Lessons in Love - 500 days of Summer

When a love story ends in failure (for non-Tamil folks when the couple do not end up together at the end), the end of the story is its message. And this message is usually regressive, even in highly rated films - sacrifice your life for your girl (Titanic), avenge her death (Ghajini), end your life if she is dead (Romeo/Juliet, Dil Se), pine for her, even if she has moved on (Vinnai Thandi Varuvaya), help her love succeed (Poove Unakkaga). All such stories may not imply that though the love ends in 'failure', their triumph lies in the message. The makers may accuse any such interpretation as over analysis. But in some cases, the films boldly wear out this message (VTV leaves a message in both endings).

When a love story ends in success (couple get do together and live happily ever after), the end of the story is its message. It is almost always the same: "True love triumphs; beats all odds. So just hang in there." I do not know what true love is but the pattern repeats consistently (Alaipayuthey, Minnale, DDLJ). Once again, the message is usually not explicit.

I heard about an independent English film "500 Days of Summer", when many people accused that VTV was a rip-off of that movie. My curiosity increased when my friend mentioned that two movies are not related at all, but had an interesting take on its ending. I happened to see the movie only yesterday. To tell that VTV has some connection with "500 Days of Summer" is absurd. The lead pair sit at a park towards the end and talk about life. And the guy picks himself up after the mess (that "one way ticket to heart-break city") and moves on. Other than that and both of them being romance flicks, there is nothing in common between them. I think 500 Days of Summer is more like Kadhalil Sodapuvathu Eppadi than VTV.

And like the movies in this genre it leaves you with a message. The film is so delightfully made that you will love it without regards to the message. ( The third person point of view introductions of the leads. The impromptu gig in a Hollywood movie. Witty conversations and post cards. The name of the other woman. My favourite scene is when both Summer and the guy shout "penis" repeatedly in a park, like a Ganapathi Bhappa chant).  So what is the message? My friend told me that a guy who is 'cheated' by his girlfriend (Summer), 'gets' a hotter chick at the end (Autumn).

Here is my take on the message part. The build up to the message is deliberately laid from the beginning. The guy is on the look out for the one girl he is destined to meet. That flawless goddess turns out to be Summer. Subtly and otherwise we are made to believe that she is way out of his league. Summer likes our guy; she lets him through the gates that no other person has ever been through (no pun here. Seriously. There is a scene when she admits to this). But she is convinced that he is not the guy for her - old lessons, she says. So when she refuses to take the relationship further and disappears leaving our guy heart-broken it is not because he is stuck in a boring job or he is not in her league, but because of this conviction of hers. You would feel pity for a guy whose heart break is worsened by among other things - the shattering of his belief. His dream girl just dumped him and destiny has failed him.

The guy later meets Summer and finds that she is married. She just felt right about her husband. How did she just start trusting people enough to marry one, our guy is made to wonder. We are left wondering if the guy was able to cure her mistrust of people and put an end her belief (that she will never be happy with any one - anti-thesis of our guy's beliefs), but ended up being a victim of his cure.

When the guy meets Autumn at the end of the movie, he is made to feel special. She has noticed him before. This is starkly in contrast to how he used to feel around Summer ("Are you serious that you are dating this chick?"). Finally it is the moment of realisation for him (and us): Do not believe too much in destiny. It is all a coincidence and things happen 'with randomness' (without a predetermined course). And in when Autumn says we can work their first date out without fuss - there is probably a message there- Just go with it.

The message is true not only with relationships, but probably with other things in life. We understand this randomness partly. Perhaps many superstitions of our life can be explained as a derivative of this flawed understanding. Success is random. Changing your name or the location of your bathtub is random too. But is it going to influence your success?

You pick up 'The Alchemist' at your neighbourhood book store and tell your friend, 'You know what? If you really want something, the whole world conspires, to get you what you want. That's what the book says. And in walks the girl of your dreams, scanning the stacks for some book. What coming together of destiny, prophetic words, Paul Coelho and the abstruse alchemy called love? No, it's coincidence dude!

Talaash - shining throughout.

It's usual for outsiders to disagree about the goodness of a movie with the native speakers. I have liked Telugu action, song, dance, comedies which my Telugu speaking friends are not fond of. To them probably the movie was another in the oft made genre of commercial entertainers to which they are overexposed. But when I find that people dislike Talaash - supposedly a crime thriller movie, I am surprised because a well made film in the genre appeals to people irrespective of the language and such films are rare, so the question of repeativity does not arise.

Talaash starts impressively with a homicide investigation and makes steady progress. The investigation could have continued briskly, but the film increasingly focuses on how the investigator is reeling from the loss of his young son and his estranged relationship with his wife. While this not itself is not deficiency, the investigation that takes place in parallel appears to be stalled. The unfolding of the investigation is unduely held, because a shoddily made sub-plot  which triggers a clue takes time

to unfold and the trigger could have been done away with. The movie successfully completes a transition into a moral-supernatural thriller where the cop overcomes his guilt over his negligence and the bad guys get punished (although not convincingly).

Aamir Khan, Kareena Kapoor and Rani Mukhurjee are convincing and their characters are well developed. The movie at some point becomes a character exposition of the cop, but I guess that the need to accomodate the starriness of Aamir Khan prolongs this unnecessarily. For example, the other kid who survives appears merely like a prop to lead to an Aamir Khan acting moment. But that said, it is only a minor glitch. Nawazuddin Siddique is convincing as a side kick of a pimp and does well too, but the motivations of his character are not clear. The sub-plot where he blackmails the business man is rather weak and need not have streched in parallel along side the main plot. The movie would have been more interesting had it been compartmentalized.

Kareena Kapoor and Rani Mukherjee both shine in their roles. Rani Mukherjee, in fact is the eye candy in this movie and I wonder if her not so young housewife attire is a cultural reflection or 'visual relief' or serves to highlight the plight of the cop despite the presence of an attractive wife.

The movie has several interesting moments. The wife leaving the dinner table as if in distress, at an off-hand comment only to casually return with a utensil. How the wife copes up with the trauma better than the cop is interestingly told. The what-if scenarios as to how the cop could have saved his child unfolds refreshingly told, in place of an overtly sorrowful song (which is the norm in 'our' movies). The relationship between Siddique and an ageing sex worker also has a few brief, but heart warming moments. Especially the scene in which the pimp leaves the woman out as being old is very well done without giving away the suspense, but also serves to bring out their delicate relationship.

Kareena Kapoor as the high ranking escort does a good job, but her character becomes increasingly mysterious and together with Siddique's death is a a give away. With more care, the director could have pulled a rug from under our feet. The summary retributions in the climactic scenes and unfolding of the suspense seem slightly out of place in a movie so far well made as this. I did not buy for one moment, the Goan woman's (I hear a D'souza woman is a standard stereotype in Mumbai based Hindi movies) contact with the dead child, though the sub-plot is not poorly made as it appears. But the climax sells this some what unconvincingly.

The movie lacks a moment or two of brilliance, (3 Idiots would be an average film without its two or three brilliant moments), but is good through out and definitely makes for an interesting viewing.