The summer months are always kind of muggy in Patna. In the early 1990s, they appeared sultrier than normal. The days would be hot and the nights would be dry. There was only so much one could do. And that ‘so much’ was never much, with those prolonged hours of nothingness blankly staring at us. Don’t know if the irregular load-shedding and the dark absence of electricity were the reason behind the dreariness. Or if one could point towards the abrupt kal shaam chhe baje phir mulakaat hogi endings of Doordarshan as the cause. Or whether the limited stock of antaakshari songs (despite the unending stock of holidaying cousins to play them with) was the prime suspect. OR perhaps it was just the mid-teen angst.
But the insipid monotony was real. And there was only so much one could do.
Those were also the days when Aamir Khan was doing snake movies, Rishi Kapoor was wearing his last set of sweaters around trees, Jackie Shroff was giving solo box office hits, and Vinod Khanna was cracking dudhu jokes looking at women in Farishtay.
Yes. There really was only so much one could do.
Or actually, there was. Buzz words like liberalisation and globalisation were just beginning to hover around, and private TV channels were soon to be an everyday fix as a positive fallout of the policy changes. Cable TV was slowly becoming the fashionable thing to do in small town India, a perfect middle class counter point to the safari-suit-and-pomeranian superiority practiced by the elite. My professor parents, of course, thanks to their world view and wisdom nurtured by Brahmanical leanings, had a strong point of view on cable TV or any other form of unsupervised entertainment. EXACTLY the reason why I readily agreed when Ramkailas ji, my trusted aide, and the family Man Friday, recommended that we steal the cable connection since the wires went through our garden.
Till then, our experience in thieving was restricted to pocketing raw mangoes of the awesomely juicy Maldah variety from the neighbours’ yard. So I was not too sure. Having said that, the lure of breaking the boredom and seeing content outside of the staid DD programming was too much of a temptation. The programming options were way too many, beyond the Krishi Darshans and Chitrahaars of the world. There was finesse and flair one wasn’t used to seeing on television. Plus, there was MTV. That thing that was meant to morally corrupt the youth of the nation.
I was ready to be corrupted.
All it took was a pair of garden cutters and some ingenuity, and we were a cable TV household between 10pm and 5am, every day. Opening gates to a world unseen. The firang accent, the cool graphics, the smart promos, the interesting shows… they were all from a distant land. There was Star Plus with its Crystal Maze, Donahue, Oprah and, oh, those kissing cousins in The Bold and The Beautiful. Or the cigarette smoking Tara in the eponymous series on Zee TV, and even the obnoxious Mohan Kapoor on the channel’s Saanp Seedhi, and also Rajat Sharma, giving birth to a different breed of journalism in Aap Ki Adalat. This was all different. New. And real.
And then there was, of course, MTV. All different. New. And surreal.
With its funky graphics, bizarre spots and fast pace. Smelling like teen spirit. With Michael Jackson and Madonna. With Guns ‘n’ Roses, a paradoxical co-existence that could well define MTV. With Right Said Fred declaring his sexiness and Phil Collins his inability to dance. With Pearl Jam, Megadeth, Metallica and innumerous such bands that us small-towners had no knowledge or clue about. I saw images I never thought existed. I saw people I never could be. I saw love. I saw debauchery. I saw a display of colours, commotion and camaraderie. It was culturally alien, unfathomable at times. But it was all eerily eye opening. I could never be them, I knew. And yet, I wanted to know more about them. Every day.
I saw possibilities. And I am not just talking television. I am talking life.
For that Hindi medium boy from Bihar struggling with Itihaas, Bhugol and Nagrik Shastra in school, it was almost like him creating his own itihaas every night. By unshackling himself from all that was around him. By thinking beyond the books and the course material. By taking those fantastic flights to nowhere. I never did stop thinking in Hindi. I did not develop an accent. I never could appreciate Pearl Jam, Megadeth or Metallica. I did not try becoming a different person with brand new reference points. Only, my perspectives changed. I started seeing things differently. I did not know where did I want to go, but I knew what it would be like.
We were caught soon enough by Papa. He said all that we had to do was ask. He was, obviously, very upset. Major mud on our face. But I wasn’t complaining. It was worth the trip. It was not as if it suddenly changed my persona or that I could see doors opening for me. But this entire visual experience, day on day, made me realise that there were so many doors that existed.
It was not just economic liberalisation at work. Or just liberalisation. It was liberation!
It changed my outlook. It made me more confident. It made me more audacious. It allowed me to dream differently. That gawky teenager, son of academicians, started looking beyond Engineering and Medicine as a career. As did many of us from similar backgrounds. Everything in the world, hitherto unseen, was now around us. And everything was achievable. We did not have to travel to foreign lands to broaden our horizons. The world had come to us. Very soon, the world literally was around us in the supermarkets. In form of Camay soaps and Hershey’s chocolates. As brand new malls and multiplexes. In the queues at McDonald’s. Buzzing in pagers and mobile phones. Surprisingly, none of it made me feel poor and deprived at any point of time. It kept egging me to have a deeper resolve to become better off. Read rich.
In retrospect, that was the bawdiest, and yet the most important, contribution of liberalisation to the small town India, and not just me. We stopped feeling guilty about earning and spending monies, something that Papa would have so not approved. We were okay to let go of our middleclassery. Of course, that came with its own set of struggles. Mumbai, the city I had chosen to move to, gave me its perfumed indifference, showing me my place in the 8:11 local. I gave it my unadulterated confidence. Very soon, we reached a compromise, and the city was home.
Fate brought me to MTV in 2000. And MTV gave me the confidence to change MTV. It had made me embrace its globalness, I made it embrace my Indianness, being a part of the team that made it desicool. I worked with them for ten long years. Fancy designation, et al. Little did MTV know about the role it had played in my life. Even when it was on mute. :)
Meanwhile, we got Ramkailas ji a job as a peon in Delhi. His family continued to be in a remote village in Bihar. We sponsored the education of his son who is now sixteen. The boy uses a smart phone and knows how to Whatsapp. I suspect he also knows how to order mangoes online. Only, he aspires to follow the career path of his father. Become a peon.
Twenty-five years later, I wait for another round of liberalisation.
– first published in Indian Express Sunday edition Eye as a part of their special issue on 25 years of economic reforms –
(Revisiting this review, since Papa is back in the news. See you soon in jail.)
The last time somebody was referred to as Papa The Great in a movie was Kishan Kumar, paradropped on the innocent audiences in the eponymous movie released in the year 2000. Kishan Kumar was the resident rajah of graceless grunge, a producerputra (he was the younger brother, if we are to get technical) inflicted on us in at least five movies between 1993 and 2000. From Aaja Meri Jaan to Bewafa Sanam and from Kasam Teri Kasam to Papa The Great, KK was on the mission impossible, gunning for the unachievable. But he kept trying. Diligently, self assuredly, continuously. Despite a face that only his mother would have found palatable, and acting skills that even his mother would not have found palatable. Papa The Great was one final assault from the Karolbagh Kumars, till brother Gulshan became wiser and moved on to the non-Kishan things in life. But the movie, and everything about it, remains an unforgettable piece of awkward awesomeness. Exactly what gives Kishan Kumar a hallowed place in the history of Hindi Cinema.
Poetic, therefore, that fifteen years later, the contender to topple and gobble the peachy coarseness of Kishan Kumar is another Papa The Great. Sant Gurmeet Ram Rahim Singh Ji Insaan. The Messenger. The Artist Formerly Known as the Messenger of God.
And this Papa does not fly solo. He comes all guns blazing, with stadiums full of people chanting his name and carnivals dedicated to his bonbon affability. As he portrays the middle India messiah, the middle class master blaster. Hell, I was the only person at the theatre when I watched the movie, yet I was dancing in the aisles! That’s what Pitaji does to you. Before you realise it, you become one with him, mildly suffocating though this sounds considering the kilos surrounding him. He builds your confidence, one fat cell at a time, layering one adipose tissue over another, and soon enough, you start believing that you can conquer the entire world. Like Papa.
All that you need to win the world over is extreme self belief. I don’t know what this Satguru does in real life, but if I were to just go by his film persona, he left me totally charged, yes sir. That you can look like a complex cross-pollination-product combining Hagrid, Govinda, Barbie and Austin Powers and mesmerise millions with that persona is reason enough for me to believe that I can score and more with whoever I want to. That you can wear red-colored slacks purchased from Sarojini Nagar Market and yet make enough money to buy red colored helicopters, is motivational for the multitudes including me. That you can be a dreadful singer and an awful dancer, and still change clothes ten times in a music video and have three laadli betis, including a firangi, as your heroines, brings spring in my step, with both my left feet raring to go. Don’t think any of the Khans can do this to me or any of their viewers. We get out of that dark cinema to our dull and dreary lives, knowing very well that Raj, Rahul and Prem are best placed on that screen. MSG gives us hope, confidence and faith.
The film also underlines that it is okay to be lowbrow. Why, it takes pride in it! The villain Chillam Khurana is a throwback to the over-acting Jogindar of yore, Gaurav Gera digs his nose and throws booger-balls at the bald head of the villain, a prostitute mouths lines like “Hum chalti phirti gaaliyan hain” and there are supposedly funny dialogues in form of “Main gas chhodunga” and “Because Guru ji is god and you are dog”. Crummy computer graphics meet Punjabi Baroque sensibilities, and the resultant set of dolphins and lotus pods in a swimming pool, to give just one example, are delightfully cringe-inducing. The blind set of followers in the film is what the film wants to achieve in real life, and it does an awesome job of it. By continuing to salute the embarrassing ensemble that it is! You stop feeling sorry about your own sorry self when you leave the theatre.
At the same time, Pitaji immortalizes the spirit of the new India where it is okay to work hard and party harder, flaunting what one has worked hard to achieve. He keeps calling himself ek adna sa fakeer. And yet, every single part of his rotund frame, and every single frame featuring every single part of his rotund frame, has bling on it. Everything around him is a by-product of shiny disco balls. His jhadoo, bicycle, motorbikes, cars, thrones, carpets, swimming pool and even the hot air balloon from which he makes one of his entries, AND his hair follicles, all shimmer and sparkle. Unashamedly. The sets seem loud, ostentatious and trippy, almost as if they have been designed by a poor man’s Sanjay Leela Bhansali on bad quality ganja. But this blatant display of his glaring wealth is very matter of fact. With a singular underlying message. Don’t denounce the world, but love and celebrate it. And that sometimes it is okay to cross-dress.
Thank you, Sant Gurmeet Ram Rahim Singh Ji Insaan. Thank you from taking over from where Kishan Kumar left us. Thank you, Papa The Great. Thank you for the lowbrow magnificence. Thank you for the gauche pomposity. Thank you for the boisterous flamboyance. And thank you for reaffirming my faith in high art. :)
(This article first appeared on firstpost.com)