Mayhem in Myanmar

They say a picture speaks a thousand words. But the above illustration does more than convey a thousand odd words; it tells the story of thousands of people who might not have the opportunity to voice their opinion in any other public forum.

Political cartoons have guided public opinion and shaped ideologies for generations now, becoming one of the most popular and potent means of expressing a viewpoint. But the above depiction is even more special as it does more than just project a situation. It is also a stifled cry for help from the people of Myanmar, who are distraught after a catastrophic cyclone and neglected by an imposing, military government. Sure, it may be drawn by a complete foreigner, but then no one is in any way alien to the situation in cyclone-ravaged Myanmar.

Thousands Perish

The world has been a horrified witness to the tragedy that struck Myanmar when on May 2nd, 2008, Cyclone ‘Nargis’ hit the coast of the small country, formerly known as Burma, causing untold damage to life and property. But what was even more shocking to watch was that despite the magnitude of destruction caused, the military ‘junta’ that rules in Myanmar was adamant on disallowing foreign aid workers from entering the country due to fears that it might lose its grip on the nation and its people. The only international aid workers allowed into the country have been from neighbouring, usually friendly, nations.

With this virtual ban on foreign aid workers, the ‘junta’ declared that the situation would be brought under control by them, but that does not seem to be the case if recent reports are to be believed. According to the Red Cross, about 95% of homes in rural areas have been wiped away by ‘Nargis’. People are seen lined up along the streets, begging the limited number of aid workers that pass by for scraps of food in order to survive. The death toll has reached around 78,000 with more people feared dead.

Yet even in these desperate times, the ‘junta’ refuses to let in more help. They have been asking for international aid, but without the accompanying aid workers required to facilitate these rescue and support missions.

Cyclone 'Nargis' has caused untold destruction in Myanmar

As the nation’s condition worsens, the ‘junta’ is coming under more and more pressure from international bodies and nations to take stock of the situation. They recently had to arrange for foreign diplomats to tour the cyclone-affected areas, in order to pacify foreign officials and international bodies. Even in this case, the ‘junta’ decided which areas these delegates would inspect.

All the politics and inefficiency are ultimately telling on the people of the nation, who are suffering in fear and neglect. The common man is not allowed to voice his opinions; neither can he hope for a better life or at least a means of survival. The international media is allowed limited access to places in the country, with the ‘junta’ providing admission to only those areas and issues that it wants highlighted. In such a scenario, there is very little chance for change, unless a third party steps in. That is where the mass media comes into the picture.

Some of the people rendered homeless in Myanmar have to beg by the roadside for their daily meals

For years the mass media has been referred to as the ‘watchdog of society’, but there have been very few incidents in recent times that justify this title. Yet, cartoons like the one discussed above are reiterating the role of the media in a positive light. Such media content goes a long way in showing that the media is indeed taking note of situations like that in Myanmar, prompting a dialogue for political reform and social change.

This is instrumental in sending a strong message to ‘leaders’ like those in Myanmar, warning them that they are been watched closely.

After all, donning a military uniform does not just suggest the gaining power and control; it also signifies a sense of responsibility towards the people of the nation. When used in any other manner, especially to strike terror and fear in the hearts and minds of innocent citizens, it becomes nothing more than a shield for a cowardly bully.

It is therefore the duty of the mass media, as the ‘watchdog of society’ to lash out at such inefficient governors in the best way it can – through its wide-reaching content. It has to become the voice of the silent masses, aiding those that cannot speak up for their rights and assisting those who want to speak up. That is ‘real’ power, the power of the media. Something that does not lie in locked in a uniform, but can be unleashed by the mind alone. Something that does not cripple the people it serves, but instead enables them to strive for a better life.

• Helping Hands

Pint-sized News

The advent of the new media has ensured that there is a whole new wave of media content available for consumption by users. What is interesting to note is that this content is not always generated at the hands of professional media persons, but can also come from regular citizens looking to upload ‘news updates’ and the like.

In this day and age when computers, cameras and mobile phones have become handy gadgets; it is no surprise that people are finding it extremely easy to upload all kinds of content on the Internet – at the mere click of a button. Everything from election videos to drunken party pictures can end up on the Internet at various websites.

The popularity of social networking sites such as ‘Face book’ and ‘My space’ have made it relatively easy for content to be passed around the world, whether it is of relevance or not being immaterial. Further, discussion boards are being used to send messages and post comments about this content.

Discussion boards about various issues have become commonplace today

We are now living in an era where the world has become so close that everyone knows about everyone else, more importantly they want to know. No matter how trivial the matter, people are happy to devote time and energy to reading, watching and listening to updates about it. We are truly living in a ‘global village’, where nothing can be hidden from anyone.

Although all of us are affected by this new phenomenon, the softest targets are celebrities and public figures. Nothing they say or do can ever be private, with dozens of cameras and recorders willing to record their actions and words for the world to enjoy.



Wasted Prince = Wasted News Space

A classic example would be the British royals. Prince William and Prince Harry have been in the spotlight quite regularly in current times, mostly for the wrong reasons. Recently, Prince Harry was photographed pushing a photographer and later trying to maintain his balance, while allegedly in a drunken stupor. The incident was splashed across the Internet, with a discussion board on a website carrying a series of pictures, with supporting text, highlighting the activities of the prince. The headline read, “Prince Harry royally drunk”. The caption that followed stated, “Oh those British Royals… such an interesting lot, eh? Just weeks short of his deployment to Iraq, Prince Harry had to get his swerve on and chase a little tail.”

One of the pictures that was splashed across the Internet, and then endlessly discussed by one and all

A discussion ensued, with viewers commenting on the state of the prince, his regular place in the news and so on. But surprisingly there were some people who spoke of how trivial the matter was and how this could happen to anyone at all. Yet, these were the very people who accessed this website, saw the pictures and actually felt the need to leave a comment.

This just goes to show that there is actually an audience for this kind of content and they are therefore being catered to. The demand for this ‘news’ just goes to show that we are headed towards a state where news will consist of only sensational content like this one. Yellow journalism is already taking over the main, more serious news; but with the inclusion of user-generated content and citizen journalism, there might be no place for the real issues to feature as news.

This is indeed a sad state of affairs. After all, the mass media has a definite role of informing the public and shaping public opinion. That is being completely undermined by the wide availability and fast consumption of petty ‘news’ and unimportant content that is cluttering the mass media today.

It is high time that the digital movement was channelized to facilitate the good of society. If used in a way to assist the traditional media in promoting content that is of actual use to the public and serves them well, the new media could change the face of communication for the better.

But ultimately it is demand that will shape the course of the media content in the future. Hence, it is for us to decide whether we are willing to initiate a change now or lose out to the glamour of technology forever.

• Drunken Dilemma
  

Cultivated Classic

It is indeed rare to find a film that is both exquisitely crafted, yet hauntingly real. But ‘The Constant Gardener’ is able to do both – appear to be a documentary style tale on the face of it and also pull at the viewer’s heartstrings through its touching storyline. A landmark film with a definite message, it manages to evoke a sense of desperate helplessness, anger and pain all at once – as we follow the lead characters on their tedious journey in search of the truth.

Made in 2005 and directed by Fernando Meirelles, the film is based on a novel - of the same name - by John le Carre. Yet, when one watches the film, one will forget completely to compare it to the original novel – so great is the cinematic appeal. But the film definitely owes some degree of its success to the novel, after all that is where the original storyline for the movie adaptation stems from.

The film is a classic example of ‘art imitating life’. This is because, like the novel, the film revolves around a pharmaceutical company’s scam involving the innocent people of Africa. The "marriage of convenience" between KDH (the company that makes the drug - Dypraxa) and ThreeBees (which tests this drug) is discovered and exposed in the movie, along with the potentially fatal tests that are carried out on the African ‘guinea pigs’.

Filmed on location in Berlin, London and Nairobi and various other parts of Kenya, the movie offers diverse settings and even more dissimilar music. Both these elements add to the dramatic nature of the film, making it appear real and vital, something that cannot possibly have been reflected with the same urgency in print.

At the start of the film itself we are shown a low point in the lead character’s life – the murder of his wife. One would usually expect such an event to lead to one’s eventual downfall/depression/alienation – but for the character of Justin Quayle (Ralph Fiennes) this incident marks a starting point in his journey towards completing his wife’s unfinished work. This is, ironically, also the start of a wondrous transition for him, from mild-mannered diplomat to vengeful truth seeker.

Fine Acting

The cast of the film does a mind-blowing job, seeming so uncannily realistic that one cannot help but be drawn into the story. Ralph Fiennes plays his role of unambitious diplomat and devoted husband to perfection. The transformation in his character is so subtle yet distinct that one cannot help but feel for the character in his time of pain and deep sense of loss. In fact he makes the character so relatable that it impossible to stare at ‘Justin’ on screen and not feel the pain mirrored in his eyes. The near-tangible suffering that one sees depicted on screen is another element that cannot be suitably generated in the minds of the audience through the printed word alone.

Rachel Weisz shines in her portrayal of Tessa Quayle, managing to bring an easy realism to Tessa, a passionate and strong willed activist, dedicated to her cause. Her character is so diametrically opposed to that of her husband that the couple makes for an interesting study in themselves. Their differences are highlighted beautifully throughout the film, until we reach the places where they come together as a couple. Here, their chemistry appears to be so real and touching that instantly one falls into the trap of believing this skilfully constructed reality.

The rest of the cast is equally brilliant. They bring just what is required to the table, under the expert guidance of their Brazilian director, Fernando Meirelles (the Academy Award-nominated director of ‘City of God’). He unravels the intricacies of the our class system, highlighting the differences between the people of Africa and those of Britain as he darts a camera around Tessa and Arnold while they walk around Kibera. The distinction is so clear to our eyes, as the camera moves from upper-class Britain to poverty-inflicted Africa. Yet, only such a marvellous piece of cinema could make us perceive such a blaring reality.

The film is mature in its content, handling an issue of grave importance in the most forthright manner. It integrates both personal and political conflicts, revealing the kink in mankind’s armour and forcing us to open our eyes to the reality of our times. Merielles proves his mettle as a director of spirit and vision - one to be remembered for producing such a splendid cinematic interpretation of John Le Carré’s novel.

Telling Images

The cinematography of the film deserves a special mention. The images vary greatly in their look as we are taken, in the split of a second, from the cool, clinical blues and greys that are typical to Britain to the warm, earthy tones of rural Africa. Each image is so unique from the other that it tells a story in itself. The story of the great divide in our society: a story of poverty and another of privilege. One - a tale of indifference and the other - of simple faith in humanity. It is this stark contrast that lends the overall human appeal to these images, compelling the viewer to react to each frame. No matter how intense the writing, the visual impact of these diverse shots cannot be captured in black and white text. It is this disparity that causes us, as viewers, to sit back and take notice of the unfortunate state of our world today.

The images in the film are not just beautiful storytellers, but they draw the audience into the narrative – helping us explore the hugely diverse lands, cultures and people that it speaks of. We are transported from the opulent settings of Britain to the dingy shantytowns of Africa – with their rusting tin roofs and disease infested streets. There is a particular shot which pans from a golf course to a rugged location in Africa – exquisitely highlighting the gap between these two worlds without the use of actions or words. One simple image tells the whole story.

The images also underline our narrow-minded attitude to life. Let us consider the time when we find African patients with European doctors in a hospital (set up by the Westerners) and similarly when we see the Europeans, amidst the African people, against the African backdrop. We find that there is a sense of disconnection due to the contrasting elements in each image. We are so well-conditioned by now to reject what does not fit into our regular mould of what we consider ‘normal’, that such unconventional pictures make us uncomfortable or at least force us to think. They compel us to reconsider the current disparity in our society and hopefully do something about it.

Another integral element of the film is its splendid music score. Again we notice two sets of distinctive musical backgrounds. On the one hand we have the quiet, soothing music typical to Britain; and on the other hand we are exposed to the rhythmic beats of the African instruments. The latter is used particularly well to build up to an earth shattering climax in some scenes. The effect is mesmerising, yet chillingly haunting. It lends an extra punch to the storyline, giving it a new flavour.

All in all, the film makes for a gripping story and at the same time manages to leave an indelible impact in the minds of its audience. It delivers a real-life story in a beautiful cinematic package, inspiring us to rethink our role in the larger scheme of things. It draws us into an intangible web, where we are left with no choice but to evaluate our stand about the occurrences around us. We are obligated to open our eyes to the reality of things – and bound by the humanitarian streak present in each of us to do something about the atrocities that transpire in our unequal world. It teaches us a lesson in love and humanity – life lessons that most of us had forgotten, yet ones that we get to relearn only through the unique medium of cinema.

• Movie Magic
  

• Reader's Delight

Delivered: A Fine ‘Dramedy’

Juno

Genres: Comedy, Drama
Running Length: 91 Minutes
Director: Jason Reitman
Cast: Ellen Page, Michael Cera, Jason Bateman and Jennifer Garner
Scriptwriter: Diablo Cody

Juno, a film about a smart and sassy teenage girl who gets pregnant and decides to give the baby up for adoption upon its birth, is like its female protagonist - funny, sassy and intelligent in its essence.

From the outset, the director makes it clear that the movie is not to be a preaching, educating and generally boring kind of film on the extremely serious issue of teen pregnancy. Rather, the opening credits (done in a sketch-like, comic book style) and hip soundtrack that accompany them ensure that the audience readies itself for a quirky take on the sombre subject.

The makers of the movie are not in the least bit apologetic about the fact that they have taken a controversial and delicate matter to transform into a comedy. And therein lies the chief strength of the film. For, the end product is a refreshingly fresh and engaging comedy with an element of drama thrown in for good measure.

Ellen Page plays the titular character, Juno MacGuff, with such ease and conviction that one is instantaneously drawn into her circle. But the clever 16-year-old, who gets pregnant the very first time she engages in intercourse with her buddy and fellow virgin Paulie Bleeker (Michael Cera), does not give you the slightest inclination that she is expecting any sort of empathy from the audience members. Instead the character is so in-your-face and self-assured that one has to wonder about the sincerity of the situation that she finds herself in. But just as you begin to question the reality in the depiction, Page’s character reveals the chinks in her armour in the most endearing manner imaginable.

Her decision to forgo an abortion and instead bring her child into the world is based on her discovery that her baby now has fingernails and further fueled by the tension-filled atmosphere at the abortion clinic. It is at times like this that we notice the insecurity and fear that threathen to destroy Juno’s well laid out plans.

She finally decides to give the baby up for adoption upon its arrival, and hence goes on a hunt for the perfect adoptive parents. Her search, in the PennySaver no less, finds her picking Vanessa Loring (Jennifer Garner) as the prospective mother-to-be. She is one half of a childless couple, aching with the need to become a mother. Her husband, Mark (played by Jason Bateman), seems to mirror her sentiments at first glance, but we later dicover that their marriage is about to crumble despite the near-inclusion of a new baby.

The news of their impending divorce (when she is well into her pregnancy) leaves Reitman’s otherwise composed antiheroine in a state of emotional panic. It is especially during such times of trial that the witty and sharp-tongued teenage mom-to-be is able to offer us a charming insight into her inner self. The determination and strength that makes Juno so special is reflected at this point in the film, where she recovers from the disburbing realisation that the Loring’s are going to get a divorce in the most splendid fashion. After her previous decision to pledge the baby into Vanessa’s loving arms, she now decides to follow through on her promise and hand her baby to Vanessa despite the recent turn of events.

The incredible maturity that is displayed by Juno in converting a downright disastrous situation like her teenage pregnancy into a miracle baby for Vanessa is truly uplifting, without ever seeming like an obvious social message or comment.

Page’s wonderful portrayal of the character is further aided by the crisp and witty dialogues by Diablo Cody, a debutant scriptwriter, who offers the most strikingly pungent humour to help carry the film to the top of the scales. The supporting cast consists of characters which are so well etched out, that one has no choice but to be charmed by them.

The bright, sunny sets and all American atmosphere tend to give the film a sense of normalcy. This is where Juno treads on dangerous terrain. For, whichever way you represent the matter of teenage pregancy, the sheer dynamism of the ensuing situation is sure to lend a certain degree of urgency and importance to the unfolding story. But this is never the case with Juno. Even as far back as when Juno initially breaks the news of her pregnancy to her father (J.K. Simmons) and stepmother (Allison Janney), their reaction is hardly that of the parents of a teen who has just announced to them what is possibly the biggest news of her life so far. But then again that is possibly just something that my overtly conditioned Indian sensibilities found hard to digest.

Even so, one must give credit to the makers for taking a sensitive subject and dealing with it with as much maturity and originality as possible, if not with complete honesty.

But then again, all seems well by the end of the film, when Juno delivers Vanessa’s bundle of joy and possibly a performance that is both noteworthy and cute all at once.

All in all, Juno is worth watching for the sheer brilliance of its dialogues and, of course, the emerging talent that is just-out-of-her-teens actress Ellen Page.