Producer: Subhash Ghai
Director: Subhash Ghai
*ing: Shahrukh Khan, Mahima Chawdhry, Amrish Puri, Apoorva Agnihotri, Himani Shivpuri,
Shobha Khote, Alok Nath
Music : Nadeem-Shravan
Contributed by Mohammad Ali Ikram
ali@indolink.com
out of
Don't I know these people... Over and over, I kept having this thought while watching the antics of Amrish Puri's American-Indian family in Subhash Ghai's latest movie, Pardes. And almost all the women in the theatre seemed to agree with me... At least that is what I gathered from all the weeping and sniffling going on around me.
Similar to the dual nation setting of 1995's Dilwale Dulhania Le Jayenge, Pardes takes a serious look at the lives of Westernized Non-Resident South Asians in North America. Of course, Subhash Ghai has wisely packaged this message in a very entertaining and thoroughly engrossing film.
A very simple story about a young, Indian born girl who is betrothed by her parents to the son of a very rich NRI. The NRI (Amrish Puri) hopes his soon-to-be bahu will instill some Indian values in his extremely westernized beta. Ganga (Mahima Chawdhry), our village-bred heroine, must contend with the culture shock that she faces upon arrival in the United States. And for a bit of spice, everyone must contend with Arjun (Shahrukh Khan), the NRI's adopted son, creating a love triangle in the proceedings.
Inspite of the generally oft-heard storyline of Pardes, the abundance of thought-provoking messages contained therein make it a must-see for all families. Generally, is it worthwhile living outside our countries of origin? What is our connection with our homelands? What are our connections with North America (or Europe, etc.)? To what degree is it acceptable to try to fit in to Western Society? Should we encourage our children to be more Westernized or South East Asian? And at what point do we lose our identity as Indians/Pakistanis?
So many thoughts invade the mind when watching this movie. Directly and indirectly, there are many issues raised in the U.S. set scenes. For instance, in one scene, Ganga is completely alone at Amrish Puri's house and she makes a call to her parents in India. They repeatedly ask her if she is well, and she lies and says yes. Here is a girl brought up in a society where your extended family is always with you, and according to the film, very supportive of your needs. The principle in North America, as stated by Ganga's fiancee Rajiv (Apoorva Agnihotri), is to let people be alone, when they are depressed.
But at some point of time all Indians/Pakistanis are new to North America, and they must deal with these completely opposite ideologies. What does each individual do? Some may stick to the togetherness principal, as much as possible with the few friends and relatives they have nearby. Others, they will desensitize their need for human support, and will preach this idea to their future generations. Desensitization is the problem with Amrish Puri's family in Pardes, and Subhash Ghai is condemning this situation. Keep your mind open, and you will see many other topics touched upon by Ghai in this film.
The performances in Pardes are also superb. Shahrukh Khan has finally bawled me over with a flawless performance. His acting as Arjun, is subtle yet very powerful. The character is a slight deviation on his Yes Boss persona, but this time it is more subdued and appreciable. Arjun loves Ganga, but knows she is to be married to Rajiv. Contrary to normal filmi expectations, he never tries to steal her away, but is there to be a friend and protect her. I said some day I might become a fan of Shahrukh Khan: that day is today.
Mahima Chawdhry is gorgeous, confident and very impressive in her first film. When Subhash Ghai had first planned this film, it was to be titled Ganga, and star Madhuri Dixit in the lead. Luckily, the title and the lead actress changed over time. The film needed fresh-faced innocence and Mahima has it in spades. I really hope this beauty achieves tons more in a long and prosperous film career. The other newcomer, Apoorva Agnihotri is unfortunately not as impressive, and his boyish looks don't exactly fit in with the selfishness of the character. But then again, who said you can tell someone's personality by looking at them?
Amrish Puri is very dignified and plays another role to perfection. I see no reason why this amazing actor should not get his current fee of Rs. 1 Crore as a character actor per film. And Himani Shivpuri should start doing roles other than the eternal aunt stuff. (Last time we saw her do something different was the bad-mouthed and scene-steeling prostitute in the otherwise uninspired Prem Granth.)
Cinematography by Kabir Lal, choreography by Saroj and Ahmed Khan, editing by Renu Saluja, and all technical aspects of Pardes, like all Mukta Arts films, are perfect. The Vancouver-Las Vegas-India locales are all breath-taking. And the Popeye-Shahrukh dance sequence in "Dil Deewana Dil" was also innovative for an Indian film. Nadeem-Shravan's average music score, as I had always predicted, is redeemed by great song picturisations by Ghai.
Showman Subhash Ghai has always been a great Indian film-maker. But this is the first time he has dealt with an important topic that has not been touched before properly in Indian cinema. (Whereas Dilwale Dulhania Le Jayenge was about NRIs with Indian hearts, Pardes is about Westernized NRIs.) I salute Subhash Ghai for this good deed. And I also commend him for evoking patriotism in the hearts of the viewers by showing us the rich culture and beauty of India. I believe patriotic feelings are effectively instilled in a viewer by showing the beauty of one's homeland, not by harping on life-taking land battles of the past. Even though I am Pakistani by birth, I felt a strong connection with India because of the magnificent Pardes. Whereas J.P. Dutta's offensive Border reignited the Pakistani-Indian rift the world over. It is because of films like Pardes that Indian cinema is loved by movie-goers in both Pakistan and around the world.
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