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In January 1993 sectarian rioting left two thousand Hindus and Muslims dead in Bombay. Only two years later Mani Ratnam's audacious Tamil filmBombay�(1995) used these events as a backdrop to a love story between a Hindu boy and a Muslim girl.�Bombay�was condemned by Muslim critics for misrepresentation and was embroiled in censorship controversies. These served only to heighten interest and the film ran to packed houses in India and abroad.
Lalitha Gopolan shows how�Bombay�struggles to find a narrative that can reconcile communal differences. She looks in detail at the way official censors tried to change the film under the influence of powerful figures in both the Muslim and the Hindu communities. In going on to analyze the aesthetics ofBombay, she shows how themes of social and gender difference are rendered through performance, choreography, song and cinematography. This is a fascinating account of a landmark in recent Indian cinema.�
- Sales Rank: #3056309 in Books
- Brand: Brand: British Film Institute
- Published on: 2005-06-26
- Released on: 2008-01-22
- Original language: English
- Number of items: 1
- Dimensions: 7.30" h x .30" w x 4.36" l, .38 pounds
- Binding: Paperback
- 88 pages
- Used Book in Good Condition
Most helpful customer reviews
0 of 2 people found the following review helpful.
Very Academical
By HansBlog
Lalitha Gopalan writes very academically with many upmarket adjectives and obscure findings. Often she says, "my reading of [movie title]", "mise en scene" or "diegetic". I also know Bollywood books of journalist Anupama Chopra, released in the same BFI series as Gopalans Bombay book, about the movies DDLJ and Sholay: Chopra tells her story much more entertainingly and with a care for the readers' wellbeings. Whereas professor Lalitha Gopalan prefers the sound of the academic discourse; I don't.
Including appendix, foot notes, photos and index, the thin volumes amounts to 91 pages. The photos show mostly scenes straight from the movie; there are only few working photos from around the film set. We do see the faces of director Ratnam and lenser Menon; but music director A.R. Rahman is never depicted and rarely mentioned in the text (his music as such does get some pages).
Topics discussed for a few pages each:
- censorship, political pressures and riots around the release of Bombay
- the meaning of people-less scenery in the movie
- relation to the horror movie genre and other movie genres
- parallels to movies from Iran, Italy, Palestina
- parallels to earlier Ratnam movies
- the role of the steadycam and its function in the narrative
- the representation of muslims, hindus and authorities in the movie
- how movie and music interact
Topics merely touched:
- what happened at the Bombay riots 1992/93
- how the movie was actually filmed (except for the steadycam and location names in Tamil Nadu)
- how the music was developed
- star gossip
- backgrounds about the actors
Discussing investments, Gopalan for mentions costs such as "1.5 crores of rupees" or "30 lakhs of rupees". She doesn't explain "crores" or "lakhs" and she doesn't give a rough translation into US dollars or British pounds. And the editors don't, either.
All in all, I liked the pages about political pressure before and after the movie's release, and little else. Professor Gopalan delivers too much interpretation and too few facts, she prefers theory over practicalities, she is too absorbed fitting the movie into certain genres and categories, and uses the wrong ductus.
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