Peepli [Live]

Two nights ago Iwas participating in an online live chat with Aamir Khan (well, along with some 13000 others from around the world) who along with wife Kiran Rao, served as producers for Peepli Live, and as a parting remarked, had urged his fans to encourage their friends, especially those who have never watched an Indian film before, to give this a go, because this is not quite like the stereotypical films Indian cinema churns out with larger than life heroes romancing heroines in fantasy dream worlds.

And it's true, not that Indian cinema has always stuck with that unmistakable notion of how it presents itself, as over the years I've seen independent efforts that churn out hard-hitting stories that are minus the celebrities, but almost always have a message it wants to tell. Peepli Live departs from the usual 3 hours with interval, song and dance routines, to touch on a stark social issue in India – that of poverty and the lives of the rural folk, how inept the government is in lifting its people out of such a plight, and the role of the media that can sometimes get out of hand with less than responsible reporting. Which more mainstream films like Rann and Raajneeti would have also touched upon, but minus the heartfelt comedy that this satire brought along.

Written and directed by Anusha Rizvi in her feature film debut, one cannot escape from the fact that her journalistic background may have paved the way at the harsh yet comical criticism of the media in general, where reporters scramble to scoop and spin their own tales of rural life, and are relentless in their interviews with just about anyone who has an opinion on the issue at hand, that of the voluntary death of one of their own. They poke their noses everywhere, and when things turn dull, even resort to fabrication or plain making a mountain out of a molehill. I cannot deny that part of the fun here is watching how television crew and reporters eagerly camp out, in media circus like fashion, in a fictional state and village of Peepli. Just to get a chance at exclusivity with Naatha (Omkar Das Manikpuri) and brother Budhia (Raghubir Yadav) who seemed the smarter of the two.

These brotherly farmers open the film as we follow them to the city to seek a deferment in their bank loan, failing which the bank has decided to auction off their asset – their land. So an ominous note has rung out, since farmers without land means an automatic death sentence, especially when the land they live on not only provide sustenance, but that of a roof over their heads and that of the aged mother who's at odds with Naatha's wife, and children. They soon learn of an inexplicable government scheme whereby farmers who commit suicide get financial compensation, and soon decide that Naatha take up that offer. Overheard by a local newsman, this soon gets escalated, and the media descends onto the village to wait out and capture Naatha's death live.

Little do the brothers know, being so caught up in their plight of poverty, that their actions have repercussions on a bigger stage, one known as elections, and with politicians scrambling like mad to find an answer to this issue, because if anyone doesn't spin this properly, it'll translate to votes lost. And here Rizvi's subplot shines through again in her very pointed criticism of the way her government, and just about any other government, work, through the usual pointing of fingers between State and Federal lawmakers, and the half- baked schemes that they cook up that generally doesn't benefit anyone (other than looking good themselves), whether consciously knowing that it's a scam, or incompetently just aren't aware. Bootlickers and yes-men bureaucrats get shrewdly dealt with in the story as well.

In fact the slight comedy in the film worked wonders to sugar coat the hard hitting messages that Rizvi had intended to tackle, and frankly this may have dulled those messages a little, and ultimately leave one wondering if there's any genuine change that can be brought to tackle the problems at hand. Surely one cannot expect one film to change entire mindsets overnight, and at best, Peepli Live will leave one thinking about the issues, but unfortunately I suppose that's about where it'll stop at.

I'm not sure whether the usual audiences weaned on Bollywood fare may take to a film that's a social commentary on some of the biggest problems facing the country, since the enduring way of how cinema is presented provides pure escapism from common everyday problems, but Peepli Live should find its legs in the more patient, appreciative film festival circuit. Don't expect Aamir Khan to pop up at all in the film, but if you know how he works, then you'd know that his hand is probably in every aspect of this production.

Story: Story of two farmers Face loosing their land for an unpaid Government loan. At the time of National Elections they seek help from a Local Politician who suggests to commit suicide to get the benefit to their families.

* The Director and Producer deserve thumps up for coming with a movie with current issue - Farmers committing Suicide. * You too would have noticed 'What the News Channels' Want?! They are also marketing something, yes SO CALLED NEWS. And they market like anything. 'Death Toll Reaches 50 and Expected to reach 100 by Tomorrow morning', 'Breaking New - MLA's Sister had Knee Injury' etc..

Bollywood - Its very happy see this kind of movies in an Industry where Actors become just a Marketing Executive for their loose Products. Though there are a lot of Directors who just copies and rips from Hollywood or South Indian Movies, there are also few and very few directors and Productions houses who try to come up with new Innovative ideas. UTV is one such Brand and its great to see Aamir Khan producing as Movie in the kind of changing Bollywood to more meaningful.

The style of Director is sharp and strong though the director missed to convey a message - but sticked in to the story and left no Message. The film explores the response of the media. Many Scenes of the film spoofs the Internet and TV Media and Politics. The Natural and Simple Narration will take you to those good old Days where only good movies where produced. Problems of Farmers was usual topic in Malayalam Movies but Post 2000 - this is the best movie about Farmers to come in India.

Bollywood rarely make Sensible movies and Rarely does the Fans make them Box Office HIT. Different Attempt is not accepted easily in North comparing to South of India (Tamil, Malayalam and Kannada) wishing to see more people watching this movie. Promoting this movie only makes Bollywood Look better. Let they come up with more meaningful Movies here after.

(2/2)Actors have done their job in the most remarkable way.Raghuveer Yadav can win an Oscar for that but alas Academy is Bollywood- blind.Omkar Das is very natural.The actor playing reporter Deepak is a revelation.Aamir could have done a cameo.

(2/2)The story is a wonderful satire.Rizvi being a retired-reporter knew the nuts and bolts of the dirty business.The subplot of Hori Mehto remind us of Do Bheega Zamin.

(1/2)Direction of Rizvi collapsed in the last half hour of the movie.The subplot was wasted and climax was done in a hurry.

(2/2)The music/score is this year's best.Indian Ocean are superb.Chola Mati ke Raam,Mehngai Daayan,Desh Mera,Aadmi are all well crafted.

(2/2)Yes,the movie do have a X-FACTOR.Well paced and presented in the current inflation scenario.

I'm a native American and saw this movie in a theater with maybe 30 Indians (sorry, I'm old enough to find multiple ironies in that sentence). Anyway, I went into this movie with no expectations. Though I've seen a number of Indian movies over the last few years, I knew nothing of this author or director. I laughed out loud more than I have for any Hollywood movie this year. My cohorts found it even funnier than I, but I guarantee you that you don't need to know that much about Indian politics or media to get most of this satire.

It starts with a farmer deciding to commit suicide to get his family the $2000 that may save his farm from foreclosure. From there, the media and government turn it into a circus, stepping all over themselves in their self-serving ways.

It suffers only in minor ways from a few slow spots and odd shifts in tone, but these are worth sitting through. It's currently showing here only at a suburban Atlanta theater that shows a combination of H-wood and B-wood. This should have been picked up by some American distributer when it showed at Sundance. Hopefully, enough people will see it and generate the buzz to get it to a wider audience.

Anusha Rizvi has a story to tell and she does it all too un-preachily. No sermons. No grandstands. Her narrative, taking care of every nuance, puts the point right across, and manages to move you. She takes a light- hearted approach to a serious issue. The satire, directed at the media and the government, tends to go tad bit overboard, but is hard-hitting and convincing, for most part. Laudable performances by theatre artists Omkar Das Manikpuri as Natha and Raghubir Yadav as Budhia, (Natha's elder brother). A first timer in the Hindi film industry, Omkar Das is sure to take you by surprise. You may not take to him instantly but his childlike vulnerability and subtle ways, win you over, as the story progresses. Be it his tripping in the gobar, or his confiding in Budhia that he doesn't want to suicide, or the tenderness with which he pats the goat, even as he lies cowering from his own set of woes. (Titbit - Apparently, Rizvi spotted Omkar Das at a play in Bhopal. Until then, Amir was suppose to play Natha) Raghubir Yadav is born to act. He emotes flawlessly. One such scene is where he is arguing with Natha over who should suicide. Within a second, he solemnly vows to suicide, all teary-eyed, in the next, he takes a 'relieved' drag off his beedi, having managed to convince innocent Natha to sacrifice his life ;) From the grouchy (yet entertaining) amma (Farookh Zafar), to Natha's nagging wife Dhaniya (Shalini Vatsa); from the B-grade Hindi news channel correspondent Deepak, to the stoic English news channel reporter Nandita (Malaika Shenoy), it's a perfect cast all the way. The film gets drab and predictable in parts but manages to leave an impact, nevertheless!