'Away From Her' - A Review

An aged wife tells her husband,

“You could have just driven away without a care in the world for me, and forsaken me”

With a pause pregnant with unsaid emotions he whispers,

“Not a chance.”

These two lines which appear so unambiguously banal in content at first glance there lies the ultimate test and triumph of an alliance that is forged over a lifetime.

The alliance we call ‘marriage’.

‘Away From Her’ is a film which captivates with its sheer force of simplicity, all the while delineating the intricate details of a complex human story with the natural grace of life and nature. Adopted from the work named ‘The Bear Came over the Mountain’ by Alice Munro, the film revolves around the trials and tribulations of an elderly couple trying to come to terms with the curse of Alzheimer’s disease and its attendant complications. As Fiona (Julie Christie) starts to lose her memory she is shifted to a ‘retirement facility’ for ailing people, much to the despair of her husband, Grant (Gordon Pinsent), who is emotionally disturbed and much upset at the separation. The immaculate depiction of the traumatic phases that an Alzheimer’s victim undergoes poses a thousand pointed questions to the viewer. The very conception of ‘memory’, as we know it, is shaken to its foundations as one grapples to identify and later appreciate how singularly beautiful it might be to discover a fresh appeal within the confines of familiarity without our mental retention of the past and the memorized. How fascinatingly juvenile and invigorating it might have been to get lost in the woods that one was so accustomed to. How thrilling it might have been to start acquaintance with the person one loved for a lifetime and thereby script a story of rediscovery and revision.

The film lends a compellingly thoughtful perspective in this regard and thereby makes the journey for the viewer that much more enriching than mere enjoyable.

As the film moves on, the consequences of a depleting memory surface to test Grant while Fiona finds comfort and company in Aubrey, another ailing inmate in the facility, oblivious of her past affiliations and bindings. A period of insecurity and possessiveness consume him, which later transpires into a better understanding of the infinite complexities of human relationships. While Grant laments the look of unfamiliarity in Fiona’s eyes a tactile web of human emotions spins into motion. Without being opinionated in any way the film expresses its endorsement of human values and through a marvelous language of images convey the fear of isolation innate to humans. A work of passion by the director, Sarah Polly, ‘Away From Her’ will surely go down as one of the finest films on human relationships and connubial love I have ever seen.

Julie Christie has portrayed the central character to such precise perfection that she moves her audience to tears without being tearful herself. Her glazed blue eyes are so resplendent with an unearthy innocence that while watching the film one almost feels as helpless and cornered as her husband. Her infirmity is so obvious, yet so ostentatiously underplayed that nothing short of an Oscar would do justice to her moving rendition of an otherwise difficult character.

Gordon Pinsent is a figure of strength with his stoic acceptance of a tragic reality. Yet, he displays brilliance in scenes where he arrests the outpour of his spasmodic reactions in the face of piercing predicaments. One of the best performances of the previous year he might as well get a well deserved nomination for the ‘Best Supporting Actor’ category at the Oscars. I actually back Pinsent to bag the award for holding his own in the spate of an astounding piece of acting being delivered opposite to him, which if not belittling to say the least was more than intimidating in terms of pressure to perform his own brief.

An exceedingly well-made film which asks existentially relevant questions even to an average enthusiast, I will remember ‘Away From Her’ as one of the most beautiful films I ever watched. A film which promotes love and commitment and delivers the message of lasting togetherness that marriage as an institution bestows, the following conversation from it will remain imprinted in my mind forever (Alzheimer’s forbidding):

[ while leaving for her asylum Fiona asks Grant at their doorstep]

Fiona: How do I look ?

Grant: Just like always. Just as you always looked.

Fiona: And how does that look ?

Grant: Direct and vague. Sweet and ironic.

photo: google images

Taare Zameen Par - A Review

‘It’s easy to point out problems in this world. It’s difficult to offer solutions.’

The maiden directorial venture by Aamir Khan does ‘that’ difficult part with aplomb.

‘Taare Zameen Par’ revolves around the stifling pressures that a dyslexic child faces in our society, in our times. Ishaan Avasti ( Darsheel Safery) is like any fun loving kid who enjoys catching the odd fish from the gutters, keeps gawking at the mother-bird feeding her fledglings and pick up fights with the domineering bully of the pack when things become too unbearable. Yet, something makes him special. He sees the world through the colourful window of his mind. A fertile imagination gifts him with a creative edge he manifests through the interplay of colours in his paintings. Yet, something ails his progress in academics. Curiously, he mixes up all his spellings, can’t say a ‘d’ from a ‘b’ and ‘9 * 3’ is somehow 3 owing to some cosmic collision only his mind can conjure in its full imaginative inflation. Failure in exams ensues and parents get anxious. The apparent ploy to shirk studies seems to be the only plausible reason to them. Frustrated with umpteen attempts at correcting his ‘flaws’ and his habitual relapses he is sent to a boarding school. The sequence where his mother (Tisca Chopra) turns back to leave him at the mercy of the unfamiliar premises of the boarding school is so beautifully picturised, with the

heart rending delivery of “ kya itna buraa hoon main maa....” (by Shankar Mahadevan) playing in the background that I am sure there are few, if any, people who did not have a tear-drop gracing their eyes at that moment.

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Expectedly, boarding school only makes Ishaan a prisoner of the ‘conventional treatment’ that is meted out to non-performers in our education system. He blots out the cruel world and locks himself in a shell of desolation and pain. The portrayal of helplessness in a child on ‘not being understood’ by people around him is dispensed with a nuanced perfection found only in past masters of cinema. Aamir (along with Amole Gupte) donning the director’s hat for the first time has charmed with his exquisite timing and sensitivity in dealing with the subject which demanded a perceptive depiction along with artistic finesse.

Aamir enters the scene as an art-teacher in the dying moments of the first-half (albeit with a

clowning act with much fanfare which seemed tad redundant) and hopes of resurrection are ignited. Being a victim of dyslexia in his childhood, Aamir identifies the problem in Ishaan. He fights with the principal, and later convinces him that it is only a matter of time before Ishaan can compete with others with a little help and understanding. He devotes his time and energies to address the difficulties that Ishaan is facing and soon the boy shows marked improvement. An ‘Open to All Painting Competition’ becomes the culmination of the mutual success of the teacher-student pairing as Ishaan beats his teacher to bag the first-prize in the competition.

The whirlpool of emotions ranging from despair to joy, from rejection to relief attains a magical crescendo at the prize distribution ceremony. A tearful hug replete with unsaid words of gratitude and affection are so touching that one cannot help but give vent to one’s emotions, hiding in the darkness of the tiers to shed a few tears of empathy.

Repentant and reformed, Ishaan’s father takes him back to his home on a vacation wherefrom a happy ending starts. Both for Ishaan and his family, and Aamir, the teacher.

The smell of success and hope is palpable even when the credits roll.

Prasoon Joshi, take a bow. The ad-man has penned lyrics laden with pathos and a deep understanding of children’s psyche (he says he owes it to his little girl) that has an evocative appeal written all over it.

Shankar is breathtaking with his poignant renditions of songs like, “ tu sab jaanti hai.....hai na maa...” (MP3 provided above), “Mera jahaan...” and the title track.

The trio of Shankar-Ehsaan-Loy has again proved what good quality jamming can produce as the music of the film is a sure highlight which is poised to make a mark of it’s own in the coming days.

Aamir as a director has shown the class expected out of an outright perfectionist like him. The sensitive interpretation of the story is so seamlessly accomplished till the end that one cannot really put a finger on a flaw that glares in its nonconformity with the script. The occasional inclusion of a few ‘symbolic scenes’ (as when Aamir watches a mother and child on a bus) and the comic (but of doubtful necessity) entry of himself as the art-teacher were noticeably deletable. Otherwise, “Taare Zameen Par” is a winner.

Aamir has delivered a success.

Darsheel has outdone Aamir

The child artist has not only done justice to the troubled character he portrays with élan but also etched a niche of special recall within the deep recesses of our minds where childhood memories and their attendant anxieties recline in blissful languor of forgetfulness, almost untouched by the mechanically motivated lives we live. After watching the film every person sitting in the stands who has ever faced a similar problem in his childhood will come to associate Darsheel’s gawky features, his wide expressive eyes and that ear-to-ear grin with his memories and rejoice at his victory at the end of the film, though not his own. That is exactly where the film succeeds, in drawing the audience to think sympathetically on a socially relevant issue.

“Taare Zameen Par” lets everyone take something back to their homes from the theater. A sensitive heart receptive to other’s problems, responsive to a child’s troubles, understanding of a passing disability and most importantly, throbbing with a lasting sensation of triumph.

And to me, that’s cinema.

Good Cinema.