Latest / Breakdown Besties | Bollywood Screenwriting Podcast / E24: Left-wing propaganda or patriotism?! | Rang De Basanti (2006) Screenwriting Masterclass
Transcript
- Akshay: reality of the film has happened, the first half is a vibes film, you know? Ananya: obviously you couldn't do this in day and age of streaming now. they'll be like, make this one scene. At max, they'll give Akshay: Yeah, Ananya: you one episode. Akshay: It was pretty cool that in an Aamir Khan film some other character was getting so much prominence. it genuinely felt like Am I watching the news from today? Ananya: the blame is being put on foreign forces. Akshay: Again, so real. Ananya: Which is why we also have a lot of trouble blaming our government because then we have Akshay: Hmm. Ananya: to admit that something is wrong. Akshay: they purposely chose characters in the film who belong to all religions also. Ananya: You can relate to characters at an individual level and say that you are me, I am you, and now I understand your story better. Hello everyone, and welcome back to another episode of the Breakdown Besties Podcast. I'm Ananya. Akshay: I'm Akshay. Ananya: And we are your breakdown besties. Combined, we have more than 14 years of experience starting for shows like Mismatched, Wedding.con, Rana Naidu, Ishq in the Air, Grahan, and a host of others that have gotten stuck in development hell, but will hopefully see the light of day one day. With the Breakdown Besties podcast, our goal is to give you a film school experience, one that we have imagined because none of us went to film school. But from the grapevine, we have heard that what they do is watch some of the best movies out there, sometimes some of the not so best movies, and then go, like, okay, in this scene, this is what works, this is what doesn't work, how do we break this down, imitate this in our own writing? We decided that maybe after seven years in the industry, it's time to educate ourselves. So we are bringing you on this journey too. Because why should you pay lots of money when you can listen to us for the price of just your sanity? Akshay: Yeah. Ananya: Cool. And today the movie that we're going to be breaking down is a classic, which is more relevant now than ever, which is why we hope you've clicked on this. Love it, hate it, you have to have an opinion on it. It is Rang De Basanti. Written by Kamlesh Pandey, Rensil D'Silva, Rakesh Om Prakash Mehra, and Prasoon Joshi. This is a veritable galaxy of writers. And yeah, I think they produced something that... It's a feat to produce something so ever green and timeless, right? That is so relevant. Akshay: Totally. Like I when I was watching the film, I remember going for this film watching first day, first show with my sister, okay? Ananya: Mm. Akshay: That released the film on twenty sixth January or twenty fifth January either or on the Republic Day. Ananya: there was a time when this stuff was considered patriotic. wow. Now it's anti-national. Yeah. Yeah. Akshay: Yeah, this was very patriotic. This was very patriotic, yeah. And my sister had an off from work and I was obviously in school, so I had an off. So we went Ananya: Hmm. Yeah. Akshay: and like watched this movie, Fun Republic, I remember. Ananya: Mm. Akshay: and I was very moved by the movie, right? And Ananya: Mm. Akshay: it's still twenty years later. The reality of the film has happened, you know, it feels like that. The incidents of the last month, which like have stayed with us and like this movie like we're doing at the same time, like it really took me on an emotional journey. I'm like, my god, like this exactly happened in real life. This exactly happened in real life. Or this moment, this Ananya: Yeah. Akshay: moment, this moment, you know? The way media bytes were being given about like Who are these kids Ananya: Mm. Akshay: and who are these people, like it genuinely felt like Am I watching the news from today? You know? Like is my Instagram on? Yeah. Ananya: Yeah. Exactly. Exactly. Which also goes to show that I mean, writers are visionaries in a sense, right? You Akshay: Mm. Ananya: have to be able to imagine the way the future will play out if you're on a specific trajectory. Like I remember once in 2021 I was writing a spec, like, for fuck's sake, for myself. And in that, like, I had a superstar character. And in that I'd made like the superstar character's daughter get arrested. To make a point to the public. And then literally one month later, Aryan Khan was arrested, like for all of that. And I'm just like, Akshay: Yeah, yeah. Ananya: wow, did I like write that? Literally write that into like history, into fate, into time. Am I like a witch? Like, you know? Akshay: Yeah. Yeah. Yeah. Ananya: So according to the mushrooms I am. But anyway. Akshay: Wow. Okay. Ananya: Cool. So let's just get into it with the log line. So, what is your log line? Your log line is your film's guiding light. It encapsulates the entire point, the essence of your film in 40 words or less. And this line is essential to have A, for you to pitch, but B also for yourself to be able to write a film that's actually cohesive so that you know what you're writing about. Because sometimes you're on page number 76, and you're so deep in a scene, like how do I play this out, or the techniques and mechanics I can use to make this more interesting that you forget why you're writing the scene in the first place. Like, what's the point of this scene? And that point can be found in the log line. That's where it's all written down. Now, why is this so effective? Because the log line contains four essential elements which your movie must have at every level, let be sequence, let be scene. Let it be dialogue just needs to be encapsulated in everything, if at least in spirit, if not in every like tangible element. And these four elements are the first is your flaw, need, block, wound, or limitation. This is essentially something within the character. This is something that's holding you back. This is something that has kept you in the status quo and not allowed you so far in your life to achieve element number two. Which is your goal. Now, your goal is the whole point of the film. It's why we're watching it, it's why your audience has bought a ticket. They're like, okay, they're gonna go on this journey to achieve this goal. So I'm gonna go follow them on this journey. Third is your conflict. Your conflict is essentially an external manifestation of your internal first element: flaw, need, block, wound, whatever it is. So let's say you're a coward. Your external manifestation of it will be a lion. So you have to keep fighting that lion. It is that fear that you have to get over. This conflict challenges you to overcome your need or block or wound so that you can keep making progress and get one step closer to your goal. And finally, you have stakes. Stakes are what your characters will lose should they not achieve their goal. It is not simply not achieving their goal, it is taking it one level lower than that. So my log line of Rangade Basanti. A group of students decide to take on the corrupt government forces to avenge the death of their friend, no matter what it costs. Akshay: Yeah, perfect. Very cool. Ananya: Right. Akshay: Yeah. Ananya: Yeah. So the four elements are first your limitation, which is the fact that they're students. So Akshay: Mm. Ananya: automatically they are at the bottom of the pecking order. It implies Akshay: Yeah. Ananya: that they have limited power, they have limited resources, all of that, right? Then the goal is to avenge the death of their friend. This is what they're going after. And the conflict is corrupt government forces because Akshay: Mm. Ananya: the students are at the bottom of the pecking order, and these guys, the government is automatically at the top. So they're corrupt, they will use any means necessary, and that automatically contradicts the innocence of the students, the intention, the purity, everything that they're going after. When the government says, "you're protesting against us!" the students, respond, "no, we're fighting for the truth." so Akshay: So Ananya: that is the innocence with which they're going, that they believe everything can be better. And this government Akshay: Yeah. Ananya: is only concerned with like their own needs. Akshay: Mm. Ananya: And finally, stakes, no matter what it costs. So it does end up costing them all their lives at the end of it. Akshay: Mm. Mm. Ananya: But they know that the cause is bigger than themselves. In fact, even the goal, which is avenge the death of their friend, snowballs into something much bigger, right, as the movie progresses. It is about Akshay: Hmm. Yeah. Ananya: corruption. It is about putting people in their place. It is about having a country you're actually proud of. Akshay: Yeah. Ananya: Cool. Hero's journey next. Akshay: Yes. Ananya: Yeah. What is your hero's journey? Your hero's journey is the structural spine of your film. Why is it the spine of your film? Because the journey that every hero goes on. Let it be the journey inside of you when you personally are setting out to go and achieve a goal. Or it is the journey you're seeing on screen has certain emotional beats which you are going to meet. In real life, you meet them in an order that's a little out of order. Sometimes you meet a mentor a little late in your journey, you decide that okay, I can't do this, you go two steps back, you come three steps forward. But because your film is a limited, constrained space, you need to provide this journey more cohesively in a manner that your audience's brain Akshay: Mm. Mm. Ananya: actually experiences an emotional roller coaster for the two hours that they're sitting in their seats. Your hero's journey provides these turning points to you. Whether it is crossing into the new world, it is understanding who your friends and allies are, this hero's journey will take you on that journey to make Akshay: Yeah. Ananya: sure that the goal is finally achieved and you experience what it's like to be on this path of achieving this goal. So if you're ever wondering whether my script is making sense, does it follow like does it have a story in there? I'd say write the story as it comes to you because we all have an internal innate understanding of what it's like to be told stories. I mean that's how human beings have survived all Akshay: Mm. Ananya: these years. But then cross-reference it for the sake of cohesion against the hero's journey. Just to Akshay: Yeah. Ananya: make sure that your emotions are logically placed so that you're experiencing Akshay: Mm. Ananya: it, how it's meant to be experienced in a manner that the human mind, an audience's mind, can comprehend it and go like, yes, that makes sense. Akshay: Yeah. Yeah. Ananya: Great. So, first beat of the hero's journey is the ordinary world. Now, in the ordinary world, you see the characters for who they are and why they haven't achieved their goal yet. What is their flaw? What's stopping them? What are their circumstances like? Essentially you set up the five W's of any scene, especially in expositional or introductory scenes, which are the where, what, why, when, and what's the fifth one? I always forget the fifth one. Where, what, when, why? Akshay: When, where, what, why? Ananya: It's who! Who, yes, your characters, yes, who. So you set all this up. And essentially lay get like a lay of the land of the ordinary world of the world before they cross into the new world. Right? Akshay: Mm, mm. Ananya: Now, in Rang De Basanti before I get into what I think the ordinary world is, I want Akshay: Well. Ananya: you all to keep the log line in mind. Okay? Akshay: Hm. Yeah. Ananya: The log line is a group of students decides to take on the government to avenge the death of their friend. That is the goal. That is when the real mudda of the story kicks in. Akshay: In yeah. Ananya: Right? So, up until we get that call to action, that whole bit is your ordinary world. Akshay: Yeah. Ananya: So, in this film, your whole bit from Sue, who is the journalist who leaves everything, comes to India to want to like shoot this documentary. To the documentary shot, to Madhavan's character dying. Akshay: Mm-hmm. Ananya: All of that is the ordinary world. Now, right? Akshay: world. I agree. Yeah. Ananya: Ordinarily, ordinarily, I would divide this into two heroes' journeys, right? And say Akshay: So Ananya: that, okay, this is the first half hero journey, the second half hero's journey. And we've Akshay: Okay. Ananya: done that in several films. But over here, the first half doesn't have that much of a journey. It can be Sue's journey. It's Sue's story. Akshay: Yeah. Yeah. Ananya: Okay, that, you know, her she her ordinary world is the newsroom, and then she gets, you know, she quits her job, blah blah blah. But we don't care about her story. She Akshay: Yeah. Ananya: is simply a catalyst, she is a mentor figure of some sort who comes here because of the documentary but we care about the boys, we care about Aamir Khan and Siddharth and Madhavan and all of those characters, right? Akshay: Yeah, yeah. Yeah. Yeah, the film Ananya: So Akshay: the filmmaking had no impact on this. I think the only one streak the film made it, which was that the nature of the rebellion increases. I think if they hadn't lived that life, they wouldn't have done this. Ananya: Yeah, exactly. No, no, it's true. It is the whole Akshay: So that's again me hypothesizing, but Ananya: first half is these kids who are essentially... they're kids, right? Like Aamir Khan's character is really Peter Panning. So and he says that too. He's like, I am afraid Akshay: Yeah. Yeah. Ananya: to go out into the real world because everyone thinks I am going to be someone and I'm scared that I will be nobody in the real world, right? Akshay: Yeah. Ananya: So it is filling these idealistic, chill, hopeless, like coasting through life kids. Akshay: Yeah. Ananya: With a sense Akshay: Yeah. Ananya: of, you know, there are things bigger than you which you need to fight Akshay: Yeah. Ananya: for. So they need to experience getting into the skin of those characters, of those rebels, of understanding Akshay: Mm. Ananya: what like being part of Jalianwala Bhag must have implied. All of that. Akshay: Mm. Ananya: Because that's what acting is, right? Essentially, disregarding Bollywood and all its actors. Everything you do is Akshay: Mm. Mm. Ananya: basically to step into the character and understand realities of someone's situation. It's kind of meta in that sense, where why Akshay: Mm. Ananya: do we tell stories, right? Because it's so easy to say, Acha, this person is good, this person is bad. But when you get into the heads of these characters and you Akshay: Mm. Ananya: live out their lives, you have a more innate understanding of the complexities of their human lives. And Akshay: Mm. Ananya: this is what happens to them. Instead of thinking that these were just some brave people who lived in a different time. Now they have Akshay: Yeah. Ananya: lived in their skin, they've understood those emotions, they have become those people. And Akshay: Mm. Mm. Ananya: becoming those people on screen has made them become those people in real life too. They have imbued it. So now Akshay: Yeah. Ananya: the whole point of that, no, very like obviously you couldn't do this in day and age of streaming now. It Akshay: Yeah. Ananya: is absolutely, they'll be like, make this one scene. At max, they'll give you one episode. But they're like, get to it. But here Akshay: Yeah, yeah, yeah. Ananya: they have used the full first half of the movie. Akshay: Yeah. Ananya: To build up these characters, to have them go on a bit of a mini arc of sorts, of Akshay: Phew. Ananya: an internal arc. I wouldn't say an external arc, because that is the second half of the film. Akshay: Yeah, yeah, yeah. Ananya: But they have internally had that fire in their belly, in their chest, been lit by living the lives of these rebels. And that is my TED talk. Akshay: Totally. And I also think it has something to do with the tonal choice the film wanted to make, right? Like they didn't want it to be a serious heavy film, which it eventually became. That's a s separate thing. Ananya: Mm-hmm. Yeah. Akshay: But they wanted to disarm the audience with comedy, with lightness, with friendship, with youth, with vibes. Like I always think like Ananya: Mm. Akshay: it's the first half is a vibes film, you know? Ananya: Yeah. Akshay: Then you try and make a point and tell the actual story, which like, you know, which they did do in the second half of the film. So Ananya: Hm. Akshay: and I think this was a liberty which we got which Bollywood got back in the day, right? Like because we Ananya: Mm. Akshay: were we're probably one of the only few countries in the world who have a narrative break, right? Like we have the interval Ananya: Hm. Akshay: that doesn't exist in most of the world cinema. So Ananya: Mm. Akshay: we are given the liberty that, let your audience be and let them enjoy in the first half. Let them go out for a break Ananya: Yeah. Akshay: and they come back and then you can like bring home the point. So Ananya: Hmm. Akshay: I think that was a great liberty which we got. Ananya: Yeah. Great. Okay, so now that we are aligned on what the ordinary world is, let's go into the call to action. The call to action is essentially you are being called to take action towards your goal. They're saying, come come, you haven't worked on it so far, but now is the point for you to jump in and take some action. This happens when Madhavan's character Ajay who is the Navy pilot dies in an MIG crash, because the machinery was faulty. But the minister says that it is all these rookie pilots who would have a lot of like hot blood and are flying rashly that lead to these accidents. I take no blame over here. And that is when that's your first call to action that do something about this, right? Akshay: So Ananya: And I wouldn't say there's a refusal of the call per se, because they don't refuse to do anything, but there is a meeting the mentor moment, and Akshay: Hmm. Mm. Ananya: it's all happening in one sequence. So refusal of the call is essentially when you say that no, I can't achieve this goal, they're asking too much of me, or someone else tells you that listen is too dangerous, don't do this, and then you meet the mentor. Your mentor is essentially someone who's been on this journey that you're going to go on. And they say that, okay, you know, here is the sword if you want to slay the dragon, and I will help you do it and give you all the knowledge. Right. I think the structural mentor comes in the form of you know, when the two naval officers come and they deliver Madhavan's belongings, and everyone is opening it and In the background, also the news is still going on and this rookie Akshay: News is going on. Hmm. Ananya: line is being said. So together this acts as a call to action, as a mentoral push, mentoral I don't know if that's a word, push. Akshay: Mm. Ananya: And all of that kind of happens together. So you have this scene, which is the fire being lit in their belly and saying that something needs to change now. Akshay: Yeah. Ananya: Great. And then you have crossing the threshold. Crossing the threshold is when you take a definitive step into your new world and you say that, okay, after this point, there is no going back. I am going to achieve my goal. I am going to avenge Madhavan's death. This is when the protests begin. There is a peaceful protest being done at India Gate. Akshay: in their gate. Ananya: And they say that okay, they are putting the blames on our pilots, but that's not them, it is the mantris, they need to answer, etc. And the mantris as they do in our government, lose their shit. Oh my god, my power is being questioned. And LATHI CHARGE! Akshay: Lottie charge. Ananya: Spare no one, go right at it. It turns violent, but there is no going back from this. This is crossing the threshold. They have crossed the threshold into the new world. Then you have tests, allies, and enemies. This is when you get a lay of the land of your new world, you see what tests you're gonna face, who your allies are, who your enemies are going to be. Now, because we have such a big ordinary world sequence, a lot of this has already been established. So you don't have to go back and kind of establish it in this new world. It has kind of been set up. You know the government is bad. You know that Lakshman Pandey's character who was part of the BJP, whatever ruling party they have there, the government is now over here, like becoming their ally. You see all of them becoming friends again. You see so that's it's a small test allies and enemies sequence. Akshay: Mm. Yeah. Ananya: And they finally come to this as they battle all of that, as Madhvan's mom is in the hospital because she was lathi charged and beaten down badly. They decide that we are going to kill the mantri, the defence minister, for doing this, right? And then you have the approach to the innermost cave. So if your goal is slaying the dragon, over here you enter the dragon's cave and you approach them. And over here it is killing the mantri. It's a quick sequence where it's played fast, played out fast, and the mantri is killed. Akshay: Yeah. Ananya: Right? Then you have the ordeal. Okay, great. You've tried to kill the dragon, but now the dragon was only a front. Everyone else, all those forces are coming after you, and you have to deal with it. That is your ordeal. Over here, the ordeal is that the mantri is actually being like crowned a hero. Akshay: Yeah. Ananya: He's He's called a martyr and it makes everyone angry. All these krantis, all these students, they're just like, what the fuck? He was no hero. And you see that the blame is being put on foreign forces. Like what has happened? Blah blah blah. Akshay: Foreign funding. Again, so real. Ananya: And then they decide that the people need to know the truth, you know. That they again learn from all the stories of Bhagat Singh and Chandrashekar Azad that you know, the only way to fuel this movement is to let the people know that no, we have done this because we had certain intentions, not some foreign forces doing. This Akshay: Mm. Ananya: is people from your own country who want justice, who want things to be done the right way. And clearly using peaceful protests didn't get us that. We tried. And it's like You know what I love is whenever like this is happening in India and this is happening in every country in the world, like with Israel and Palestine, they're always just like, but Hamas started it. And I'm like, yeah, they started it because when someone, a structurally powerful force, is constantly bombing you, there are going to be rebel forces who are also going to pick up arms. And that is Akshay: Yeah. Ananya: also literally all of Star Wars, right? And this has taken up Akshay: Yeah. Ananya: a lot of internet discourse that how Star Wars is essentially the story of the underdog. And there you're supporting Luke Skywalker. Akshay: Yeah. Ananya: But in real life, when it happens, we have such a crisis of like admitting to ourselves that the powers that we have elected, because we want to believe in the good of the world, are actually not in our favor. So even we have to be as bad as them. But that Akshay: Yeah. Ananya: is a reaction, not an action, and we have to be really cognizant of that. Akshay: Yeah. Ananya: And that's also what they're doing in this film is that look, we are picking up arms because arms were used against us. That this is not an option we have anymore. We are forced Akshay: yeah. Ananya: to be like turned into rebels. No one actually wants to do this, you know, but sometimes you have to fight fire with fire. There is no such Akshay: Mm, yeah, yeah. Ananya: thing as peace. Even a protest Akshay: Mm. Ananya: in itself, while it's peaceful in the sense of not taking up arms, it is meant to inconvenience, it is meant to cause trouble. Akshay: Yeah. Ananya: So, and that's the only way, because the government has to choose, right? You're putting the government in spot where will you inconvenience the rest of your citizens because your ego is so much bigger than that? Like, Akshay: Yeah, yeah. Ananya: what are you here for? Are you here to serve the people or are you here to serve your own ego? Right. And if your citizens Akshay: Yeah. Ananya: are inconvenienced, will you serve them first? But it's Akshay: Yeah. Ananya: always somehow the rebels that are taking all this shit. And that's why I think movies and movies of this kind are so important because it allows you to not see them as a homogenous group of students with who are like airheaded and just like not able to look at complexities. Akshay: Yeah. Ananya: You can relate to characters at an individual level and say that you are me, I am you, and now I understand your story better. Sorry, lots of TED talks in this. Akshay: Yeah. And no, that's great. And props to the filmmakers for this. Like they purposely chose characters in the film who belong to all religions also. Like that's such a conscious choice. Right? Like they're not trying to play the religion card. They're not trying to play minority majority card. No none of it. It's a very structural Ananya: Mm-hmm. Akshay: question on justice. That's all it is, you know? Like Ananya: Yeah. Akshay: and what you deserve. You want that, essentially. That's all. Ananya: Exactly. Yep. Yep. Cool. And then you have the reward. The reward is where you are, okay, now the ordeal has happened, you've realized that all the shit is behind you. You finally get a moment with your prize. You get to do what you want to do. You get a breather. And this is when they take over the All India Radio office and they announce to the world that look, we were the ones who killed the mantri and this was our intention. Behind it. No foreign forces were involved. Then you have the way back. The way back is okay, now you've gotten what you wanted, you're walking home with it, but there are monsters still on your path. This is not a consequence-free road. There are going to be thieves on the road trying to take everything away from you. And this is when they are fighting for their lives. Now that they have gone and announced to the world they've done what they wanted to do, the police are coming after them, and they are literally trapped in the All India Radio building, and they need to figure out what to do and how to fight for their lives. And then you have, and at the end, they're all killed. Akshay: Yeah. Ananya: They are all killed, and you have a moment of resurrection. A moment when Siddharth's character on the radio says that You know, everyone is saying that, you know, this is India, we can't be helped, it's a messed up country. And he's like, the country is not gonna be perfect, but we can improve Akshay: Mm. Ananya: it. We can work on making it perfect. And that Akshay: Yeah. Ananya: is their moment of resurrection, where despite the fact that they're all being taken out like, you know, one after the other, they have a moment to say their piece, to say why they're fighting. Right? Akshay: Ooh. Yeah. Yeah. Ananya: And finally, you have the return with the elixir. This is now you are back into the old world, but now you are a new person. Of course, none of our characters make it back into the old world, but the old world has changed. They have all Akshay: Mm. Ananya: consumed this elixir, and now Akshay: Yeah. Ananya: everyone is saying that, you know, we will fight, we will fight the good fight, and we will make Akshay: Yeah. Ananya: things right. Akshay: We'll not let this go to waste. And yeah, Ananya: Ways Akshay: and that was important. Ananya: Shall we go into theme next? Akshay: Let's do it. Ananya: So, what is your theme? Your theme is the whole reason you became a filmmaker, the whole reason you are mastering your craft. It's your belief and idea of the world. As Akshay: Yeah. Ananya: an artist, like we were talking initially, writers are visionaries. You have Akshay: Mm. Ananya: an idea of the way the world should be, of the way it should look. You want life to be a certain way. And your art is nothing but a medium to convince people of that. Akshay: Mm-hmm. Ananya: Through your characters, through your stories, by putting in the shoes of the individual and not of this homogeneous blob with you know, black or white and no shades of grey. It allows Akshay: Hm. Ananya: you to experience your point of view. It allows you to help other people understand it and win them over through this experiential medium. Right? Akshay: Hmm. Yeah. Ananya: Now in film. Because it's a journey of taking people on this journey of understanding your point of view. We almost frame it as a dramatic question, right? And your question will ask the audience that okay, is it this way or this way that's true about living your life? And by the end of the film, you would have answered that. Over here, the theme is that should you should you run away from all that's not working for your country, or should you stay and fight the good fight, even if you will not be able to see the rewards of it, right? Akshay: Hmm. Ananya: It is very evident, it is very obvious. Now, I have lots of things on this theme to talk about. Akshay: Hmm. Ananya: The first thing I want to talk about is a thematic scene where Akshay: Hmm. Ananya: early on it is established what your theme is. And we see this in the scene when they're all at DJ Aamir Khan's parents' house. And they're having lunch, and there's a conversation between Siddharth and Madhavan's character. And Akshay: So Ananya: Madhavan says that, you know, he's like, I will die for my country. I have no problem dying for my country. And no country is perfect. But you have to keep making it perfect. Akshay: Hmm. Ananya: And Siddharth says, bruh, I am getting my degree and I'm fucking off from here. Bye, I'm out. See ya. Right? So that automatically establishes the question that which is the correct way. Of you know living your life, what should be done. Akshay: Hmm. Hmm. Ananya: Now, obviously, we know what this film is about, but the reason we know what this film is about is not just because we've seen it and it's 20 years old, it is because Akshay: Hmm. Ananya: in the opening, the first few lines of the film are like "now if your blood doesn't boil, it's not blood but water. If you don't act on this emotion, your youth is wasted on you." Akshay: Yeah. Ananya: So, right up top, the movie establishes its values for you. So you know which side is going to win. And because Akshay: Yeah. Ananya: heart of hearts, we're all idealists, right? Which is why we also have a lot of trouble blaming our government because then we have to admit that something is wrong. And we want things to be right. Akshay: Hmm. Yeah. Something is wrong also with the choice we made was wrong. You know, like yeah. Hmm. Ananya: voted poorly in this election and we hate admitting to our mistakes, right? Akshay: Hmm. Yeah, yeah. Ananya: And we hate seeing that something is wrong. But Akshay: Mm. Ananya: the film up top tells you, like it gives you this idealistic version of the world. Kind like you have to be angry, you have to fight the good fight. And we all want to believe that we are people who will fight the good fight. Akshay: Mm Ananya: So this is what the theme of the movie is. They tell you up top, we will frame this as a question, but you Akshay: Mm. Ananya: have to get on board with the fact that this is the direction in which we are going. Akshay: Taking Like this is a radical choice we're making for the film, and you have to come on board with this. Ananya: Film. Exactly. This is the journey. You can hate it, but this is the journey we are going to be taking. And then you have the thematic character. Akshay: Hm. Ananya: This is the character who goes through the arc, which is representing your audience. Your Akshay: Mm. Ananya: audience is essentially the everyman. It's you and I, it's people like me who are sitting in Mexico and being like, you know, there are problems in this country. I am going to leave. There is no way I can, you know. Fight this good fight. My life is too precious to me. It's too dangerous. I will lose all my privilege. But Akshay: Hmm. Ananya: this character essentially learns that no, it is worth fighting the good fight at any cost. And we can say Akshay: Mm. Yeah. Ananya: any cost because this is Siddharth's character who wants to leave India at the beginning of the film. Even in the middle, his dad gives him an out. He's like, Tturn all your friends in. You know, I Akshay: So Ananya: will protect you. You just leave the country tomorrow. Akshay: Mm-hmm. Ananya: And at the end of it, he's the one. He's playing Bhagat Singh in the alternative timeline in the Akshay: Yeah. Ananya: documentary. He's the one who makes all the announcements on the radio. He's the one who stays. And he's the one who kills his own father because Akshay: Yeah. Ananya: he says that what you're doing is wrong. You are the reason my friend has died. The Russian parts that you provided to the MIG that led to all of this. And I will Akshay: Yeah. Ananya: stay and fight. People like you are a problem. And Akshay: Mm. Ananya: this is your thematic character. So when you have a film that is making such a radical decision and you want though these things are not radical, they're basic human rights. But Akshay: Mm-hmm. Ananya: when in this day and age you want to say these things, you need Akshay: Mm. Ananya: a character who the audience absolutely understands and is like, yeah, this is me. And when they experience that change, when this character experiences the change, the audience is also on board because they felt represented and they feel like if they can become this person, maybe I Akshay: Mmm. Ananya: have what it takes too. And this is Akshay: Hmm. Ananya: your thematic character. Akshay: Yeah. It was pretty cool that you know like in an Aamir Khan film like like some other act like character was getting so much like Ananya: Yeah. Akshay: prominence. Like it was pretty cool. Yeah. Ananya: Hmm. Yeah, for sure. Let's get into the tone of the film next. Akshay: Okay, so I wanna start with this choice that they've made that we wanna tell the story of these kids, these students, Ananya: Hmm. Akshay: these youngsters who have this like major like event happening in their life, right? Now, this could have been a s one contained film in its own way, right? But they also wanted to juxtapose this with the freedom struggle of the past, right? Now this is a clear tonal choice that the film is making. That Ananya: Mm. Akshay: history repeats itself. This was 100 years ago, probably less like 70, 80 years ago. And Ananya: Yeah. Akshay: now the cycle repeats. They could have again made it like a that film a separate film, this film a separate film. But this is a very tonal choice that even though this is a story that people already know, the story of Bhagat Singh, the story of Chandrashekhar Azad, but we want to make it a little bit we give it, want to give it a modern twist to it. Like Ananya: Hmm. Akshay: it's not just a story of the past. No, this can the story continues to live in the present, also. So Ananya: Hmm. Akshay: the way they've done is by making a movie in the movie, which is like there's a documentary Ananya: Yeah. Akshay: happening, and they try and like predict almost foreshadow, like this is what happened then, this is gonna happen now with these people. Now, Ananya: Hmm. Akshay: it could have been a very heavy film with this tone but like we mentioned earlier, the first half is focused on disarming the audience with the youth and the vibrancy of this youth. Right? Like they gave a lot of cultural moments to the people of our country. Like, you know, driving around India Gate, you know, like saluting the national flag at night. And Ananya: Mm. Akshay: but at the same time they showed it in a completely different light. Like either they were drinking the whole time, they had this brazenness which the youth hadn't seen on Indian screens before, right? Like we had like Ananya: Yeah. Akshay: like very tame, youthful characters, like say Jaane Tu Ananya: Hmm. Akshay: Ya Jaane Na or Kuch Kuch Hota Hai. Like they were all sweet, cute, pretty people. But like this was the first Ananya: Yeah. Akshay: time like they showed like what rebel-- the nature of rebellion in like youth. Even Ananya: Hm Akshay: though they were all rebels without a cause, but they eventually Ananya: Yeah. Akshay: became rebels who had a cause. So I thought this tonal choice was very interesting and definitely Ananya: Mm. Akshay: like worth talking about because it it could have been a very different film, very serious film. And there is Ananya: Mm. Yeah. Akshay: one scene which completely changes makes that tonal shift, which is the when they come to know that Madhavan's character has died. So Ananya: Hmm. Akshay: before that, if you will notice, every scene has humor. Either they will end the scene with humor, start the scene with humor. Ananya: Hmm. Yeah. Akshay: Even the most complicated, most conflict-driven scenes will have humor in the end. But after that Ananya: Hmm, hmm. Akshay: scene, comedy becomes very minimal. It's almost Ananya: Hm Akshay: sad whenever comedy happens, even in those moments later on. So, this Ananya: Yeah. Akshay: tonal choice was very needed for this film because they were talking about important things. But they wrapped it up in this garb of comedy so that like it is more accessible to Ananya: Hmm. Akshay: you and it also makes a larger than life film, not just a very topical film. Ananya: Definitely. And what it also does is now this is kind of seguing into character creation. So let's also go there while we're here. Akshay: Sure. Yeah. Ananya: Is when you have a character, let's go into Aamir Khan's character creation, right? He's introduced up top as fearless. Like you see him at this height, he's drinking, all of that. But he's also playful, he's super playful. And these are characters who are much easier to get invested in. Akshay: Hm, yeah. Ananya: So if you're going to again support them in the second half of the film where everything is serious and grim, you need to give me a character who I can actually bond with initially. Because Akshay: Mm. Ananya: let's be real, like you walk into a room and you see everyone is serious. Especially the first time you're meeting someone, right? That's the first time you meet these characters. Akshay: Hmm, see. Ananya: First time you walk into a meeting room. If everyone is like this in serious, you are not gonna feel comfortable enough to open up. You will not let Akshay: Yeah. Ananya: your guard down. You will not listen to what other people have to say. Akshay: Mm. Ananya: But if they're easygoing, they're chill, they're playful, you also feel like you can be your most vulnerable self around them. And that Akshay: Yeah. Ananya: is what they've done over here. They've let you lower your guard and created Akshay: Yeah. Ananya: these characters who are chill and fun and playful. So that later on, when they get serious, you're like, okay, Akshay: Mm. Ananya: you're not like this boring, serious like person all the time. So I will now get Akshay: Well Ananya: on your side. So it's very careful in choosing this also. Right? Akshay: Mm, yeah. Ananya: And that's how they've created Aamir Khan's character essentially. He's fearless. We like characters who are fearless because we Akshay: Yeah. Ananya: want to be fearless in our day-to-day lives. We love people who are playful, who are fun, who don't take themselves too seriously. Right? Also there is character depth. There's character layering created here in one scene, where he says that I am scared that I will go into the real world and I'll be a nobody, you know? Because everyone's Akshay: Mm. Ananya: expecting these grand things from me and I can't deliver. Akshay: Yeah. Ananya: I'll be like a small fish in like the sea. So Akshay: Yeah, fine. Ananya: this is creating Aamir Khan's character. I also want to give like a quick shout out, honorable mention to Sue's character because the film does open with her, right? Akshay: Mm. Yeah. Ananya: So and A white person character in this essentially could have gone very wrong because you know, playing White Savior, White Savior complex that I am going to come to India and I am going to like fix everything, you know, I'll make this documentary. Yeah, because these Indians can't do it themselves. Akshay: Solve you, huh? Yeah. Yeah. Ananya: So again, you have to kind of create a character that your audience is invested in. So Akshay: Mm. Ananya: what they've done for Sue's character is that A, she is one, she's taking Hindi lessons for two years. Akshay: Mm. Ananya: So She puts her at the same level as your other characters. I know obviously Akshay: Mm. Ananya: that is done because this is a Hindi movie and they need the character Akshay: Movie. Yeah. Ananya: talking in Hindi. But from a character perspective, it shows humility. She doesn't Akshay: yeah. Ananya: go into like, you know, because I live in Mexico, I can say this, all the gringos come in here and they want everything in English, right? They refuse to learn Spanish or they learn it poorly. It's very performative. And that is also in a country like India where these white people come and they're like, now talk to me in English, which we can. We have to Akshay: English, yeah. Ananya: it's one of our official languages, but she Akshay: Mm-hmm. Ananya: has the fact she's comes down to not comes down, but she is at our level. She doesn't pretend to be higher than that. So there is humility there. Akshay: Levels, yeah. Mm mm. Ananya: Second is that she's ambitious, even though the funding is cut for her project, she's like, I will be scrappy and do this on my own because this is important to me. Akshay: yeah. Ananya: Third thing is, she doesn't take anyone's shit. So when Akshay: Yeah. Ananya: she is walking into the college campus and this dude is just like which country? She's like, India, I hope. So she's Akshay: huh. Yeah. Ananya: not here, she's not gonna take your shit, she's not weak, none of that. Akshay: Yeah, yeah, yeah. Ananya: And the fourth thing is she's also playful, you know, like. Akshay: Mm Ananya: So when Amir Khan is flirting with her and all, she also plays with him a little bit. She doesn't reveal that she speaks English, that she speaks Hindi and stuff. Akshay: Indeed. Yeah. Ananya: So she can take a joke. She's not uptight, you know, she can take a Akshay: Yeah yeah. Ananya: joke on herself too. So this is why we like her. So I think Akshay: Mm. Ananya: that was special mention to this character. And later on, special mention to the writers, is that when the kranti, you know, happens, she has taken a backseat. Her character has taken Akshay: Yeah. Ananya: a backseat. They have not shown her involvement. Akshay: Mm. Ananya: And that was a very conscious choice because they're like Akshay: Yeah. Ananya: we again do not want to show White Saviour complex. Akshay: Yeah. Totally, totally. And what I like about her character, like and this is a c thing about the film also, like, it doesn't villainize anybody but the system. Right? Ananya: Mm-hmm. Akshay: Like in the sense that even the most right wing of the character, you know, like who stops these people, who who is the literal antagonist for our protagonists in this story, he Ananya: Mm. Yeah. Akshay: also like gets disillusioned eventually. You know? Ananya: Yeah, yeah. Akshay: And our characters get disillusioned in their own way. She Ananya: You should Akshay: comes from this lineage of her grandfather who used to be this British officer who like sort of like caused atrocities on our Indian soldiers. Like right? But that even that Indian soldier is given a little bit of depth. Now Ananya: Hmm. Akshay: where like he hates doing that. Like he's hoping these Ananya: Yeah. Akshay: Freedom fighters will eat because he doesn't want to torture them, you know? The British officer. Ananya: The British soldiers, yeah. The British guy, yeah, yeah. Akshay: Yeah. And I know that's a very I don't know, a little bit like holier than thou writing, which is like it Ananya: Yeah, yeah. Akshay: is a problem, but if in a strict realm of seeing the film in its own way, Ananya: Hm. Akshay: like forget this is real in some way, but like Ananya: Yeah. Akshay: giving the kind of depth each character should deserve. Like, Ananya: Hmm. Akshay: don't force your ideology on each of them, like how you see Ananya: Hm. Akshay: them, but literally put that character in their own shoes. I think that's an interesting exercise one must try and achieve in their writing. if Ananya: For sure. Akshay: you can grade, you know, although Ananya: Yeah. Akshay: in today's time it won't be received well. But Ananya: Hmm. Akshay: that's a risk you as an artist can take if you want to, you know. Be bold. Yeah. Yeah. Ananya: Yeah, be bold. Like, you know, don't be a Bollywood actor. Like be a writer. Akshay: Yeah. Yeah. Ananya: And also from a technical standpoint, the reason he was given that layer was not to serve his character, but to serve Sue's character. It's so that Akshay: Yeah. Good, yeah. Ananya: otherwise, if her dad, uncle, whoever he is, was so black and not grey, Akshay: Yeah. Well Ananya: she wouldn't have had the diary and she wouldn't have had the inspiration to come and make this. It's only because he was able to look at the complexity of the situation. That she was motivated to do this. Otherwise, that diary wouldn't have existed. The man wouldn't have even had these two, like these inner conflict. But the Akshay: Yeah. Ananya: inner conflict was what created the diary, which is what motivates Sue. So you can almost reverse engineer this to say that what motivation does Sue need to come Akshay: Yeah. Ananya: and make this documentary in India. Akshay: Yeah. And in some way, that's also the complexity of her grandfather's character. Like he also chose to be a soldier for his country. Right? Now, Ananya: Yeah. Akshay: again, he was fighting a more systemic battle more than anything else. Right? Like he Ananya: Yeah. Akshay: forced to make this happen. So again, he's again a pawn in this bigger game, right? Like so s it's Ananya: Yeah. Yeah. Akshay: it's it's the war. The concept of war continues, right? Ananya: More. Yeah, more. Yeah. Yeah. Akshay: It's it was very interesting a choice to me and I really appreciated that. Ananya: For sure, yeah. And this we've talked about this in OMG also, right? When you asked like what's the difference between like the godmen and Paresh Rawal's character who is just selling idols using the same story. And we talked about like Jeff Bezos and someone working at Amazon. And it's Akshay: Hmm, hm, hm, hm, hm, hm. Ananya: the same thing here where he is a pawn in the system, as you said. He's someone working Akshay: Mm. Ananya: at Amazon. But again, and this came up even during the Delhi riots, right? When the Akshay: Mm. Ananya: all the police officers and stuff were firing without their badges They're like, you as a person still have a conscience because, Akshay: Mm. Ananya: like, I was just following orders is not an excuse. Akshay: Yeah. Yeah. Yeah. Ananya: So it is understanding where our fear of survival as a human being comes from, which is again ties into Siddharth's character, which is Akshay: Mm, correct. Hmm. Ananya: just like I want to leave the country, or I will work at Amazon, or I will be Akshay: Yeah. Ananya: a police officer taking orders, to Akshay: Mm. Ananya: becoming someone who says that, okay, no, I am going to be someone who realizes that fighting the good fight is the point of life, even if I don't Akshay: Mm. Ananya: get to benefit from this. So it is leaving your job working for like Evil Incorporated. It is you know, leaving it is choosing to not be a person, a general in that war, which her father slash uncle is not able to do. Akshay: Yeah. Ananya: But it is choosing to be Siddhart's character who takes it one Akshay: Mm. Ananya: level further, not just stays in India but kills his father. Akshay: Father, yeah. Ananya: These are the choices that they have shown very clearly. Akshay: Yeah. And I like that the film offers a range of characters and like emotions and like Ananya: Yeah. Akshay: sides they choose, the morales they want to like be associated with. Ananya: Yeah. Akshay: I like that about the film. Ananya: Definitely, definitely. And you mentioned the character of the right winger, right? If the actor's name evades me, but Lakshman Pandey. Akshay: Mm, hm, hm. Ananya: And I really liked this character, and we've seen them before too. And I don't Akshay: Mm. Ananya: know in which movies or anything, but I'm gonna break this down here for us. Because even he has an arc, right? He's Akshay: Yeah. Ananya: a right winger. He essentially infiltrates the documentary because he wants more dirt on these people. He's Akshay: Mm. Ananya: not doesn't he actually doesn't want to play any of those characters, he's Akshay: Yeah. Ananya: not interested in the documentary. But he ends up turning and Akshay: Mm. Ananya: becoming someone who's disillusioned by the government. Now, this is, I thought, a very clever choice because Akshay: Mm. Ananya: it shows you what the government really does and how it functions. Where Akshay: Mm. Ananya: you, like, you know, all these BJP supporters, for example, they think that they are supporting the party because of their values. You know, Akshay: Mm. Ananya: that I believe the country should be a certain way. But Akshay: Hm. Ananya: what it does is reveals that. your values are simply a pawn in this whole thing. They are using you as a tool. Like Akshay: Yeah. Duel. Ananya: this guy, the right-winger, he wants India to be a certain way. He believes in the goodness of India, in our values. And that's Akshay: Yeah. Yeah. Ananya: why he believes this party supports that. But the party Akshay: Yeah. Ananya: is actually just like, no, this is what works politically. And you, Akshay: Yeah. Ananya: because you believe that, we will use you. Because he Akshay: Yeah. Ananya: very clearly says no to the money initially Akshay: Yeah. Ananya: So they used his character to make the statement that your loyalties are not to a party, but they are to your values that you're embodying, you know? Akshay: Yeah. Yeah. Ananya: And this character was created again out of the intention of like we spoke about the thematic character of Siddharth. Akshay: Mm. Ananya: This is the movie is not about this Lakshman Pandes character. Akshay: Yeah. Ananya: But it is when you're talking about a theme, you have to consider who also exists at the other extremes of it. And Akshay: Yeah. Ananya: this guy existed. So you have to show that arc. So this character Akshay: Mm-hmm. Ananya: was created out of the demands of the world, that in this world which different elements exist, and a right wing Akshay: Yeah. Ananya: character who genuinely believes in Akshay: Mm. Ananya: right wing ideology, in those values, and is not using them as a tool also exists. And how Akshay: Mm. Yeah. Ananya: he begins to understand that we're all fighting the same fight at the Akshay: Hmm, yeah. Ananya: end of the day. So being cognizant of the world. Akshay: Yeah. And you know, there was this quote which came up during like a lot of the protests, like keep your politics close, not the politicians. And I think Ananya: Yeah. Akshay: this character like fully like embodied that. Like he was Ananya: Yeah. Akshay: so sure about whatever this my politician is saying is the right belief. But only to realize, no, my belief is much stronger than my politician. So Ananya: Hmm. Akshay: that was pretty cool. Ananya: Absolutely. One more character I want to talk about is Madhvan's character. We spoke Akshay: Mm. Ananya: about him in Hindi Medium through this trope called the dog character. Akshay: Mm. Ananya: This is the character that does everything right. There is nothing wrong, not a single flaw, not a you know, mean bone in their body. But because they do everything right, they must make a big sacrifice, and that is lose or die, whatever. Like Shyam Prakash's character in Hindi Medium loses his son's admission, his possibility for his son's admission in a better school. And over here, Madhavan literally dies. And the reason you have this dog character is because over here it literally becomes the call to action. The purpose they Akshay: Mm-hmm. Ananya: serve is that if someone so good is getting fucked Akshay: Well. Ananya: over, it is the final straw that breaks your character's back that Akshay: Mm. Ananya: says that now I have to be spurred into action. Because if someone so good can face consequences while being blameless. That means Akshay: Mm. Ananya: I have like it's time. It's time to take action. It's what Akshay: Yeah. Yeah. Ananya: spurs Irfan's character in Hindi medium to like rebel against the system. It is what forces Aamir Khan and co's characters here to rebel against the system. So without a dog character, this would have failed essentially. This wouldn't have worked. Akshay: Totally, totally. One small note on Sharman Joshi's character, especially towards Ananya: Hmm. Akshay: the second half of the film, Sukhi, where Ananya: Mm. Akshay: you know all these people have have this one opinion, right? Like, you know what? We're gonna protest. We're gonna kill this politician who did wrong. Ananya: Hmm. Akshay: And he's the only one he says, No, are you crazy? No, we can't do that. Because Ananya: Yeah. Akshay: you also have to show that range of emotion, which is that you have these people to like call them out that is this the right choice, you know, but still we're gonna make this choice. So and Ananya: Yeah. Make this choice. Yeah. Akshay: in that moment I felt that Sharman Joshi's character was used as a little bit of point of view of the audience. Is that like are you really gonna do this? Are you really gonna take this big step? And Ananya: Audience, yeah. Hmm. Yeah. Akshay: instruct us well while we are asking, he becomes the voice for us. Right? And I thought that was a Ananya: Hmm, yeah. Akshay: very smart choice they made with his character in the second half. Because there is no room for error here, you know. Like you as an audience have to be on this journey with this character where they do take this big step. So make them Ananya: Yeah. Akshay: be aware of this, that this is a big step, you know? And Ananya: Yeah. Akshay: they used Sharman's character for that very aptly. So I thought that was interesting. Ananya: Yes, well noted. Let's go into scenes and sequences next. Akshay: Let's do it. Ananya: Okay, I want to talk about one technique which is called the information gap to create humor. This is when the audience has information, but the character doesn't have information, and it is that gap that makes you laugh. Over here it is when Sue's character speaks Hindi, but Aamir Khan doesn't know this. So he keeps saying stuff about her in Hindi, assuming she doesn't understand it, but she understands everything. And the audience knows that Sue understands. This is why they are laughing. This is why they are getting the gag. If Akshay: Four. Ananya: the audience also didn't know, they'd be the same as Aamir Khan's character and be like, okay, what? But that is not Akshay: Mm. Ananya: the effect they want to create. They want the audience to have a laugh. And the Akshay: So Ananya: best way to create a laugh is by keeping your characters one step ahead of the audience. So you don't need to write anything smart. It's not about being Akshay: Mm. Ananya: witty or writing intelligent dialogue. It is just about. controlling the hierarchy of information. Akshay: Hmm. Pretty cool. Since we're in comedy, I wanna talk one comedy technique which is called ending the scene with the funniest line. In Ananya: Hm. Akshay: sitcom writing this the funniest line is called the button, actually. Ananya: Mm, I didn't know this. Akshay: Yeah. So and sometimes especially it happens in like lot of like movies or stuff shows where comedy is actually the genre. But you obviously will have scenes which are drama heavy. But you need to end Ananya: Hmm. Akshay: the scene with a button so that it like creates Ananya: Yeah. Akshay: it stays in the same genre, right? So this is one of the earliest scenes in the movie where Sue's character is walking out of the office, right? Like where she's taking this big stance that, you know, I'm gonna do this irrespective of whether you want me to or not. And her boss is sort of putting her down while she's walking Ananya: Hmm. Akshay: out. And Sue just turns up turns and says, "tumhari ma ki aakh." Ananya: Hmm. Akshay: So this is the button of the scene. Like you again like you come back to the genre that is not drama heavy. This is comedy what we're Ananya: Yeah. Akshay: trying to create. And you end the scene with a punch. So I thought that was very cool there. Ananya: I want to talk about coincidence that makes it worse for your character. Because that's a technique we use. Because coincidences, as we've talked about previously, are a big screenwriting no-no because they create convenience, they make things easy for your character, they help them get out of situations which they should be stuck in and be using their wit, not deus ex machina, to get out of. But if it makes it worse for your character, please bring on that coincidence. It is more than welcome because it creates our favorite thing in movies called conflict. Right. So over here, it is when Lakshman Pandey's character crashes the casting, right? Akshay: Hm. Ananya: Over here, they're trying to cast the character of Bismil, I think, right? And Lakshman Pandey obviously walking in with ulterior motives. Ultimately, Akshay: Yeah. Ananya: they don't come to pass. But at this point in the film, your audience doesn't like him. Right? He happens to have a lucky break when they are trying to cast this Bismil character and they need someone and he walks in in that moment. He couldn't have known that this is what they're trying to do because there is no prior information established of that sort. There is no interaction. You know that. It's a coincidence that he walks in and gets this role at the right timing. He has just the words to say. Akshay: Mm. Ananya: But because this makes your audience on edge. You're like, my god, he's going to fuck shit up for them now. Abhi, this is gonna like, you know, he's gonna fuck them over in some way, he's gonna use all the information. Because it creates that conflict, that constant conflict in your audience's mind, even though nothing comes to pass later, you allow this coincidence. Akshay: Mm. Yeah, totally, totally. Very well spotted. One technique I want to talk about is Chekhov's gun. Ananya: Mm. Akshay: Chekhov's gun is when you establish a sort of a gun in the earlier part of the movie. And it's this gun is not useful, it's just lying on the wall. You don't know any use of it. It's just there as Ananya: Mm. Akshay: a prop. But later on, your protagonists are going to use this gun and use it to shoot somebody. In this film, I think Karan's friend, who is the radio jockey, he is used as a Chekhov's gun. Like he comes in Ananya: Mm, yeah. Akshay: the earlier part of the movie when they're all partying about, and he says, Hey, I got this job at the as a night radio jockey, and you know, hey, can I get some money? It's like such a random scene. You're like, What what is this? You think, Ananya: Yeah. Akshay: it's character building. Only on later. Yeah. Ananya: Yeah, it's used for Siddhartha's character. Yeah. Akshay: And Only much later on you come to know they're gonna use the same guy to make the public Ananya: Hmm. Akshay: announcement that hey we killed the defense minister and this character is again Ananya: Yeah. Yeah. Akshay: used that now it's time to return all of your debt. So I thought this Ananya: Yeah, P with Hal Chacao. Yeah. Yeah. Akshay: was a very clean Chekhov's gun so far we've seen, which is that Ananya: Yeah. The same, yeah. Akshay: this is a prop, but no, it's not a prop, you're gonna use this prop. Ananya: Yeah, yeah. And I liked how they use that to set up Siddharth's character because when he gives him the money, he says that dad's money is rotting in my wallet anyway. Akshay: Ooh, baptized. Yeah. Ananya: So it automatically shows that while he is scared, there Akshay: Mm. Ananya: are the first sort of inklings Akshay: Mm. Ananya: of being someone who will rebel against the system. Akshay: Mm. Ananya: So while they set him up as a character who wants to leave the country, they've leaned Akshay: Yeah. Ananya: into the grey, the complexity that while Akshay: Yeah. Ananya: this character is like this, somewhere deep down there is that rebellion, there is a spark. Akshay: And and that's what these make these characters so interesting, right? Like he from the get-go says that I can't wait to leave India but when they do go on India Gate, he's the first one to salute to the flag. You know? Like Ananya: Yeah, yeah. Akshay: it's interesting, these small complexities and these are very real, right? Like it's like Ananya: Very Akshay: it's like a lot of these times I relate to like be living with your family. It's like there are these moments Ananya: Ha ha ha. Akshay: where you don't sort of strangle them, you know? But like Ananya: Yeah, yeah. Akshay: at the same time you just can't get away from them, right? Like and Ananya: Mm. Akshay: that's the very real aspect this film captured about these characters. So very Ananya: Yeah. Akshay: cool. Ananya: Well done, definitely. I also want to talk about gift. Akshay: Hmm. Ananya: So, over here, a gift is essentially a technique where your audience is spending two and a half hours watching your film. Of course, they are getting a great experience out of this, but hey, all of us are human and we like to feel a little bit smart. So you're Akshay: Yeah. Ananya: like, okay, here's a fun fact, here's something you didn't know, which you can take away with you. Right? So I think the whole revolutionaries track. The history track is a gift because Akshay: Yeah. Ananya: I don't think I learned that much about Bhagat Singh and Azad and stuff in school. Right? Akshay: Hmm. Hmm. Ananya: Like yeah, these were the revolutionaries and all Akshay: Yeah. Ananya: of that, but nothing much. Akshay: Yeah. Ananya: So this whole track is a gift, which now you can go and be like, I know a little bit more about Indian history. And Akshay: Yeah. Ananya: a gift within the gift, the Russian doll of gifts, was that you know they say that Azad was great at putting on disguises. Like that I had no clue. I was like, Akshay: No idea, yeah. Ananya: that is really cool. Akshay: Yeah. And like very small, very details, like even that he took his own life in the end, you know? Like again, such Ananya: Hmm. Akshay: a big thing that he did not waste his final bullet on a British, but like he was like, Yes, they Ananya: Yeah. Akshay: don't get to kill me, I get to kill take my life, you know? Ananya: Myself. Yeah. Akshay: so like again, very good gifts. And I honestly know this only because of Rang De Basanti. Like I saw it 20 years ago. I only I know this Ananya: Hmm. Akshay: just because of Rang De Basanti, nothing else. Ananya: Yeah, Yeah, for sure. Akshay: I wanna talk about... This This is not a technique, but it's more of like an advice. that don't be afraid to break the narrative style of your film. You think Ananya: Hm. Akshay: that going into this certain film or a script, this is the language I want to stick to. This is the visual language I want to like utilize for my film. And this is a Ananya: Hm. Akshay: feedback which comes from a lot of streamers in today's time that this doesn't belong in this film, or this narrative choice is like Ananya: Hmm. Akshay: too different for this genre or too different for the story. But Ananya: Yeah. Akshay: this film doesn't follow that rule. The film, Ananya: Hmm. Akshay: especially in the present timeline where it's about these kids and these students, it's full linear, right? Like Ananya: Hmm. Akshay: event one happens, event two happens, event three happens. It's fully linear. But Ananya: Mm-hmm. Akshay: they break that narrative style with Siddharth's character when he goes to meet his father. There Ananya: Mm. Akshay: we happen to show a scene. His confrontation with his dad, which is Anupam Kher's character, says that, you can completely leave this country and like I will save you, nothing will happen. Ananya: No. Akshay: You cut there. You show the second half of that scene much later on. You have used Ananya: Mm. Akshay: here a non-linear format, which you had never done in the film. Now you come to know Ananya: Yeah. Yeah. Akshay: that when he says that and he hugs his dad, he actually kills his dad. Now, Ananya: Mm. Akshay: again, you can decide, like you you can think. We have never resorted to like a mid-cut. Ananya: Mm. Akshay: We have never resorted to this nonlinear format. Why should we do it right now? Ananya: Yeah. Akshay: Doesn't matter. Break the narrative flow because do whatever Ananya: Hmm. Yeah. Akshay: you have to do to get the maximum emotional impact. Ananya: Emotion. Yeah. Yeah. Akshay: And it's extremely cool to when you do that. Like it keeps your Ananya: Hmm. Akshay: audience surprised. Like it's engaging to when something a narrative flow happens. Like your emotion will land much higher. So don't Ananya: yeah. Akshay: be afraid to do that. And another moment they do that in this film where that which I thought was very cool was throughout the Ananya: Hmm. Akshay: film they very have clear demarcations when with the past timeline, the movie timeline of the movie where they're shooting the documentary, and the present time. Ananya: Yeah. Akshay: The only scene where both the screens merge essentially is when Amir Khan's character has been shot and he's alone and the Ananya: Yeah. Akshay: half of the screen is him and the other half is Chandrashekar Azad's character in sepia. And you have them Ananya: Yeah. Yeah. Akshay: just side by side. And in fact, Ananya: Hmm. Akshay: it's a whimsical moment where Amit Khan's character just even looks on the side and smiles. And so does Azad's Ananya: Yeah. Akshay: character. Again, take the leap. Who is stopping you? You are the Ananya: Yeah. Yeah. Yeah. Akshay: You are the engine of like you are the driver of your train. Do it. Take it wherever you want Ananya: For sure. Akshay: to go. Ananya: Yeah. But be careful when you're taking it. The reason it lands in these two is because they have used it at moments which can't be delivered any other way. Akshay: Yeah. Ananya: Like you have to create the misdirection, right, with Siddhart's character. Akshay: Yeah. Ananya: You have to feel like he is not going to follow through on this. On Akshay: Yeah. Ananya: you know, going and telling the world that we killed the minister. Akshay: Yeah no. Ananya: For him to do that to land, you have to create that's your technique of contrast, right? So you Akshay: Mm, yeah. Ananya: have to start at a low for the high to land. So if they didn't create that misdirection, the him going to the mic wouldn't have landed in the radio office. So Akshay: Correct. Yeah. Ananya: they have chosen a very pertinent moment to make that happen. Akshay: Yeah, yeah. Ananya: Because they've not misused it, they've not abused the liberty you get as Akshay: Mm. Ananya: a screenwriter to make these choices in other parts of the film. Akshay: Mm, Ananya: This once the audience will allow it. But if you keep using it, if you keep fucking with the audience, then you lose trust. Akshay: Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. And also like there is merit in forming a visual language. You spend time Ananya: Yeah. Akshay: so that when you break it, it's cool. Ananya: Cool. Again, contrast- it lands. Speaking of contrast, there's another scene which I wanted to talk about, which is when they're finished they finish shooting the documentary and they all go to the bar. Right? Akshay: Yeah. Ananya: And Aamir Khan goes all, you know, like these revolutionaries died like such valiant deaths, but we all will be wrapped in white, you know, and Akshay: Mm. Mm. Ananya: we'll be dead. And only Ajay will be wrapped in the Indian flag. And Akshay: Yeah. Ananya: it's a very sad, very down scene and all. But it's also like you mentioned, the last scene before Akshay: Yeah. Ananya: the tone of the film changes. They end it on a comedic high where then they start marching around and they're laughing and you know they're saluting, all of that. A Akshay: Yeah. Ananya: it lands because they were on a low, they're talking about death, blah blah blah. But then they make it funny again. They're like, ha ha, and they're laughing, saluting to him. So contrast. Intact, Akshay: Yeah. They still have their innocence intact, yeah, yeah. Ananya: yeah, yeah. Akshay: And because we're talking about this scene, I want talk about what this scene does is it foreshadows the rest of the film. Ananya: Yeah, yeah. Akshay: He literally says that you'll be wrapped in a tiranga, that happens. You'll be given a 21 gun Ananya: Yeah. Akshay: salute, that happens. Ananya: It's also the rule of three because in the introduction scene where we meet Madhwan, he says, I will die for my country. Then Akshay: Yeah. Ananya: in this scene they say that you will be wrapped in a flag and twenty one guns salute. And then he actually dies. So it's rule of three in terms of build up too. Akshay: Yeah, correct. Yeah. Yeah, totally. Ananya: Cool. I want to talk about a callback, which we've mentioned previously, but I'll reiterate it here. A callback is like you've mentioned in various episodes, it establishes the relationship between characters. In one scene, they're talking a certain way, and you use a line to say that this is our relationship. And whether that line is repeated, modified, or said by another character in a later sequence in the film, you establish whether their relationship is the same or has changed. This is with Siddharth's character, where in the start of the film he's telling Madhavan that bruh, Madhavan says that okay, this country is not perfect, but it can be improved. And Siddhartha's like, bro, I'ma leave. Bye. So this is Siddharth's relationship, not with Madhavan, but with his country. And then finally at the end, he says that no, the country is not perfect, but it can be improved. That Akshay: Yeah. Ananya: is a callback. He echoes Madhavan's line, and now his relationship with his country, with his patriotism has changed. Akshay: It's changed. I love it. I have exactly the same callback Ananya: Hmm. Akshay: moment I had. Ananya: Yeah. Akshay: I want to talk about one setup and payoff in the movie. I wouldn't Ananya: Hm. Akshay: call it a Chekhov's Gun or anything because it doesn't, it's not mentioned like that, and neither it has the same kind of impact. But it's a merely Ananya: D. Akshay: a setup and payoff for emotional value for our characters. Ananya: Hmm. Akshay: It is when Kirron Kher which is Aamir Khan's mom. She has a black thread on her finger which is Ananya: Hm. Akshay: established earlier. This is what she had, this was her wish for the DJ's care and protection. Like, she feels that calm Ananya: Hm. Akshay: that this has happened and he'll always be intact. Ananya: Hmm. Akshay: In the end of the movie, when these guys are actually like about to be killed, that same day when she wakes up, that's the day that thread is Ananya: Yeah. Akshay: broken. So Ananya: Yeah, yeah. Yeah. Akshay: This is the payoff of that scene, which is that like a little bit of a black omen that, my god, like what just happened? What what will happen today? And she Ananya: Yeah. Akshay: immediately starts praying. Because she has Ananya: Mm. Akshay: no idea about what her son is about to do or what problem her son is gonna land into. But it's just that belief that shit, something is gonna go wrong. And I think it's a Ananya: Yeah. Yeah. Akshay: very Indian emotion, essentially. Like where you leave everything to God and faith. and Ananya: Mm. Akshay: and it's in a very tangible way, right? Like we are the ones who have like these this black threads and stuff like that. So I thought that Ananya: Yeah. Akshay: was a very cool, motherly Indian moment. And used very Ananya: Mm. Akshay: very emotionally strong with a good setup and payoff. Ananya: Yeah. Yeah. Akshay: I wanna talk about the technique of contrast. Like you mentioned, that you establish a low for your character so that when there's a high, it gives that range and that emotional relief or that emotional surprise if it's the other way around. In this movie, they've done the other way around where they're actually like at an emotional high, but something happens immediately after that that it brings Ananya: Hmm. Akshay: them down. This is a song sequence of the song Khalbali, where they're all having Ananya: Hmm. Akshay: a great time, like they finished the documentary, everything is great, like nothing can go wrong. You know, Ananya: Yeah. Akshay: they're playing in water, splashing with each other. And immediately after, soon they come to know that Ananya: Hmm. Akshay: their friend has died slash killed. Ananya: Yeah. Akshay: The only reason you do that is you made them feel exhilarated and suddenly you crash. Ananya: Exactly. Fash them. Yeah. Akshay: So when they actually fall because it Ananya: Hmm. Akshay: is giving you such a high peak, the the fall like lands harder. And I thought that was like pretty Ananya: Yeah. No, I don't. Yeah. Akshay: cool they did that. Ananya: Another thing that struck me was, you know, in the opening sequence of the film, when Bhagat Singh and Azad were all about to be hung, Akshay: Yeah. Ananya: and Bhagat Singh's character tells this white dude, he's like, you think by killing me you're gonna get anywhere? You see after me more will come. After us more will come. Akshay: Mm. Ananya: And at the end, after all these guys die, you see the new media bytes of all the students saying, No, no, we won't let their death go to waste. We are coming. We are coming. And I Akshay: Mm, mm. Ananya: thought that was a wonderful callback of sorts. Mirror scene. Akshay: Mirror scene. Yeah. Yeah. Yeah. And also like it just fulfills like the point, Ananya: The promise of the film. Akshay: the promise of the film. Yeah. And it's Ananya: Yeah, yeah. Akshay: great when it happens. Ananya: Well sure. So on that note, we hope we fulfilled the promise of our episode and we hope you got to know us a little better. I know this is gonna turn into a very polarizing of episode. Either we'll have like thirty unsubscribes from all our bhakt followers or we will people will know us for who we are and appreciate us for who we are. Akshay: Yeah well. Ananya: But until then, you know the drill. Like, share, subscribe, comment. Leave your ideas, suggestions. We're sure some hate is gonna come through too. Leave them in the comments. Great, all engagement is good engagement. I say that from first-hand experience. Akshay: Yeah. Ananya: We will see you next Thursday on another episode of the Breakdown Besties Podcast Akshay: Bye.