It is not much that a picture has a huge impact on me. Yes, I enjoy movies, even ones that the critics have panned. I often wish to see a favorite movie more than once. And of class I wish to part my enjoyment by seeing a picture with someone special. But having an affect on me, an impact that opens my eyes, that informs, that brings my emotions to the front, that brings laughter and weeping and repugnance and floor and wonder, is not something that many movies do for me. But RANG DE BASANTI does this and more.

My wonderful boyfriend (who I know so much) loaned me a transcript of this film on DVD. He said it is my favourite movie and very dissimilar to other Bollywood films. It is a source of a new era for Bollywood. Now my boyfriend is not into exaggeration ( although he does take a powerful imagination) so I profess I began watching this picture with a little misapprehension. He does enjoy the movies so I knew if he recommended it, it would be good. I was not fain to be blown out by it.
How can a movie, a drama depicting an historical story interwoven with a new idea of modern youth be so potent? It can because it does but that.

RANG DE BASANTI is a report near the young of India today. A young, London based film- maker chances upon the diaries of her grandfather, who served in the British police power in India during the freedom struggle. Excited about these memoirs, she makes plans to charge a picture on the Indian revolutionaries mentioned in the diaries.
She comes down to Delhi, and casts a radical of five friends to represent the pivotal roles of these revolutionaries. However, products of new India, the five youngsters initially refuse to be piece of the project, as they don’t identify with these characters from the past. Not surprising, considering that they’re part of a multiplication of Indians that believes in consumerism. To them issues like patriotism and big one’s life for one’s beliefs is the stuff stuffy text- books are made of. They would rather party than be patriots.

In the film both the 1930’s British India and the India Today run parallel and intersect with each other at important points. As the film reaches its result the contrast between past and present blur’s, as they suit one in spirit.
It is at this period that the ability of the movie emerges and on with it, emotion in the viewer. I do not recognize how anyone could not become excited and drawn into the movie, and put away their new political and emotional laziness and read upon them the morality and morals and values of the past, of a sentence when men and women were willing to give themselves to do things better.

Rang De Basanti (Hindi: रंग दे बसंती, IAST: Raṅg De Basantī; IPA: [rəŋg d̪e bəsənt̪i], translation: Paint It Yellow) is a 2006 Indian drama film written and directed by Rakeysh Omprakash Mehra. It features an ensemble cast comprising Aamir Khan, Soha Ali Khan, Madhavan, Kunal Kapoor, Siddharth Narayan, Sharman Joshi, Atul Kulkarni and British actress Alice Patten in the leading roles. Made on a budget of Rs. 250 million (US$5.5 million), the filming was accomplished in and some New Delhi.
The chronicle is approximately a British documentary filmmaker who is set to have a take on Indian freedom fighters based on diary entries by her grandfather, a former officeholder of the British Army in India. Upon arriving in India, she asks a grouping of five young men to act in her film. They agree, but afterward they start filming a champion of theirs is killed in a fighter aircraft crash, with government corruption appearing to be the root cause of the incident. This event radicalizes them from being carefree to passion-driven individuals who are driven to revenge his death.
The film’s release faced strong resistance from the Indian Defence Ministry and the Animal Welfare Board due to parts of the picture that portrayed the use of MiG-21 fighter aircraft and a banned Indian horse race respectively. The film, which released globally on January 26, 2006, was nominated for Best Foreign Language Film at the 2006 BAFTA Awards. The picture was also India’s official entry for the Golden Globe Awards and the Academy Awards in the Best Foreign Language Film category, though it was not nominated for either ceremony. A. R. Rahman’s soundtrack, which earned mixed reviews, had two of its tracks considered for the Academy Award nomination. The movie was not entirely well-received by critics and audiences for its production values, but also had a detectable influence on Indian society. In India, besides several technical awards, the movie won the Best Film award at the annual Filmfare Awards among other Bollywood award ceremonies. Along with a gross receipts of Rs. 1.36 billion (approximately US$30 million) at the box office making it one of the highest grossing films in the Bollywood since the year 2000,[3] it had the highest-selling DVD title sales at the sentence of its release.Source: Wikipedia.com

What did I care about this movie? Where do I get? The big male stars (Aamir Khan, Madhavan, Kunal Kapoor, Siddharth Narayan, Sharman Joshi, and Atul Kulkarni), the beautiful female stars (especially the actress who played Sonia, Soha Ali Khan), the magnificent Indian background of cities, forts, rural scenes and festivals and The Golden Temple. The commission and product is wonderful but the picture is carried along better by its report and the growth of the characters. The soundtrack, too, is fantastic.

What didn’t I care about the movie? Hardly the movie’s fault, but I would have preferred to have watched the film with my handsome boyfriend. I am certain that with his great intellect to assist me with the finer points of the film, my enjoyment would have been greater.
Would I see the picture again? Yes, again and again.
I can see parallels between RANG de BASANTI and SLUMDOG MILLIONAIRE, with their flashbacks and modern consumerist society, but the principal link is in how a case can overcome resistance to reach a moral victory. Both movies are in my inclination of the top ten.

14010129-2797627759242441095 RANG DE BASANTI 2006

Author: Earwig’s Thoughts