BrokenProjector.com

Brilliant Short-Films #4: Little Terrorist

If there’s one piece of cinema that changed the way Indian Cinema is perceived globally, it is ‘Little Terrorist’. Then unknown Director Ashvin Kumar literally compelled the world to have a look at what Indian Cinema is capable of, if only it were in the right hands. Kumar revived in 15-minutes what the few remaining genuine film-lovers of India were expecting ever since Satyajit Ray left them.

At the heart, ‘Little Terrorist’ is a very simple story. Perhaps it is this simplicity and honesty that brought back memories of Ray and the film experts around the world were quick to find the connection. Indeed, ‘Little Terrorist’ went onto pick up a vast array of awards and honours from all around the world and eventually garnered an Oscar Nomination, only the second time for an Indian short-film and fifth for an Indian film in any category.

The story gives us a day in the life of a 10-year old Pakistani boy named ‘Jamal’. While playing cricket with his friends somewhere near the Indo-Pak border, their cricket ball drops into a minefield. Jamal goes to retrieve the ball and ends up being chased down by a couple of Border Security Guards who mistake him for a terrorist. Unable to think where to go, Jamal crosses the border into the Indian side and takes cover under a rock. At the same time, Bhola, the local school master is passing by and the guards question him. Seeing Jamal hiding under the rock, Bhola misdirects the guards and eventually takes Jamal back to his home in the village. But more trouble brews as the guards show up at the village and continue to do a thorough search in every house. Bhola, in an act to protect the identity of Jamal, shaves his head (to make him look Hindu) and introduces him to the guards as his mute nephew. The guards eventually leave and Bhola, Jamal and Rani (Bhola’s niece) sit down to have a meal. Unaware of the Hindu customs, Jamal breaks his roti and flings it into Bhola’s plate. This act causes the eventual destruction of the plate and Jamal feeling a sense of guilt for his actions. This is perhaps one of the strongest elements of the film, the realistic portrayal of religious prejudice between the Hindus and the Muslims, which is commonly seen in India (and yes Pakistan too!). But eventually we see that these ridiculous prejudices are willingly overcome by the lead characters in a more humanitarian way than what generally looks like a glorified heroic stunt in a highly-emotional Bollywood drama (ref: anti-Pak war movies like Border). The film ends with Bhola and Rani risking their lives to carefully escort Jamal back to his side of the border. Jamal gets a thrashing from his mother who was worried sick about her son, but clearly everyone is happy at the end.

The production of the film was an adventure in itself. Writer-Director Ashvin Kumar posted an advertisement online looking for potential crew for this project. He not only found a small group of people who were willing to work on the project, but they were also willing to work for no pay and were also paying for their trip to India. The labour of love with which the film was made and the blood, sweat and tears of this small group of people working to the change the face of a country really show up on screen for the 15 minutes that the film lasts. The production journals of the film are quite interesting as the crew went through a lot of hardship to get the film made. There were instances when the tent with their film-stock caught fire only to be saved by a daring crew member who leaped into the inferno to retrieve the film-stock. Other instances include a stampede of buffaloes and the tribal music band featured in the film being wrongly arrested by the local police.

Throughout all the hardship and the constant uphill climb, the crew pulled off a neat job and the film itself is proof. Cinematographer Markus Huersch brings out brilliant visuals for the film whether it is the pin-point composition of each and every shot or the incredible wide-angle shot of Bhola’s bicycle tyre pulling over inches from the front of the camera as Bhola and Jamal stand facing each other at an inclined angle as if to represent an old and tired India facing a innocent and panicked Pakistan. The colours are beautiful and the desert looks like some dreamy no-man’s land, where the barrenness brings out colours from the people in terms of humanity.

Being and Indian myself, my personal reaction to the film was that it was about time that some real films started surfacing from India. There is no doubt that in between the one billion plus population there a few brilliant filmmakers. The fact that a multi-billion dollar film industry like Bollywood does not have room for visionaries is proof enough about what the true motives of the big filmmakers of India are. Perhaps, that is what makes it all so worthwhile. For Ashvin Kumar, he stood out and held his ground, he outlasted what seemed like a futile thought and lived to tell the tale. He dared to inspire in an ‘industry’ that only aims to entertain.

For your viewing pleasure, here’s Ashvin Kumar’s masterpiece: Little Terrorist.