ALL things can tempt me from this craft of verse:
One time it was a woman’s face, or worse—
The seeming needs of my fool-driven land...
— W.B. Yeats
May 30, 2010
The fool-driven land
May 2, 2010
Baatuli : Film Poster Review
I love heroes and heroes should be heroes and heroes only. I do not believe in the concept of characterization—not at the cost of Biraj Bhatta himself—for without his mane, he will not be Biraj Bhatta. It is not a question of art—it is bullshit. It is not an oversight. It is the necessity of our cinema—the cinema of the people—of the country which is in love with its hair because there is nothing beneath it.
Butwal/January 10, 2010:
Ranjit Rana’s film poster is hanging from a tree at a junction in front of Kalika theater in Butwal. The poster shows Rekha Thapa in a red gunwoo-choli driving a buffalo cart laden with milk containers. In the background is the setting of a magnificent dawn. She elegantly poses for the picture. Her simplicity, charm and boldness have made her the darling of our cinema.Before I forget, let me add Biraj Bhatta bringing his two palms tight close to his chest to form a Namaste looks flimsy—a gimmick which is certainly a crowd-puller. He plays a monk? I understand the superstar cannot shave his head even if the situation of the scene demands it. It might just be a disguise of a monk—just a thing that might not be important at all in the film. Besides, I wouldn’t want to fancy seeing him as a character. I love heroes and heroes should be heroes and heroes only. I do not believe in the concept of characterization—not at the cost of Biraj Bhatta himself—for without his mane, he will not be Biraj Bhatta. It is not a question of art—it is bullshit. It is not an oversight. It is the necessity of our cinema—the cinema of the people—of the country which is in love with its hair because there is nothing beneath it.
Three months ago, I saw Kusume Rumal at Kalika with some director and producer friends. That was a total disgrace—they should have forbidden whoever made it from such an expensive, tasteless show of nakedness. Even vulgarity is better than this. So many film posters I have overlooked since my return lack the soul of this particular poster. Baatuli comes as a break as an honest picture. Rekha looks more appealing when she is properly covered. Biraj is not flexing his muscles here—the director knows fully the power of his confident gesture. Ranjit Rana realizes he need not convince the audience of the hero’s strength.
Also, the film poster has Rajesh Hamal at a top-left corner in this picture. A face that has become so commonplace that anyone could hardly miss or spare it any attention. He is what he is not. There must be a story about a man who cannot adjust himself in the marketplace until he becomes the market. Either he must cease to exist and complain, or let cinema survive. Rajesh Hamal is what Nepali cinema is today. There is a sense of defeat in his decision to carry on with his assignments—his marriage to the medium has been extremely unsatisfying, an exploit which had had its memorable moments. His glory overshadows his extraordinary failings. Yet we cannot hate him. We must and should blame this strongman for the way cinema is in this country. We must also appreciate him for making cinema what it is in the national context.
Our cinema rarely gives us a reason to celebrate. Baatuli must be a good film if my first impression is right. There is a delicate harmony of colors at work in this image—a brilliant balance. The colors do not seem unwanted—they have earned their place. Ranjit Rana deserves attention for this. I do not want to see his film right now. I am afraid it might disappoint me. I am afraid that I might not believe in what I have just seen—a false hope is better than no hope. I really want to see Baatuli as I see it now: True, humble and worth entertaining.
P.S. Half an hour later, a second poster cured me of my latest obsession with Baatuli’s attractive legs.
Three months ago, I saw Kusume Rumal at Kalika with some director and producer friends. That was a total disgrace—they should have forbidden whoever made it from such an expensive, tasteless show of nakedness. Even vulgarity is better than this. So many film posters I have overlooked since my return lack the soul of this particular poster. Baatuli comes as a break as an honest picture. Rekha looks more appealing when she is properly covered. Biraj is not flexing his muscles here—the director knows fully the power of his confident gesture. Ranjit Rana realizes he need not convince the audience of the hero’s strength.
Also, the film poster has Rajesh Hamal at a top-left corner in this picture. A face that has become so commonplace that anyone could hardly miss or spare it any attention. He is what he is not. There must be a story about a man who cannot adjust himself in the marketplace until he becomes the market. Either he must cease to exist and complain, or let cinema survive. Rajesh Hamal is what Nepali cinema is today. There is a sense of defeat in his decision to carry on with his assignments—his marriage to the medium has been extremely unsatisfying, an exploit which had had its memorable moments. His glory overshadows his extraordinary failings. Yet we cannot hate him. We must and should blame this strongman for the way cinema is in this country. We must also appreciate him for making cinema what it is in the national context.
Our cinema rarely gives us a reason to celebrate. Baatuli must be a good film if my first impression is right. There is a delicate harmony of colors at work in this image—a brilliant balance. The colors do not seem unwanted—they have earned their place. Ranjit Rana deserves attention for this. I do not want to see his film right now. I am afraid it might disappoint me. I am afraid that I might not believe in what I have just seen—a false hope is better than no hope. I really want to see Baatuli as I see it now: True, humble and worth entertaining.
P.S. Half an hour later, a second poster cured me of my latest obsession with Baatuli’s attractive legs.
तिमी को ?
तिमी को ?
यहाँ हामीलाई आफ्नो अशक्यता नै प्रिय छ,
त्यसलाई छोप्ने अहङ्कार नै प्रिय छ !
त्यो उदाङग् पार्न खोज्ने तिमी को ?
यहाँ हामीलाई यो अलमल नै प्रिय छ,
यो धरमर नै प्रिय छ ;
तर, हामी त्यसोलाई त्यसो भन्न चाहँदैनौं;
त्यो भन्ने तिमी को ?
यहाँ श्रङ्खला ल्याउन खोज्ने तिमी को ?
हामीलाई हाम्रो हार नै प्रिय छ,
त्यसैलाई हामी जयमाला बनाउन चाहन्छौं,
"तिमी जितेका छैनौ, जित्ने त अर्कै छ" भन्ने तिमी को ?
हामीलाई हाम्रो आलस्य नै प्रिय छ,
दुर्गती नै प्रिय छ,
यो पसारो नै प्रिय छ,
उठाउन खोज्ने तिमी को ?
हामीलाई हाम्रो सुधार चाहिएको छैन,
क्रान्ति चाहिएको छैन,
उधारो गुण र क्रान्तिको भ्रान्ती
कसैले केहीबेरको लागि दिए हुन्थ्यो भन्ने हाम्रो जपाना छ,
"त्यसो नगर,आफैं योग्य बन" भन्ने तिमी को ?
आफ्नो अशक्यता, आफ्नो आलस्य, आफ्नो घीनसीन पोख्ने
हामीलाई एउटा पात्र चाहिएको छ,
हामी हाम्रो हितैषीलाई मारेर भए पनि
"हामी उसले भने जस्तो होइनौं" भनेर
आफ्नो वीरता साबित गर्न चाहन्छौं,
"त्यसो नगर" भन्ने तिमी को?
गोपाल प्रसाद रिमाल (२००७)
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