Thursday, June 23, 2016

The Man Who Knew Infinity

Walking out of the movie hall, one can't but wonder how, for a movie based on the life story of a mathematician, was remarkably engrossing, almost repudiating all those who looked at Math as a dry subject. While the movie presented the story of a very passionate mathematician who wanted to have his work, which he believed had been revealed to him by God, revealed to the world, it could hold the interests of an ordinary movie-goer who was not a  Mathematician. Fast-paced and touching upon nuances that reflected the socio-economic relevance of the times without once moving away from the main plot, the movie, based on what some may surmise as a dry subject of Math, was surprisingly entertaining.

The movie also brings out in good measure the racism that was prevalent in Great Britain, including Cambridge, successfully portraying how Ramanujam fought the odds he faced, including the differences in food, dress and the likes - of a person from such a diametrically opposite society as Ramanujum's. The movie even touches upon how the Brahmin class, during those days, was forbidden to cross the seas and therefore, to travel abroad. In fact, after the movie ends, one couldn't help think how there must have been at least someone in Ramanujam's village, who when Ramanujam got back and fell mortally ill, must have spoken about the curse of having crossed the seas.

While the plot largely underlines how Ramanujam, a great mathematician of his times, who was almost being seen in the same league as venerated mathematicians like Eucleid,  broke his own cultural binds including the one described above, which forebode him to cross the seas as superstitious beliefs were strong that if anyone were to do such a thing, it would bring in ill-luck.




Mathew Brown, the English director surprises by showcasing his own empathy of the times and lives of both, Tamil Brahmins as well as Britishers, during the early 19th century, set as the script was against the World War I times. The story of the great mathematician, Srinivasa Ramanujam is set during this phase of history. From the costume designers and set designers, to the director and the cast, everyone seems to have worked hard to bring out the finer nuances of the times. Apart from highlighting the fact that Ramanujam did not have a strictly formal education as the West saw it (Ramanujam must have been exposed to Vedic Maths belonging as he did to a Tamil Brahmin caste, the then-privileged caste in India), and yet went on to create theorems, which to Ramanjum's credit and feat, are still being studied and deciphered in the 21st century. While watching the movie, one couldn't but help think that the director had done good justice to the script, and presented the times in a manner that  may be close to how the 'then' may have been. The brief peeps into a typical Tamil Brahmin household of those days is brought  forth by the wonderful acting by Dev Patel as Ramanujam, Arundati Nag as his mother, and Devika Bhise, as his wife. In fact, Devika Bhise playing the role of Ramanujan;s wife was a surprise package. Although her role didn't seem to demand much of her, she does leave a lasting impression. As does her reel mother-in-law -  the versatile Arundathi Nag, who as usual gives a sterling performance. Toby Jones who plays Littlewood is endearing to say the least. While on the actors, it must be acknowledged that it is courtesy some fine acting by Dev Patel, the movie is able to showcase so brilliantly the lustrous Mathematician's life including his predicament at having come from the East, struggling against odds including food, clothes, culture shock and lack of family support and yet being able to focus on the work at hand due to his single-minded pursuit of getting his work published. Dev Patel, as the Tamil Brahmin Srinivasan Ramanujan Iyengar, has done a good job. Alhough, at times, it did seem like he was getting intimidated at places by the likes of Jeremy Iron who played his mentor J H Hardy and rather brilliantly in the movie.

But one would have to acknowledge that despite the movie being about Ramanujam, and despite Dév Patel doing good justice to the role, the best actor in the movie was Jeremy Irons as Prof J H  Hardy, ably supported by Toby Jones. Jeremy Jones's acting prowess is able to bring out the complex nature of human beings, Playing the role of Professor Hardy, he is able to potray a man who had this veneer of toughness even as he sponsored Ramanujam's travel and stay in Cambridge, perhaps for his won selfish Mathematical reasons, but is also able to brilliantly show how hard nuts have a much a softer inside as Prof Hardy is shown fighting against racial prejudices to help Ramanujam get due recognition and honours for his Mathematical prowess. Not to forget mentioning how he is shown helping Ramanujam get medical aid even after knowing that he was suffering from TB, a much dreaded disease then.

While the movie is certainly about a mathematician, it does not have a boredom-moment. From the youthful days of a much-devout Ramanujam when he spent hours scribbling theorems on the floor of little-visited corners of temples and ruins, to the final journey of a man longing to be back with his wife, the script is taut and to use an oxymoron, resplendent with subplots, including the universal wife-mother-in-law issues, the yearning and longing of a dutiful wife, the World War I making even professors to force-volunteer as soldiers having to fight in the war front and so on, the movie never makes one feel bored.

I enjoyed  the movie thoroughly!

 

Saturday, February 27, 2016

Aligarh

Thanks to the multiplexes that have sprung up like mushrooms across the length and breadth of India, the dividing line between what was once referred to as 'art movies' and the so-called 'commercial movies' has thinned. And with this thinning of the line, has been the coming of age of the new wave cinema in India, prompting experimental and realistic film makers to showcase movies like never before. Moviegoers couldn't have asked for more as they get to experience movies that leave them to ponder over socially-relevant issues long after they have left the cinemas.

Hansal Mehta's Aligarh is the latest in a string of such movies. Aided by a taut script, power-packed performances and good direction, this movie should hopefully awaken the better sense in people yet opposed to repealing Article 377. Manoj Bajpai playing the protagonist in the movie, couldn't have done better justice in bringing out the pain of a professor, ostracised by an institution to which he has given most of his life. Beautifully portraying the anguish of a mentally-shattered professor whose sexual preference is exposed by a sinister, undercover sting operation that was the result of professional rivalry and workplace politics, I am not sure there could have been anyone who could have played this role better. Bajpai brings to fore the wretchedness that the professor may have felt living his life as it were in a society where gays are not accepted. RajKumar Rao, who plays the character of a Malayali journalist trying to help present the professor in a good light and get him justice, once again delivers a good performance. Ably bringing out the pain that a PG faces in Delhi, to allowing the audience a peek into relationships at work, he lives up to the reputation that he has been building for himself - that of a good actor.

From highlighting the travails of a distraught professor whose life in a small town turns for the worst as his private life is exposed even as an insensitive society laps up stories about him that his own colleagues helped plant, to gently questioning the commonly-known narrative that the professor died a natural death, the movie goes all out to defend the cause of the LGBT  community. Narrow selfish interests of colleagues is subtly showcased as one of the characters is shown challenging  Professor Saras that he would not be allowed to continue in the post that he held  at the University - that of the head of the department of linguistics - for long. And a week later, two intruders enter the professor's house, get inside his bedroom, and force him to be filmed in poses that the intruders deemed fit so as to expose a gay professor.

Professor Saras's loneliness, his incomprehension of what had happened, what was happening and his continued love for his university is brilliantly captured in the portrayal of the character in the movie. His growth from a sensitive person who perked up at the mention of gay or same-sex to one who couldn't be bothered at what the world thought of him as he gets  to mingle with more of his own. Manoj's sensitive presentation of this I-don't-care-anymore attitude of the professor when he is shown sleeping at the court room during his case hearings is brilliant to say the least. Ably supported by a good cast, from that cast that plays his colleague Shreedharan to the lady who plays the lawyer, the short two-hour long movie makes for a good attempt in sensitizing the public to the woes of people with a different sexual preference.

The movie is thought provoking and totally relevant to the times. Coming as it were during a time when Article 377 is being debated more than ever before, the movie's timing couldn't have been better. In fact, the movie has scored on multiple levels. Hansal Mehta's direction, helped along by a taut script, the choice of locales, everything seems to add punch to an already powerful narrative.

Hopefully this movie will be able to tell the world to let everyone be. A highly recommended movie.