Road, Movie

Dev Benegal, where have you been for the last ten years? It's a question that needs to be asked about a highly-talented director who possesses immense gifts for filmmaking. Dev Benegal's debut feature, "English, August" (1994), won an Indian National award for the Best English film in 1995. With its ultra-cosmopolitan look, "English, August" marked the arrival of the independent cinema movement in India; well, let’s call it the phase-three of indie filmmaking in India. The movie was picked by 20th Century Fox for its theatrical release in India during the time, and it was a box-office success. Benegal's sophomore effort, "Split Wide Open" (1999), still remains one of the most controversial movies released in India. The subject of pedophilia and poverty didn't bode well with the Indian audience, and the movie failed at the box office.

It is interesting to note Dev Benegal's uncle, Shyam Benegal--also a noted filmmaker--is credited with the development of the New Wave Indian Cinema, which started from the period beginning in the mid 70's and ending in the early 80's. In fact, it was Shyam Benegal who single-handedly redefined the parallel cinema that represented the extensiveness of India's ethnic diversity at a grassroots level. Of course, before the arrival of Shyam Benegal, Satayajit Ray pioneered the art of independent filmmaking with his signature style. Mentioning these filmmakers is important because Dev Benegal improvises on the Shyam Benegal's rural backdrop with his own touch of modernism and cross-cultural progressions. Nonetheless, the arrival of Dev Benegal to Indian cinema marked the start of another chapter for Indian independent filmmakers.

Prior to the release of "Road, Movie," Benegal had been working on a number of side projects, but considering the nonmainstream nature of his films, the funding was hard to come by. Perhaps the lack of funding attributed to his long absence from filmmaking. After procuring funding from Western producers (the producers of “Lost in Translation”), Dev Benegal returns to the helm after a ten-year hiatus to direct, "Road, Movie" (2009, and not to be confused with another Bollywood movie, “Road”). Thanks to Tribeca Films in association with American Express, this little gem is now available on DVD.

The film begins when Vishnu (Abhay Deol) is asked by his father to deliver their family truck to a museum. Thereafter, Vishnu embarks on a road trip, trying to find his way through the tough terrain. Along the way, he meets a young boy (Mohammed Faisal), Om (Satish Kaushik), and a gypsy woman (Tannishtha Chatterjee). Soon, they are pulled over by a corrupt cop (Veerendra Saxena), who is bored with his job and has nothing better to do. Vishnu’s truck also carries two forty-year old movie projectors. The corrupt cop learns about this, and tells them that if they play a boring movie, they will be shot to death. Somehow Vishnu and Om find a way to appease the cop and they are free again. Moving along, they are again pulled over, but this time it is by a local water lord (Yashpal Sharma), who steals water from neighboring areas. Vishnu and the water lord work out a deal and they are free again. Finally, unharmed by the cop and water lord, they all reach their destination in time for the festivities.

”Road, Movie” is a hybrid tale touching on various themes prevalent in the Indian’s rural population. On the surface, the film might be perceived as a simple road trip, but underneath the surface there is a lot going on. The film originates in a rural region, and through its characters, director Dev Benegal makes subtle contextual references about India’s overarching rural inhabitants and the country’s dynamic cultural landscape. The main protagonist does want to be tied down to his father’s business. Instead, he desires to break the cultural boundaries and obligations associated with his upbringing so that he can aspire to bigger things. India’s rapidly changing economy has contributed to rural aspirants migrating to urban regions with a hope of improving their livelihoods, finding better employment opportunities, and improving their living standards. Not only this, they want to be the active participants in the economy. Wearing a pair of jeans and a T-shirt, Vishnu has already transformed himself for an urban setting and feels disconnected to his hometown. Nonetheless, with his modern outlook, Vishnu has somehow narrowed the gap that exists in crossing over to an urban lifestyle.

 

As Vishnu begins his journey, we are presented with snapshots of the thriving Indian grassroots economy. With more than half the population living below the poverty line, locally manufactured products and services are the means to one’s livelihood.  The products and services are unique and not offered by any multinational company, and, of course, they are tailored for a particular market segment. Vishnu’s father, Vishnu, Om, and the young boy are part of this underground economy, each representing his own generation. The remarkable age difference signifies different faces of India's working class. Vishnu’s father’s only creation is special hair oil, and the business of selling the hair oil is something he inherited from his ancestors. Obviously, Vishnu is expected to carry on his father's business. The young boy is the youngest worker; with a sharp tongue and keen observation skills, he is quickly learning the skills for making his livelihood by starting off at a lower level in the working class. Om is a handyman who can fix anything from a movie projector to an automobile; he is satisfied with his achievements, and his needs for the remaining time are pretty minimal.

No matter where you travel in India--even if it is a desert detached from the developed cities--the impact of globalization in India is omnipresent. Even though the young boy is working as a helper at a small tea stall, he is fully aware of a multinational beverage company, Starbucks. Further, we also learn the truck is a 1942 Dodge, although the emblem has "Chevy" carved on it. How Vishnu's family got a 1942 Dodge truck, when Chrysler is not big in India, represents a piece of understated satire on globalization. At a philosophical level, the journey through the desert ties all the four characters together. But for Vishnu, the journey opens the door to the self-realization process. Initially opposed to the idea of selling hair oil, Vishnu quickly uses the marketing skills he learned from his father to strike a deal with the water lord. He gradually learns to be respectful, calm, and patient with others, and eventually finds a deeper meaning to his road trip.

The screenplay injects several humorous moments that produce genuine laughter, the dialogue is witty and never dramatized, and the script smartly develops these moments. The characters deliver dialogue with an amazing comic timing, speaking realistically with a mix of regional dialects. The sequences with the corrupt cop and water lord are downright hilarious, and you will surely come back to view those again. While these moments are well developed, the script doesn’t invest much other time in developing its characters. Apart from the minor details on Vishnu’s life, the characters remain underdeveloped for the most part. From a technical aspect, "Road, Movie" features Michel Amathieu's stunning cinematography, which superbly captures the breadth of the dusty Indian landscape. Some of the images are simply astounding as they bring life to the barren desert land. Artistically composed, the shots further enrich the viewing experience.

In addition, the word “movie” in the movie’s name has a special importance, too. Dev Benegal, although not a big proponent of mainstream Bollywood cinema, uses the projectors as a means to highlight how Bollywood is hardwired into the lives of rural people. And no matter how deeply engraved the effects of globalization are on India, it is impossible to decouple Bollywood from people’s lives. When Vishnu and Om successfully mount the projectors, the projected images remind us what cinema can achieve and how it transforms people. Indeed, Vishnu and his troupe’s success story makes for a classic “Cinema Paradiso” moment.

Video:

New Video presents “Road, Movie” in an anamorphic transfer, rendered in an aspect ratio of 2.35:1. The print is clear and sharp throughout. The picturesque Indian landscape is beautifully captured with solid colors. I did not find any issues with this transfer.

Audio:

For this release, we get a Dolby Digital 2.0 Hindi track. The movie is a dialogue-driven affair, and as such it is driven by the two front channels. The dialogue is clear and audible, and the film’s score is satisfying in this track. The movie can also be viewed with English subtitles.

Extras:

The only bonus feature included on the disc is a short interview segment with the “Road, Movie” team. We see the cast discussing the locations, script, and characters from the film.

Parting Thoughts:

Wes Anderson’s “The Darjeeling Limited” presented quirky Western characters against the backdrop of a rural Indian setting, and each character learned something in the process. Likewise, Benegal’s “Road, Movie” is a journey filled with quirky Indian characters, comical situations, and tender moments, set in a sandy region in India. The film surprised me a lot with its simplicity, minimalist approach, and realistic performances all round. While the script lacks depth, it makes up for this with its gorgeous cinematography and entertaining comedy moments. Indeed, “Road, Movie” is the best Indian road trip movie you will see. I can’t recommend this movie high enough.