Tag Archives: Chetan Bhagat

2 States (India 2014)

Arjun Kapoor and Alia Bhatt as the lovers trying to cross the North-South divide in India

Arjun Kapoor and Alia Bhatt as the lovers trying to cross the North-South divide in India

Throughout its long general election campaign India presented itself as ‘the world’s biggest democracy’, consolidating the sense of the Union of India – and that’s how most of us outside the country recognise its identity. But in reality India is not only a physical area the size of 20 European states with three times the population, but also with the same sense of diversity. There are more languages in India than in 20 European states and just as much cultural diversity. 2 States joins a long list of Indian films that use the ‘difference’ between those Indian cultures as a narrative device to add heft to the familiar Hindi romantic melodrama.

The main problem with 2 States is that it is a Karan Johar-produced mainstream film that leaves no convention unused in its assault on its audience. Nevertheless it is interesting as the fourth adaptation of an English language Indian novel by Chetan Bhagat. Two of those films have been hits – the monster hit 3 Idiots (and its Tamil remake Nanban) and the more modest hit of Kai Po Che (the most critically successful). The earlier Hello was deemed a flop. Bhagat is a phenomenon – a graduate of India’s top graduate schools who became a banker but then turned to writing. He has chosen to write in English, the English of the new young professional class rather than the literary English of those writers lauded in the West. His world is not the English public school/Oxbridge of Salman Rushdie, rather the world of the Indian middle-class (not the same as the UK ‘middle-class’) who are at least connected to the mass of the Indian population.

Bollywood star Vidya Balan (from Kerala) at the launch of Chetan Bhagat''s new book 2 STATES at Oberoi Mall, Goregaon in 2009

Bollywood star Vidya Balan (from Kerala) at the launch of Chetan Bhagat”s new book 2 STATES at Oberoi Mall, Goregaon in 2009

2 States is the most directly autobiographical of Bhagat’s novels and is presented as a version of Bhagat’s own struggle to marry the woman he loves. The problem is that in India (the book argues) you don’t just have to find someone you love, you have to convince your in-laws and then persuade your parents and your in-laws to get on with each other as well. This is a much greater problem when a Punjabi wants to marry a Tamilian. To be more precise, the problems intensify when the Punjabi boy’s family includes a hard-drinking father estranged from his wife (though still living in the home) and a mother struggling to keep up the lifestyle she thinks the family should have given her husband’s struggling business. Contrast this with the conservative and highly cultured Tamil family of vegetarians and teetotallers whose views on vulgar Punjabis could be seen as condescending. To make matters worse, like many other Punjabi families, this one is based in Delhi – losing roots in a strong community, whereas the Tamilians feel confident in their identity. Elsewhere in this blog we discuss other similar examples of Punjabi-Bengali relationships in Vicky Donor and Bengali-Tamil in Mr and Mrs Iyer. In the different context of a sports film Chak De India! manages to explore a wide range of prejudices against minority Indian cultures.

The abusive terms used (at least as translated in the English subs) are quite interesting. Ananya (Alia Bhatt) when she first meets Krish (Arjun Kapoor) insists that she is a ‘Tamilian’ and bridles at the suggestion she is a ‘Madrasan’. But Krish’s mother uses this term to abuse her. The ever-fascinating Urban Dictionary suggests that the stereotype of the ‘angry black woman’ goes back hundreds of years in India and the ‘angry Madrasan’ is a modern equivalent of this ancient prejudice referring to the ‘demon women’ of the South. The script for 2 States includes the terms Madrasan and Madrasi and also includes representations of the racism of skin colour that is prevalent in India. South Indians are assumed to be darker as Dravidians and North Indian forms of beauty for women assume lighter skin. The irony in 2 States is that Alia Bhatt who is cast as Ananya is light-skinned – which again is worked into the script. Hindi films of the 1970s up to the 1990s sometimes made ‘Madrasis’ into villains. The term was also used to cover all South Indians (it would once have referred to the Madras Presidency in colonial times). The renaming of Chennai has put this prejudicial observation more into focus.

Since the 1990s, Hindi films have travelled to the South for its ‘exotic’ locations, tending to treat Southern India like a tourist destination. 2 States does at least represent Tamil Nadu as a place of work, as well as spectacular settings for romance. I found most of the music for the film to be instantly forgettable but the song which worked for me is ‘Mast Magan’ which includes some of the best images of the Tamil Nadu shoot.

It’s a surprise that this high profile film was assigned to a novice director. As far as I can see Abhishek Varman had only assistant director experience before he worked on the script for 2 States and then directed it. In some ways it doesn’t matter too much that he does not have that much experience. The story is strong and the performances generally very good from all the leading cast members. There is a ‘bracketing’ narrative in which Krish is seemingly talking to a psychiatrist about the problems with his relationships and the suggestion is that at this point he has already written the draft of 2 States as a novel. This narrative trick features in several of Chetan Bhagat’s novels but I’m not sure it serves much purpose in the film. At other times it did feel that the commercial impetus of a Karan Johar production was painfully visible and without the acting talent on view the story would have sagged. Interestingly the next Bhagat adaptation – Revolution 2020 – looks like it is going to be in the hands of Rajkumar Gupta who made the excellent No One Killed Jessica. I hope that the new adaptation turns out more like Kai Po Che.

2 States is now a ‘super hit’ in India with over 100 crore (1 billion) rupees at the Indian box office and $4.5 million overseas

Song promo for ‘Mast Magan’ sung by Arijit Singh:

Kai po che (India 2013)

(from left) Govind (Raj Kumar Yadav), Ishaan (Sushant Singh Rajput) and Omi (Amit Sadh)

Why do Bollywood distributors make no attempt to sell their films to audiences outside the South Asian diaspora? Kai po che as a title doesn’t mean anything if, like me, you don’t know Hindi. I’ve learned since from a review that the title is “the war-call uttered during kite-flying in Gujarat”. The film is based on a novel, The 3 Mistakes of My Life, by Chetan Bhagat. I’ve read Bhagat’s five novels and enjoyed them all (his publicists promote him as the biggest-selling English language novelist in India) and I would have been immediately drawn to this film. Not only that but it is an Indian cricket film. Fortunately, sheer chance meant that I read a review so off I went to Cineworld without a second thought.

Kai po che is adapted and directed by Abhishek Kapoor, whose previous success was Rock On!, a film I found to be ‘OK’ but which I know was very popular in India. (Weirdly, Kai po che is exactly the kind of movie I said that I wanted to see rather than more Rock On!s.) With Kapoor and Bhagat as attractions the film has been eagerly anticipated in India, even though there are no major stars in the film. As far as I can see it is proving to be a winner of sorts after only a couple of days on release.

The story is set in Ahmedabad, the main city of Gujarat. It spans a period of ten years or more and the film narrative is mostly concerned with a flashback to 2000-2. Three young men are attempting to set up a retail business. Govind the maths genius is the sensible one, Ishaan the cricketer is the dreamer and Omi is the one with contacts – notably his uncle who is a local Hindu nationalist politician and the controller of the local temple properties. He agrees to lease the trio a shop space. The narrative drive comes from the different aims of each of the three leads – which represent the alternative goals/dreams of middle-class Indian men: success in business, politics or sport. (The importance of family is, of course, central to the plot.) Govind wants to make a success of the business, but he also falls for Ishaan’s sister Vidya, who he is attempting to tutor in maths. Omi finds himself, against his will, sucked into supporting his uncle’s political ambitions. Ishaan at first is unenthusiastic but then very taken by the amazingly talented 12 year-old Ali who comes to play cricket at the shop’s nets and eventually to accept Ishaan as a coach (Ishaan has played cricket at ‘district level’). This relationship will be one of the triggers for a crisis in the narrative, since Ali’s father is a political campaigner for the local Muslim party in opposition to Omi’s uncle. There are two other major dramatic events which will threaten the strong relationship between the three young men, the prospects for their business and the future of Ali as one of India’s great cricketers – but I won’t spoil the plot.

Amrita Puri as Vidya

Amrita Puri as Vidya

The adaptation changes the original story in several ways. One whole section is removed and some of the outcomes are attached to different characters. Chetan Bhagat is credited as one of the scripting team so I assume that he approves (whereas his relationship to 3 Idiots is more contentious). The excluded section is the trip the trio make to Australia but that would have been an extra budget cost and it isn’t essential to the story. Bhagat’s presentation of his stories is quite unusual – more like the idea of short stories being ‘told’ to an audience – in his case told to the real-life novelist Chetan Bhagat. This prologue and epilogue device has been cut and overall the narrative has been streamlined and made more ‘feelgood’. I’d have liked to see the original story on screen but I understand why it has been changed in this way. The pluses still remain. The three central characters are quite ‘real’/ordinary middle-class young men and it’s good to see a different city environment (beautifully presented). The performances are very good and the direction and editing deliver an engrossing and coherent narrative drive in just over two hours (running times vary in reviews but the UK certification agency says no cuts in the 125 mins). There is only one ‘song sequence’ – a day out on the coast when the three young men have a ‘bonding session’, including a leap off a cliff into the sea, possibly the only really cheesy moment in the film. I can’t really comment on the rest of the music in the film, which I confess I didn’t really notice.

Ali, the cricket prodigy, (centre) played by Digvijay Deshmukh alongside Amit Sadh as Omi

I think this is going to be an affectionately-remembered film in India and it adds one more title to the emergence of a new kind of popular cinema which is more realist, more interested in social issues, but still ‘popular’ in appeal. If you are close to a multiplex I’d urge a visit – why not avoid the tedium of the Oscars and go see something more interesting?

Rave review in The Hindu