Two films in recent times have sought to capture the imagination of the city; Slumdog Millionaire and Delhi-6. The first in its English version is a stunning hit and the other has been met by a quiet silence. Danny Boyle's Slumdog is a western attempt to read Bollywood. It is a mythical reading of Bollywood. Myth seeks to reconcile fundamental tensions using any set of symbols. What Slumdog does is to weave Bollywood and Hollywood and it is this that makes it fascinating. What it says about poverty, violence in itself is banal.
The semiotic task it performs can be seen as a set of tables. Firstly, there is the Bollywood myth of the slum where goodness by itself is self-defeating. As a turf subject to temporariness, the slum is always prone to the tyranny of gangs, cops and politicians. It takes the machismo, the physical violence of the hero to break through. There is however a second myth of the city emerging. It derives from the intellectual and inventive power of the Diaspora which brings with it the same idealism but a better set of skills from the world of management and engineering.
The second myth was actually captured by the TV show 'Kaun Banega Crorpati'. It centres on a quiz as the rule game of an information society. The skills of the slum don't always work in the intellectual akhada of the quiz. Danny Boyle takes the myth of the slum and the quiz and blends them into one story of a slum boy who makes it big in a quiz game. To make it realistic and more competitive he makes the quiz master played by Anil Kapoor a tougher, seedier and hostile creature. This is a character contemptuous of any chai wala who can even dream of entering a quiz.
Now comes the sleight of hand because Bollywood has never merged the two. What is Boyle's procedure for merging the two myths of mobility into one story?
Firstly, he speeds up and compresses time. The movie which is a triptych of parts - the child boy in the slum, the adolescent boy, and the young man- speeds up time. What was a scrap book reads internally like flip-book. Space is now read as time. The second move is a more complex one. Boyle argues that the knowledge of the slum, the little things that happen to you, the visualness of urban life, the primers that you read, are "information". It also creates a subplot where the police are suspicious of the hero's skills. It is under interrogation - which is the only quiz slum kids undergo with the police - that Dev Patel explains how he could answer the questions. The pairing of the two forms of questioning is powerful. It reminds one that interrogation in a police station is also a quiz, and secondly that a quiz intellectually can be as tough as a police interrogation. Both make you sweat it out and in both the stake is survival. Where Boyle is shaky is when he regards the slum as a repository of information. Maybe his message is that we should hybridise knowledge and information. The body as physicality no longer provides the skills because globally the body is the locus of desire, not of labour or physical power.
It is only on seeing Delhi-6 that one realised that Slumdog creates the myth of Bollywood in a hall of mirrors by inverting, inflating and reversing it. Delhi-6 is about an Indian boy from a Diasporic family who escorts his grandmother to her home in Chandini Chowk. If Slumdog is about desire and information, Delhi-6 is about love and stupidity. Stupidity is what happens to knowledge when it is caught in the dark alleyways of superstition. America haunts the movie and it is caught in the visuality of exhibits and spectacles where suddenly the Statue of Liberty is ensconced next to Jama Masjid. The exhibits outside are but dreams within, where Chandini Chowk searches for the America of success and desire in all of us. In Slumdog it is the quiz, in Delhi-6 it is Indian Idol. Both demand a high spectatorship, yet both are dreams of individual mobility. One seeks information to escape the slum, one combines knowledge and the mobile-nubile body to escape the slum, the middle class slum of conservatism and intolerance.
In Boyle's film, the slums of Bombay enact the myth of individual mobility. The tension is the tension of competition. The streets of Chandini Chowk recognise that individual success or freedom cannot come with mobility alone, it needs a collective change of mentalities. Two communities which have synergetically come together fall apart in a fight over a 'black monkey' which threatens all of them. The message is clear; one can't be free till a community is also free. It is here that Delhi-6 brilliantly adds something that Danny Boyle does not understand. Despite the myth of information and the ersatz attempts to see the city as a knowledge society, Bollywood provides a theory of culture. Chandini Chowk with all its rituals reminds the worlds of Bombay and Bangalore. It is a warning that when you priviledge information over knowledge and disembed the two, a culture is emasculated. When a culture is threatened violence becomes the answer, the quick answer to difficult questions. Delhi-6 reminds you that culture is a slow thing, even stupid but it has possibilities. Culture is a whole, a commons in the way a pub culture or quiz culture are not. In a quiet way, a small film on Chandini Chowk tells Slumdog Millionaire it has not quite grasped Bollywood or India. Information can never substitute for the complexity of culture. Every stupid Indian knows that
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