellent movie. Not that it is not now, but the last part is like a black spot on a pure white surface.