{"id":5717,"date":"2020-06-15T00:44:39","date_gmt":"2020-06-14T19:14:39","guid":{"rendered":"https:\/\/learningandcreativity.com\/silhouette\/?p=5717"},"modified":"2020-06-15T13:13:07","modified_gmt":"2020-06-15T07:43:07","slug":"lagaan-the-fairy-tale-of-a-barren-land","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/lagaan-the-fairy-tale-of-a-barren-land\/","title":{"rendered":"Lagaan: The Fairy Tale of a Barren Land!"},"content":{"rendered":"

\"lagaan<\/p>\n

Lagaan,<\/em> released internationally in the year 2001 was titled,\u00a0Lagaan: Once Upon a Time in India.<\/strong> The title Lagaan<\/em> is fine, for the whole film is tethered to it.\u00a0 But how does Once Upon a Time in India connect to Lagaan<\/em>?\u00a0 It is too open-ended, too vague; not at all specific.<\/p>\n

Perhaps, those involved in the making of this film were not aware of the monumental work of the celebrated Hindi writer Phanishwar Nath Renu, which goes by the title \u092a\u0930\u0924\u0940 \u092a\u0930\u0940 \u0915\u0925\u093e.<\/em> \u00a0In English it approximates to The Fairy Tale of a Barren Land<\/em>.\u00a0 Perhaps the international release of the film merited the following title,\u00a0Lagaan: The Fairy Tale of a Barren Land<\/em>.\u00a0On the conclusion of the film, the audience would have understood with a vocal admiration as to how the stark, dismaying ground realities mutate beautifully into no less than a fairy tale \u2014 a cricket match that, for its momentum, draws more upon the human emotions than the playing skills! Lagaan<\/em> is arguably the best fairly tale made on celluloid without recoursing to mythology, or to the absurd or bizarre as happens in a majority of Hindi films \u2013 for instance Pran walking on a rope hanging between and connecting two high rising buildings with only one-and-a-half legs with two kids clinging on to him (film Don<\/em>)!\u00a0Lagaan<\/em> has none of these.\u00a0Instead one will not mind believing that this film is a page of history.<\/p>\n

\"\"<\/a><\/p>\n

Synopsis<\/strong><\/p>\n

A telescopic view of the story will reveal that it is about a village, Champaner by name, which existed in the nineteenth century, and its people. India then was a British colony. In the year 1893, a delayed monsoon thwarted growing of any crop. Consequently the farmers were in no position to pay the annual lagaan<\/em>. They pleaded for its remission with the titular king of the area as also the superior British authority. In the midst of all this, a young farmer Bhuvan got embroiled in a scuffle with one of the officers.\u00a0 Bhuvan also mocked at the game \u2013 cricket \u2013 that was being played there at that time.<\/p>\n

The heated exchange that ensued eventually led to an offer by Captain Russel of a cricket match between the British officers and the villagers on the condition that if the Brits \u00a0lost, the lagaan<\/em> for three years for the entire province would be exempted, and if they won, the farmers would pay three times of the lagaan <\/em>due. The ordinary farmers staking their future against the ruthless British rulers. David versus Goliath virtually!<\/p>\n

Yet the help came, unexpectedly, from Elizabeth Russell, the sister of Captain Russell. She thought that the villagers were handed out an unfair deal.\u00a0 She mentored a motley group of eleven greenhorns, to help it learn the ropes, to turn into a team of sorts. And whilst she mentored the group, she fell for Bhuvan. The villagers eventually won the match and as a punishment for his indiscretion, Captain Smith was made to pay the lagaan<\/em> and transferred to Central Africa. Elizabeth Russell, her love unrequited, her heart broken, returned to England to live ever unwed, to remain a Radha to her Krishna!<\/p>\n

\"Lagaan\"<\/a>

Elizabeth Russell and Bhuvan (Rachel Shelley and Aamir Khan)<\/p><\/div>\n

Lagaan’s Cinematic Adaptation<\/strong><\/p>\n

The story of Lagaan<\/em> is credited to Ashutosh Gowarikar.\u00a0 He wrote the screenplay and also directed the film. He also took upon himself to write the English dialogues of the film.\u00a0 The dialogues in Hindi\/vernacular were penned by KP Saxena. This was a master-stroke.\u00a0 It is his language through which the film communicates. It reminds us of the language of Ganga Jumna<\/em>, and is, perhaps, even nearer to that occasionally spoken in Ray\u2019s Shatranj Ke Khiladi<\/em>.\u00a0 Saxena is not loud, nor melodramatic \u2013 mercifully Gowarikar resisted the temptation of engaging Javed Akhtar who was otherwise very much in the film as its lyricist.\u00a0 Saxena is subtle, humorous and, if the situation demands, profound. Often, the dialogues turn a good film into a great one. Saxena reminds me of Dr Rahi Masoom Raza whose dialogues fuelled the direction of BR Chopra that took his Mahabharat<\/em> to a height that will ever remain unscaled, perhaps.<\/p>\n

BR Chopra <\/strong>\u2014\u00a0It is said that his Naya Daur<\/em> inspired Lagaan<\/em>. Yes, if one looks at the characterization of the heroes of the two films \u2013 Shankar and Bhuwan. Both are young and dynamic, up adversarially against the establishment and have immense self belief. Both are fired up by a common cause \u2013 Shankar for the tangewalas<\/em> in fear of losing their livelihood and Bhuvan for the oppressed farmers. And in either, the tormenter is an individual in the establishment \u2013 a heartless over-ambitious Kundan in Naya Daur<\/em> and a whimsical, haughty Captain Andrew Russell in Lagaan<\/em>. Both the heroes take upon themselves the tasks apparently impossible. There are some other similarities too.<\/p>\n

But I wonder why Dasarath Manjhi was not Gowrikar\u2019s inspiration? Manjhi took 22 years \u2013 from 1960 -1982 \u2013 to carve a road through the ridge of rocks.\u00a0 His pregnant wife had fallen from the same ridge and died.\u00a0 Was it not the fiction of Shankar resolving to build a tonga<\/em> road all by himself coming true in the person of Manjhi and his deeds in a much greater dimension?\u00a0 Where will Bhuvan\u2019s resolve stand in the midst of all these? \u00a0Is it not that a great film inspired a still greater film even though the story of Naya Daur<\/em> has a greater credibility, has an explicit philosophy to sustain it?<\/p>\n

Aamir Khan <\/strong>was the producer of this film \u2013 his first production. It is possible that the story of Lagaan<\/em> found his endorsement for a reason not relatable to Naya Daur<\/em>.\u00a0 He might have foreseen Lagaan<\/em> giving a mega expression to his fancy wherein the underdog triumphs in the final scene of the film.\u00a0 The cycle race of Jo Jeeta Wohi Sikander<\/em>, the boxing bout of Ghulam<\/em>, the painting competition of Taare Zameen Par<\/em>, the wresting bout of Dangal<\/em> \u2013 the winner in each is the one written off or beaten in life. And each of these scenes is highly emotive; the audience in complete empathy with the underdog, with a lump in the throat!\u00a0 Lagaan<\/em> surpasses these both in impact and in stirring emotions. It surpasses perhaps because it does not conclude with an individual versus individual climax. It is a team versus a team, with eleven underdogs on one side, with each contributing a sub-stream of emotion. The scenes comprising the Cricket match take about half of the film time.<\/p>\n

\"lagaan<\/a>

The scenes comprising the Cricket match take about half of the film time. (Paul Blackthorne and Aamir Khan)<\/p><\/div>\n

The Underdogs<\/strong>\u2026 <\/strong>but before reaching the Big Match, the film digs deeper to assemble a playing eleven.\u00a0 And it is here that the film gets its current contextuality. It explores a social milieu that seems no different from the one that obtains in rural India even now. The social functions and hierarchy are so vividly drawn out. The team eventually assembled, by much coaxing and cajoling, comprises, besides Bhuvan who is wood-carver, a poultry farmer, a blacksmith, a vaidya<\/em>, a wood cutter, a mute drummer, a farmer with large land holding, a fortune teller\u00a0 a Sikh, a Muslim potter and last but not the least KACHRA \u2013 an UNTOUCHABLE. Kachra with his right arm polio stricken is at the bottom of the social hierarchy. No one will like to interact with him, much less play. THE ULTIMATE UNDERDOG.\u00a0 Bhuvan bats for him as he foresees his polio stricken arm doing the spinning tricks. The whole village is vociferously against his inclusion. But Bhuvan with an inspired speech, which predictably quotes Ram-Shabri also, gets the vote for him.\u00a0 I am however amazed at the ingenuity of giving him the name Kachra \u2013 the GARBAGE! It is the Garbage that eventually comes to the team\u2019s rescue. The Producer\/Director thus created a strong emotional sub-story.\u00a0 The audience waits eagerly as to how Kachra will unfold in the crunch situation. This is a very strong point of the film.<\/p>\n

The Sikh in the team, Deva Singh Sodhi, a sepoy in British army once upon a time, an avowed English hater and with a typical khalsa<\/em> spirit, is an outsider. This could even be taken as an interpolation in the story. Yet very well thought out, as it aligns a local issue \u2013 remission of lagaan<\/em> \u2013 to a larger national cause of freedom from the British. Also, with the team relying on a larger field for talent, the level of contest too goes up, at least in perception.\u00a0 It keys up the audience\u2019s interest.<\/p>\n

With upper caste Hindus, OBCs, an SC, a Muslim and a Sikh in the team, one cannot help observing that Gowarikar-Khan duo seems to have given retrospective effect to the Constitutional provision as to reservations.\u00a0 Yet we have to give it to them \u2013 Gowarikar and Khan \u2013 that the team as composed looks so much reflective of our own milieu that the film\u2019s projection as one specific to a period fades into the background, remains no more than nominal.<\/p>\n

And the presence of a saboteur \u2013 Laakha \u2013 in the team further strengthens the contemporary credentials of the story. Spot-fixing for lucre is a perennial temptation. Laakha\u2019s reason though is different, is emotional.\u00a0 Laakha is Bhuvan\u2019s raqib<\/em>. Gauri is his love object but she dotes on Bhuvan. Thus rejected, he becomes bitter and vengeful. He acts a mole, voluntarily, for Captain Smith who advises him to wreck the team from within.\u00a0 Determined to cause Bhuvan\u2019s fall, unmindful of its larger consequences, he manages his place in the team. This twist in the tale \u2013 one man acting against the team\u2019s interest \u2013 give the Big Match a character of the matches of our time. Laakha is intercepted just in time but let off.\u00a0 But why?<\/p>\n

\"lagaan<\/a>

Bhuvan and his team<\/p><\/div>\n

The Film\u2019s Humane Face<\/strong><\/p>\n

Another strong point of the film is that it has a humane face, has an inclusive character. It also portrays, though subtly, that Brits are fair and just, Captain Smith\u2019s brutality, unreasonableness and whimsicality notwithstanding. Thus the villagers do not rise in revolt, do not turn violent on being denied lagaan<\/em> remission. They do not outrageously condemn all the Brits for the misdemeanor of Captain Smith. That Smith is exceptional is borne out by the fact that his seniors take him to task for his arbitrariness and eventually punish him too. The humane side of the Brits is epitomized by Smith\u2019s sister Elizabeth who covertly helps the villager in building a team. And the two umpires presiding over the Match strongly convey that fairness and neutrality is normal to Brits. No wonder therefore that the film was well received and acclaimed in other countries. And the Indian audiences do not come out hating the Brits.<\/p>\n

Each-according-to-his-religion prayer, just before the match, is essentially an inclusive sentiment even if it looks a little contrived.<\/p>\n

Laakha\u2019s let off is consistent with this inclusive sentiment that runs through the film. Give him a chance to atone for his sin!<\/p>\n

The Characters <\/strong><\/p>\n

The film has twenty three known artistes including six non-Indians namely Aamir Khan, Rachel Shelly, Gracy Singh, Paul Blackthrone, Kulbhushan Kharbanda, Suhasini Mulay, Raghvir Yadav, Rajendra Gupta, Rajesh Vivek, Raj Zutshi, Pradeep Rawat, Akhilendra Mishra, Daya Shankar Pandey, Shri Vallabh Vyas, Yashpal Sharma, Ameen Hajee, Aditya Lakhia, Javed Khan, AK Hangal, John Rowe, David Grant, Thor Halland and Jeremy Child. This was an impressive assortment of talent and it delivered. Difficult to single out some one for a weak performance.<\/p>\n

However, Aamir Khan, Rachel Shelly, Gracy Singh and Paul Blackthrone played the main characters in the film \u2013 of Bhuvan, Elizabeth Smith, Gauri and Captain Smith.<\/p>\n

Aamir is a competent actor. Yet he does not have the extra spark, extra intensity of Dilip, Raj, Sanjeev or Amitabh.\u00a0 In this film, he at times is poker-faced even if the requirement is of an emotionally surcharged facial expression. For instance, he could have looked a little more intense as Elizabeth bids adieu. Also, Aamir looks a tad labored as he addresses the villagers to accept the challenge of Captain Smith, or when he is defending Kachra\u2019s inclusion in the team. Comparisons are odious but I cannot help referring to Sunny Deol\u2019s words of inspiration as he addresses his Company (Border<\/em>) \u2013 he looks such a natural leader of men, and Dilip in Naya Daur<\/em> is much ahead in intensity.<\/p>\n

Paul Blackthrone easily measures up-to the haughty, heartless character of Captain Smith.<\/p>\n

\"gracy

Gracy Singh and Aamir Khan<\/p><\/div>\n

For a debutant, Gracy Singh has done exceedingly well. Little dark and dusky, her complexion seems merging so well with the landscape of the place. Yet she is not arid like the landscape; she is fluid. A fine dancer, she hangs on well with Bhuvan. But, to my mind, she is not the lady in the lead, is a supporting actress though her presence is indispensable in the love tragedy that stands subsumed in the Game.<\/p>\n

For me, the X factor of the film is Rachel Shelly. She is beautiful though differently.\u00a0 Her\u00a0 innocent\u00a0 eyes as of a doe (reminds one of Nutan);\u00a0 her broad uncontrived smile. Her speech ever so soft, as if caressing; her facial expressions\u00a0 benign yet mirroring the emotions for the moment.\u00a0 Her fulsome attire \u2013 especially the white corset \u2013 her fedora hat and a stylish parasol over that create, for her, an irresistible cine presence, a sublime aura. Her persona goes so well with the role assigned to her \u2013 of a conscientious woman and of a self-effacing lover.<\/p>\n

Elizabeth \u2013 the role she acts \u2013 is a self appointed coach and mentor of the team of the natives. She knows that the locals have been given a rough deal, and that offends her sense of justice and fair play. She tries to raise them to some level of competitiveness, much against the unjustified interest of his ill-tempered brother. She even acts a spy for the Bhuvan\u2019s team and exposes the double-faced Laakha. \u00a0And with all this she falls in love for Bhuvan oblivious to or perhaps unmindful of his constant companion Gauri. And consequent heart break at the end.<\/p>\n

I have no idea as to what was the critical take on Rachel\u2019s performance in the film, but for me she steals the limelight in every scene she appears.<\/p>\n

Rahman and Javed<\/strong><\/p>\n

The film has six tracks, taking about 41 minutes of the reel time. \u00a0It is widely held that Lagaan<\/em> is Rahman\u2019s best album. But the best? I am not sure. The songs of Dil Se<\/em> have always engaged me. Yet Lagaan<\/em>\u2019s songs sound, relatively, a tad desi<\/em> with a liberal infusion of folk music. \u00a0He however retains the orchestral grandeur.\u00a0 I like in particular the two love songs : Radha kaise na jale<\/em>\u2026 and O ri chhori, maan bhi le baat mori, maine pyar tujhi se hai kiya<\/em>\u2026 The two love \u00a0songs also\u00a0 get their strength and impact \u00a0from the situations in the film.\u00a0 O ri chhori<\/em>\u2026 has lines in English filmed on Elizabeth and sung by Vasundhara. The song thus becomes a heady cocktail. It is believed that the English lines were penned by Rahman.<\/p>\n

Javed Akhtar is a competent lyricist.\u00a0 He is not deep like some of the earlier masters. Yet he understands the song situations and supplies effective words.<\/p>\n

O palanhare, nirgun aur nyare<\/em> is a song of surrender to Him, of a people distraught and despairing, for their match is all but lost.\u00a0 Ordinary people, ordinary words.\u00a0 But the opening line is almost at odd with the rest of the text. Nirgun<\/em> is one without sensory or tangible attributes and yet HE is unique and a nurturer \u2013 paalanhare<\/em> \u2026 aur nyaare<\/em>. Ironically, the song is in a temple, before the One who is saguna<\/em>. But the bhajan is touching \u2013 the feelings coming out nicely – despite this profound oddity. The last part, sung by Bhuvan, slips in a pearl \u2013 bhakti ko shakti do<\/em>\u2026 bestow surrender, bestow strength.<\/p>\n