Editor’s Note: The following South Asian documentaries were shown in the festival in Toronto.

War and Peace: Review by Sharada Eswar

“As we enter the 21st century, enemies are being re-invented, economies are inextricably tied to the production and sale of weapons, and in the moral wastelands of the world, war has become perennial. Memories of Gandhi seem like a mirage that never was, created by our thirst for peace and our very distance from it.”

Filmed over three tumultuous years in India, Pakistan, Japan and the USA following nuclear tests in the Indian sub-continent; War and Peace by Anand Patwardhan is an epic documentary journey of peace activism in the face of global militarism and war. Dramatically framed by the murder of Mahatma Gandhi fifty years ago, the film argues that religious fundamentalism and “patriotism” are two sides of the same coin. The film slips seamlessly from a description of homemade jingoism to focus on how an aggressive United States has become a role model, its doctrine of ‘Might is Right’ only too well-absorbed by aspiring Third World elites.

For the filmmaker, whose family was immersed in the non-violent Gandhian movement, the sub-continent’s trajectory towards unabashed militarism is explored with sorrow, though the film captures stories of resistance along the way. Amongst these is a visit to the “enemy country” of Pakistan, where contrary to expectations, Indian delegates are showered by affection not only by their counterparts in the peace movement but by uninitiated common folk.

The film moves on to examine the costs being extracted from citizens in the name of national security. From the plight of residents living near the nuclear test site to the horrendous effects of uranium mining on local indigenous populations, it becomes abundantly clear that, contrary to a myth first created by the U.S.A, there is no such thing as the “peaceful atom.”

Beautifully shot, often darkly funny, the film is much more riveting than the dry subject matter might suggest. It is a frightening examination of the continuing confrontation between nuclear neighbours India and Pakistan. The film itself is a tour de force, beautifully shot and often darkly funny and much more riveting than the dry subject matter might suggest.

Anand Patwardhan has been making politically charged documentaries in India for nearly three decades. His films while winning national and international awards have invariably upset the ruling elite, tackling as they do subjects like street dwellers (BombayOur City, 1985), religious fundamentalism (In the Name of God, 1992), the connection between machismo and sectarian violence (Father, Son and Holy War, 1995) and the plight of those displaced in the name of “development” (A Narmada Diary, 1995). “War and Peace” won the Grand Prize, at the Earth Vision Global Environment Festival, Tokyo, 2002, the Best Film, Mumbai International Film Festival, 2002 and the International Jury Prize, Mumbai International Film Festival, 2002.

Ravi Shanker - Between Two Worlds: Review by Atin Bhattacharya

Ravi Shanker - Between Two Worlds is an unedited, uncut or otherwise untouched autographical creation that will be popular with all Shanker groupies at all times, the writer included.

It was great to hear and see Shanker (now in his eighties) talk about his Guru and his life. Delightful, deep and memorable statements punctuate the flow of the film. “Music is meant for worshipping and not entertainment,” or on the Guru Sishya relationship “absolute surrender and fanatical dedication,” or comparing the structure of western music to the non-structure of the Indian music “Raga and you become one.”

Shanker nostalgically recalls his life as a child, growing up under the shadow and tutelage of brother Uday Shanker and the less renowned eldest brother Debendra Shanker (who at 92 could still dance). His dilemma of separating from life of glamour and jet set excitement with Uday’s troupe and going to Maihar to study music, music and music and nothing but music.

Mark Kidel, the Director, earns our gratitude by including clips from rare and vintage film footage of Uday Shanker and Simki performing in Paris. Kidel further includes clippings from Howard Worth’s documentary “Raga” that was made in 1969.

The film provides a montage of facts, hitherto unknown, at least to the writer. That Simki was European, that Ravi Shanker was employed by All India Radio in 1949, that Ravi Shanker was the one North Indian musician who first made the tabla player more visible and gave him the recognition (Zakir Hussein interview), that he learnt to dance and so on. It was also great to see George Harrison in the film.

Contrary to popular belief, Shanker was well known in the West much earlier than the Beatles phenomenon, this fact the documentary underscores well.

Making an impartial and objective documentary about a living legend is a tough challenge. It is even tougher when the documentary maker holds the subjects with reverence. Kidel appears to be one such devotee. Ravi Shanker is placed on a pedestal and the human side presented is unbalanced. Cases in point:

- Only a fleetingly brief mention of his first wife Annapurna and Shubha the son. No mention of the support and sacrifices this great lady and musician made to further Ravi Shanker’s career. This was disappointing.

- While Ravi Shanker elaborated on how he did not get carried away with all the fame, adoring fans and a fawning media, particularly in the West, no mention is made of his other daughter with Sue Jones in the U.S. Norah Jones, the American daughter, is a jazz singer and a Piano player. Norah Jones currently has a debut hit CD “Come away with me.” Jones’ initial success has brought some unwanted attention to her family background. Her father is the Indian musician Ravi Shanker. Jones spent 10 years having no contact with Shanker, but the two have made peace. Shanker has even recently seen his daughter perform.

- It was sweet, almost revoltingly so, to observe the relationship with his current wife (Anushka’s mother) in the film.

- While it was gratifying to see the great father-teacher-daughter relationship between Shanker and Anushka, the almost non-existent relationship with the unmentioned Nora Jones is difficult to accept. This scenario reminds one of the relationship or lack there of, between Julian and John Lennon. A sense of injustice prevails.

This film, while failing at being a realistic and unbiased documentary about a great musician, will still be a good addition to the Ravi Shanker archives wherever these might be.

We whole-heartedly agree with George Harrison when he said at an award show a few years ago, “Ravi Shanker is perhaps the greatest living musician in the world today.”

Bollywood Bound: Review by Ramani Ramakrishnan

We know Nisha Pahuja and all her artistic sensibilities! We published an article by her a few years ago in Kalã that introduced a group of visual artists. We know her capabilities as an Editor, when she and her partners, the Kitchen Collective, published a collection of South Asian writers, aptly titled Bolo Bolo. We didn’t know that she could be a film director. We also know Ali Kazimi and his prowess behind a camera. Now, put these two creative minds together and wave a magic wand - out pops a delicious 80-minute documentary Bollywood Bound. Ha, my favourite pejorative word Bollywood, but one that afforded great pleasure in this instance.

Bollywood always conjures up images of scantily clad actor-wannabes in wet sari scenes! But how it holds the attention of millions, if not billions, of South Asians around the globe! It also provides, unfortunately in my estimation, a sutra (connecting thread) for what is mistakenly perceived as INDIAN KULTUR! Pahuja and Kazimi’s camera enters this milieu and documents the process attempted by thousands of mere mortals to become Stars.

What is poignant about Bollywood Bound is its focus on the seepage of the above process among the South Asians in the diaspora. The documentary systematically portrays the urge to go to Bombay (we shall still call it Bombay to refer to the demi-monde of Mumbai) and make it big on the celluloid screen. Of course, we have the same scenario in the western world (at least in the English-speaking world), to make it big in Hollywood. What anyone would do to become a big Star, a matinee idol! The glamour, the celebrity status, the famous sidewalk in Hollywood and of course millions of dollars!! But do we know about the millions of people who don’t make it? That is the question Bollywood Bound attempts to unravel.

Pahuja chose four individuals who grew up in Canada. But, their sights were clearly set on Bombay and the film studios. Pahuja recreates their experiences, quite deftly mind you, and narrates a wonderfully crafted story. Bollywood Bound is not the stock question and answer variety. She and Kazimi’s camera simply follow these four and let them tell it like it is. The four are - Ruby Bhatia, Neeru Bajwa and the brother-sister team of Vikram and Vekeana Dhillon. Of course, their parents and close kin are also part of this adventure. Pahuja, slowly, but definitely, sets their quests on a firm footing. She begins with their initial identification of Indianness among the Diaspora with the filmy world. Of course, the glamour of it all is also a magnet for this affiliation. They could defiantly wear the desi clothes and prance around amidst their white schoolmates with a modicum of confidence, not available to these four amidst the cold Canadian milieu. Their desire to go to Bollywood was also strongly supported by their parents. From the initial identification to the actual attempts at getting auditions filled with many disappointments are all poignantly caught by Pahuja. Only Bhatia succeeds in becoming a star - that too on TV. The other three are still failures. At least the Dhillon kin have some success in getting some work. Their desire is so strong that even their parents have moved to Mumbai to help them out. C’est la vie!

Pahuja managed to choose four diverse characters to present a narrative tinged with pathos, sadness and some victories. Bhatia, the success story, is the only one who can fathom Bollywood for what it is and still maintain a schizophrenic dichotomy between her professional life and spiritual life (she is an ardent member of ISCON). The Dhillons are very street smart and realize that there is so much at stake, but they are still at the game. Bajwa, the sole dreamer, but with a vacuous head, dresses in tight clothes, hoping to attract that one chance. Bajwa believes that once her sexy (actually quite plump - fits the image of most of the thunder thigh Bollywood extras) Canadian form lands in Mumbai, all doors would open. Alas, it took her more than two weeks before she had a small audition and still refuses to believe that she is just one of a million hopefuls. What a story! What a documentary!

This movie, nee documentary, must become a required study for all South Asians who are outside of India. I am not, per se, against anyone following their heart’s desire and attempting to become a Bollywood star, even though I don’t hold Bollywood to be a role model for anything except for deceit, anti-creativity and pathetic gangsterism. Can anyone deny that a substantial percentage of the money used in Bollywood was obtained through corrupt means, corruption of every kind - moral, spiritual, sexual and financial? But Bollywood exists and homosapiens will be drawn towards it. Bollywood Bound, however, provides a reality check for those dreamers who build sand castles.

NOTE: Bollywood Bound will be shown at Harbourfront, Toronto during the India Festival in August, 2002.