Stories

Leave the World Behind – 5 uses of symbolism

Imagine you wake up one morning, and spontaneously book a weekend getaway with your family, in a town far away from the city. You book a gorgeous Airbnb home, with an outdoor pool, acres of greenery to connect with nature, and a fully stocked house.

You get there, unpack, start having a good relaxing time…

Then, something odd happens.

You lose all internet connectivity, there’s no electricity, no access to the news, and the owners of the Airbnb want their home back in the middle of the night, because there’s a power outage.

Leave the World Behind is an apocalyptic psychological thriller starring Julia Roberts, Mahershala Ali, Ethan Hawke, Myha’la Herrold and Kevin Bacon, based on the 2020 novel by Rumaan Alam.

The film is a slow burn that gradually builds tension and suspense, showing the chaotic and mysterious occurrences, such as the herd of deer, flamingos and even Friends. But what did all those elements symbolise?

Let’s find out!

< Spoilers Ahead >

Blue

You must’ve noticed the striking blue walls in Amanda and Clay’s bedroom in the opening scene. Its jarringly bright.

But did you also notice the use of the colour throughout the film – their car, their clothes, the towels, the beach umbrellas, the tablet, the light from the TV and the pool.

The colour blue is often associated with feelings of calmness, serenity, peace, stability and evoke a sense of tranquillity. This is one of the reasons why most corporate logos and branding is coloured blue – it’s dependable (example, Facebook)

And the use of blue in the film symbolised exactly that – the safe and stable nature of the world. Most of Julia Roberts, or Amanda’s clothes are shades of blue, signifying her pragmatic nature and approach to the situation. Similar can be observed in sequences where Mahershala Ali, or George is seen wearing blue – he is calm and collected, trying to sensibly solve the mystery.

Until it slowly started shifting and we see shades of red. And as we all know – red is seen as a sign of danger, caution and the unknown.

Deer

In some cultures, deer are seen as messengers from the spirit realm, guiding individuals. Perhaps, that’s why they kept showing up at the house and even surrounded Ruth (Herrold) and Amanda (Roberts) in the forest, to guide them to safety.

This also leads to some other characteristic of deer for being vigilant, resilient, adaptable, and aware of their surroundings to navigate through changes quickly – traits humans often struggle with in the face of adversity. That is why they panicked and screamed at the herd, instead of connecting to nature’s message to protect them.

In certain cultures, deer is also linked to fertility and the cycle of life. The shedding and regrowth of their antlers each year can symbolise renewal, regeneration, and the cyclical nature of life. Perhaps their recurrence was another sign of the world, as we know it, collapsing and a reset or birth of another is in the making.

Flamingos

Flamingos are usually known for their aesthetic appeal with their vibrant pink and coral-coloured feathers. They are typically associated with tourist attraction at exotic locations such as lush resorts or wildlife sanctuaries.

Like all animals, Flamingos too are adaptable to various environmental changes and thrive in diverse situations. Hence, symbolizing the changes in the world and the need to travel in flocks to survive – representing the importance of community, cooperation, and social connection.

Moments before they arrive, we see Clay (Hawke) and Ruth break the ice. They try to get to know each other outside of their current situation and build a connection. Simultaneously, we witness George and Amanda share a bond by being honest, sharing a drink, being vulnerable, and dancing.

At this moment, all the preconceived notions they had of one another shed away, and they learn to act as a unit to survive.

In some mystical traditions, Flamingos are also seen as symbols of psychic awareness and mystery – perfectly contributing to the mood of the film.

Friends

As someone who grew up on Friends and immensely loves the show, this was such a refreshing and sweet inclusion in the film. However, what was most interesting was that a young Gen Z of 13 years adored the show just as much and found comfort in the characters.

The emotional impact of Friends is well known around different parts of the world. It’s central theme of friendship and the strong bond among the main characters, supporting each other and surviving through thick and thin has universal appeal and resonates with people.

This is perhaps what it symbolises in the grand scheme of things in Leave the World Behind. However, for Rose (Farrah Machenzie), it symbolises escapism from the uncertain and unstable world to a perfect world that doesn’t really exist. There’s another aspect of dependence of technology (more on that later), the culture of binge watching and the addiction of instant gratification.

Rose’s departure from the home portrays her lack of concern for the well-being of her family, or herself. She’s fixated on escaping from reality and finding all means to watch her beloved show. When she finally gets her hands on the DVDs, instead of continuing from where she left off, she chooses to fast forward to the last episode to see the end.

Her behaviour is a classic example of seeking immediate rewards or pleasure to avoid discomfort without considering the potential long-term consequences … of leaving her family behind for a TV show.

Technology

Rose’s yearning to know how Friends end and not being able to access the internet to stream the show, highlights our dependency on technology and our addiction towards it.

And, this is emphasised throughout the film.

The family is shown driving off from the city to their getaway, each using a piece of technology – with Amanda being on the phone, Clay turning on the radio, Archie (Charlie Evans) using his headphone and Rose watching Friends on her tablet.

This is completely flipped when they are instantly disconnected from the world and any form of news or entertainment, when the internet and all tech is down / hacked.

Another example highlighting the risk of the addiction is when all roadways are blocked by a row of crashed Tesla cars, self-driving electric vehicles that have no control without human intervention. While self-driving cars are an exciting technological design for improving / aiding humans, complete reliance on it is dangerous.

Popcorn Rating –   [5/5]

Leave the World Behind is not your usual apocalyptic thriller which reveals the doom and simply capture its characters’ survival. It’s a terrifying psychological experience that can potentially be real.

I’m sure there’s a whole lot more that I’ve missed.

Did you notice any other elements of symbolism in the film?

‘May December’ gives us an insight into the mind of a method actor

Have you ever wanted to witness an actor’s process of method acting and their preparation. If yes, then watch May December, starring Natalie Portman, Julianne Moore and Charles Melton.

The film is loosely inspired by real scandalous incident of an affair between a 34-year of

school teacher and her sixth-grade student in Washington.

May December starts off in present day, when an actress Elizabeth (played by Portman) travels to meet and study the controversial teacher, Gracie (played by Moore) whom she is set to play in an upcoming film.

We witness the infamous couple who’s been married for approximately 20 years, through the eyes, observations and research of Elizabeth who questions the foundation and truth about this marriage, just like the viewer.

The film is hauntingly slow but succeeds at building intrigue and curiosity by relying heavily on Portman’s performance, who is essentially slipping into another actress’ shoes – Julianne Moore.

This is where the May December gives us a profound insight into the mind of method actor and the sheer brilliance of a true artist, who can embody another human physically, mentally, and emotionally.

Elizabeth (or Portman) peels the layers of the story from various angles and shadows her subject intently to grasp its essence.

It may not be obvious for most of the run-time of the film, but don’t give up on it because the last 15 minutes or so will shock you.

You can almost feel the switch go off and the numbness within Elizabeth when she plays Gracie, using emotional and sensory memory.

It’s no surprise that not all actors subscribe to the approach of method acting as it can be difficult to shake off some complex characters.

Popcorn Rating –   [3/5]

Shahid Kapoor and Kriti Sanon’s ‘Teri Baaton Mein Aisa Uljha Jiya’ trailer out now

After the resounding love for the song ‘Laal Peeli Akhiyaan,’ the anticipation continues to mount as Dinesh Vijan and Jio Studios release the official trailer for their upcoming family entertainer extravaganza, ‘Teri Baaton Mein Aisa Uljha Jiya.’ This film marks the first-time collaboration between the charismatic Shahid Kapoor and the vivacious Kriti Sanon, promising a delightful on-screen chemistry, entwined in an ‘impossible love story’ that is set to captivate audiences worldwide. Joining the young duo, legendary actors, Dharmendra and Dimple Kapadia also add their seasoned depth on-screen.

The trailer offers a glimpse into the roller-coaster ride of emotions, laughter, and an impossible love, seamlessly blending in essences of humor, romance, and relatable family moments, making it a must-watch for audiences of all ages.

Backed by Producer Dinesh Vijan’s banner Maddock Films, he says, “At Maddock Films we take pride in bringing forward unique stories with mass connect be it Hindi Medium, Stree or Luka Chuppi and this time we look forward to bringing out a family entertainer with a great combination of romance and humour perfect for the valentine week.

An impossible love story that has never been told before with a never seen before exciting pairing of Shahid-Kriti adding an extra layer of charisma and freshness to the world of romance.”

Prepared to tickle some funny bones, Directors Amit Joshi and Aradhana Sah add, “With Teri Baaton Mein Aisa Uljha Jiya, we hope to tap back into the love-genre, sprinkled with lots of comedy for a perfect family watch during the valentine week. Working with Maddock and bringing this film to life has been a fantastic experience, making this one a truly memorable project!”

Directed by Amit Joshi & Aradhana Sah, a Maddock Film’s production, Teri Baaton Mein Aisa Uljha Jiya is produced by Dinesh Vijan, Jyoti Deshpande & Laxman Utekar.

This eagerly awaited movie is scheduled for a release, leading to Valentine, on 9th February, 2024!

MJ – The Musical begins performances in London in March 2024

Lia Vollack, John Branca and John McClain, producers of the acclaimed Broadway musical MJ, announce casting for the UK premiere production which begins performances at the Prince Edward Theatre, London from Wednesday 6 March 2024.

As previously confirmed, Myles Frost, who originated the role of Michael Jackson in New York and for which he won the Tony Award® for Best Actor in a Musical, will bring his star-making performance to the West End.

He will be joined by Ashley Zhangazha as Joseph Jackson / Rob, Mitchell Zhangazha as Michael, Philippa Stefani as Rachel, Phebe Edwards as Katherine Jackson / Kate, Matt Mills as Berry Gordy / Nick, Rohan Pinnock-Hamilton as Tito Jackson / Quincy Jones, Matt Gonsalves as Alejandro, Jon Tsouras as Dave, Kieran Alleyne as MJ Alternate & Standby for Michael, Kwamé Kandekore Standby for MJ & Michael.

The full cast will include Derek AidooMorgan Baulch, Milan CacacieSpencer Darlaston-JonesHanna DimtsuAden Dzuda, Marie FinlaysonChristopher GopaulKalisha JohnsonGrace KanyamibwaTravis KerryDianté LodgeSimeon MontagueGeorge RossLydia SterlingToyan Thomas-BrowneTaylor WalkerCharlotte-Kate Warren and Tavio Wright.

MJ will also introduce Jaydon EastmanElliot MugumeEthan Sokontwe and Dylan Trigger as Little Michael, Cristiano Cuino, Sekhani Dumezweni, Khanya Madaka and Aidan Oti as Little Marlon.

For full cast and creative team biographies and further information, see www.mjthemusical.com

He is one of the greatest entertainers of all time. Now, Michael Jackson’s unique and unparalleled artistry comes to the West End stage direct from Broadway in the multiple Tony Award®-winning new musical MJ.  

Centred around the making of his 1992 Dangerous World Tour, MJ goes beyond the singular moves and signature sound of the star to offer a rare look at the creative mind and collaborative spirit that catapulted Jackson to legendary status.

MJ delivers a theatrical experience like no other, electrifying audiences with dozens of the most iconic songs in music history, including Billie Jean, Beat It, Man in the Mirror, Thriller and Smooth Criminal. 

‘Three Of Us’ – Poignant story about cherished memories, acceptance and surrender

Imagine if you woke up one day and realize your memory was slowly fading away, and there’s no cure. Would you hold on to the present and try to remember as much as possible for the future, or revisit happier times from your past and relive them?

Three of us is story about Shailaja Desai (Shefali Shah), who has been diagnosed with dementia and is grappling with the uncertainty of the disease, and what that means for her and her identity.

Instead of stressing about the future, she chooses to revisit her childhood in a town called Vengurla, where she grew up, went to school, learned to dance, and made friends –perhaps in the hope of reuniting with one friend with whom she shared a special bond with, Pradeep Kamat (Jaideep Ahlawat).

What first appears to be a woman’s hunt to find a long-lost love, soon becomes a heartfelt journey down memory lane with Shailaja, her supportive husband Dipanker Desai (Swanand Kirkire), and a poetic Pradeep.

Shailaja’s past and present explore Vengurla with her, as she reconnects with her roots, her home, the landscapes, her dearest friend and even her trauma.

What’s remarkable about Three of Us, directed by Avinash Arun, is how most of the film plays out in silence, yet conveys a plethora of emotions from beginning to end.

A huge credit for that goes to writers Avinash Arun, Omkar Achyut Barve and Arpita Chatterjee for penning a complex story about relationships and portraying it with such simplicity.

The film is also blessed with a stellar cast that make acting look easy. I couldn’t take my eye off Shefali Shah who emotes with her eyes, body language, and her silence.

Watch out for a scene where she visits her old dance teacher and watches the students perform. She reluctantly joins them to test her memory, which sparks a childlike spirit and evokes a burst of emotions. I cried.

Three of Us starts off as a story about its three central characters, and ends on a poignant note about cherished memories, acceptance, and surrender.

‘Fighter’ Trailer release – touted as India’s Biggest Aerial Action film

The anticipation reaches new heights as the much-awaited trailer for India’s Biggest Aerial Action film, ‘Fighter,’ takes flight today. Helmed by blockbuster director Siddharth Anand and presented by Viacom18 Studios in association with Marflix Pictures, ‘Fighter’ is set to redefine cinematic excellence with a thrilling combination of adrenaline-pumping action sequences along with the spirit of patriotism, offering a perfect blend of entertainment and emotion.

Featuring a compelling script and a stellar cast, including Hrithik Roshan, Deepika Padukone, and Anil Kapoor’s powerhouse performances, ‘Fighter’ trailer takes the audience on an epic journey with the elite unit of the Indian Air Force – the Air Dragons. The squad members embark on a mission to safeguard India’s skies and the nation by confronting looming threats. The trailer beautifully encapsulates the camaraderie, courage, and sacrifice of these heroes, making ‘Fighter’ a must-watch for everyone across generations.

The trailer, unveiled today, promises an unparalleled visual spectacle filled with stunning visuals and heart-stopping moments. Packed with state-of-the-art visual effects in 3D and 3D IMAX formats, ‘Fighter’ guarantees to deliver a fully packed entertainment extravaganza for viewers.

Scheduled to hit theatres on the eve of India’s 75th Republic Day, January 25th, 2024, ‘Fighter’ is a cinematic spectacle that audiences cannot afford to miss.

Get ready to witness a journey of courage, sacrifice, and triumph, as ‘Fighter’ soars to new heights of cinematic excellence. ‘Fighter’ releases in cinemas and IMAX 3D on 25th January.

‘Succession’ Season 4, Episode 3: A Masterclass in the Art of Storytelling

If you’ve seen Succession Season 4, Episode 3 – then continue reading. The rest of you, watch the series and come back here… because major spoilers ahead.

Succession is the perfect example of how to marry a gripping and crisp narrative with brilliant actors.

And Episode 3 in Season 4 is a masterclass in the art of storytelling and giving the audience an extremely emotional immersive experience.

It starts with the sudden demise of Logan Roy, the father.

All 4 siblings are seen together at Connor’s wedding. However, each is informed about their father’s passing in turns and given an opportunity to, in their own way, say their piece, make amends and bid him goodbye, except Connor. The viewer is made to experience the event from the perspective of primarily Kendall, Shiv and Roman, the “rightful successors”, who’ve been central to the conflict with Logan in the whole series.

First is Roman who deeply cares for his father but tends to hide behind filthy humour and perhaps even self-harm, begins by reassuring Logan of being a good father before he breaks down into tears.

Then is Kendall, who is a rebel without a cause constantly butting heads with his dad to prove his self-worth. His last words to Logan reflect his conflicting emotions of love and resentment.

Followed by Shiv, a daughter simply reacting against her father out of spite even though she inherently finds comfort, warmth, and protection in his presence. And then there’s was Connor

The entire sequence is basically a summary of their respective relationship and conflict with him, and the fact that they ultimately just sought his validation and approval.

But did it feel odd that we, the viewer, didn’t get to see Logan’s face while he was collapsed on the aircraft? We heard Tom describing the events and activities to the Roy siblings, and we saw a staff member doing chest compressions. But at no point do we see Logan’s face.

In that moment, the viewer was reduced to a state similar to that of the Roy kids, feeling the same sense of denial, panic, helplessness, grief, and gut-wrenching loss.

Just like Kendall, Shiv and Roman, we too are robbed of any chance of seeing or communicating with Logan ever again. We too are left with the distress of processing death of a parent. Hence, feeling sympathy for the kids.

The viewer has to learn to cope with this devastating turn of events, just like every character in the series.

Even in the later episodes, only Connor visits Logan’s body which is not revealed to us or witnessed by any other character. Once again, showing the narrative from the POV of Roman, Kendall and Shiv.

It’s one of the greatest episodes I’ve ever seen that makes the audience a part of this world.

‘Dunki’ is a victim of it’s own hype

The biggest curse for a filmmaker is to be tagged for a style/school of filmmaking. Rajkumar Hirani has finally hit saturation. The phase where your legacy becomes your personal prison. 

With Dunki, Hirani flaps his wings and tries to scape new skies of storytelling, to an audience still fixated to his old world. Resulting in an involvement dip in the viewing experience.

The viewer is there to watch “The Hirani Film” – an imaginary blueprint of storytelling defined by two facets – comedy and messaging. Thus, making the film an afterthought in its own preserve, a bystander in its own victory parade. 

In this age of dilapidated discourse, Dunki is never given a chance to dissuade it’s detractors. Somehow, the biggest talking point excluded from the discussion is the film itself. Nobody is concerned about the film but Shah Rukh’s hattrick, Hirani’s style and all other optics that doesn’t and shouldn’t matter to either critics or audiences. 

Dunki is a good film dwarfed from greatness by its dated humor and uneven pace.

Hirani and Abhijat Joshi have attempted to let their storytelling flair evolve. This isn’t their archetype toon-turns-to-film tomfoolery outing but a rather try out at a slightly more grave, sprightly style of storytelling.

And with the addition of Kanika Dhiilon to the writing crew, the trio seems to get into groove slowly. This is a new writing team with completely different sensibilities from the one that gave us our mass sweetheart Munnabhai

What this trio falters in is building a coherent and clear universe.

Every story rests on the bedrock of what? Why? How? And occasionally to spice things up, a where? The why in Dunki is never fully addressed.

The four hopeful musketeers want to relocate abroad but their motivations are never clearly defined or understood. A story placed in the 90s, UK couldn’t be the only hopeful hand for fetching greener pastures. The backdrop, core of these characters aren’t thought through and forced into acclimatisation through sloppy humour.

With not much emotional precedence at stake, the eventual thrill-ride doesn’t really enthuse the viewer to invest a pound of emotion or response either. 

Reasons why solely Vicky Kaushal’s character has been raking in rave reviews for its backstory isn’t meddled down by comedy or needless jocular treatment. His portrayal, while bearing it’s own light hearted and faint footed moments, isn’t as caricaturish as the rest.

Hence you feel a stab when his chapter concludes. But couldn’t care less. For the uneven pace of the film lags in depth and rushes in width. The narrative has a inherent hurry to hop to the next moment. Alike an excited child amping to unveil all presents at once.

Which brings us to the central flaw.

The “DUNKI” itself is rushed and clogged.

The whole migration diatribe doesn’t exert enough unrest to latch onto your nerves. Losses don’t count, deaths don’t matter seconds later. All the pace and long run up to eventually deliver a half volley. 

See, Hirani’s body of work mostly consists of character driven films. This is his first plot driven affair where he tries to blend the patented “Raju Hirani” old world charm with a new world gaze. And that just works in parts. The tactic of resolving pressure situations with comedy doesn’t really help the cause here.

The filmmaker’s tried, tested and triumphant trope of injecting the protagonist into a grim and shaky world as a resolute external force, a saviour lacks impetus as Shah Rukh Khan’s character is not author-backed enough.

The angel from nowhere shtick has worn out and run out of it’s novelty period. I would however like to see more of Tapsee Pannu and SRK together, perhaps in a full fledged comedy or romance movie for it is their sincerity and prowess the saves Dunki from being a dud. 

Dunki is a victim of it’s own hype. Hirani is that one class topper, first bencher you don’t expect to flunk. Forget flunk, even a moderate score for him is akin to a failure.

When Virat Kohli had conditioned the nation to him scoring centuries every other sunrise, even his 50s and 60s made him look out of touch.

SRK, Hirani, Kohli, these are folks whose 10% equals rest of the industry’s 90%. So them not going bonkers seems a bit meh and morose but doesn’t make their outing a failed crusade. 

If films like Jawan, Pathaan and Gadar 2 are considered good films in today’s climate, Dunki too deserves it’s own standing. For the stigma that only upbeat, pulsating action will work on big screens is slowly robbing the audiences of variety.

Dunki could’ve been another Hirani Heera if written better but has to settle as a good, one time watch. Atleast Hirani falters by trying something new and not succumbing to his stereotypes. Making Dunki the bullet that Rajkumar Hirani bit to initiate change in his course. 

Funny, how a story about homesickness and homecoming now warrants the maker to find a new home, a new voice and a new Rajkumar Hirani universe. And it’s just a matter of time. 

‘The Archies’ is a fun experiment that would’ve worked better as a series or a live theatre show but doesn’t quite have the “va va voom” for a feature film

Directed by Zoya Akhtar, The Archies is undoubtedly a dream project made with immense love, care and loads of passion.

However, it doesn’t quite live up to the filmmaker’s brand of storytelling. It’s fresh and imaginative, but also dull. It’s subtle and breezy, but also soporific. It’s inspired, but also lackadaisical.

Adapted from the popular American comic book series Archie Comics, the film follows the lives of a young group of friends navigating through some teenage and some “grown-up” troubles.

Set in post-independent India in a fictional city called Riverdale, The Archies welcomes us into world developed by Anglo-Indians filled with love and harmony. The vibrant community is rich in culture, social responsibility, and sustainability.

And this is where the film struggles to find a fine balance between developing a great concept and delivering it in a fresh and nuanced package.

At first, what seems like a typical teenage musical film about childish love triangles and friendship drama in a happy-go-lucky small town, soon takes a strong turn to highlight some essential social issues worthy of debate. But not soon enough.

There are themes of social responsibility, nature preservation, the power of free press and democracy and even a perceptive song about everything driven by politics.

But most of it falls flat due to the lacklustre pacing of the film, especially in the first half and the overly restrained performance which doesn’t do much to provoke any urgency or interest.

Credit where credit’s due: the attention to detail with all the technicalities carefully crafted to build Riverdale in the mid-90s is the real showstopper. From production design to costumes, from styling to choreography, and simple dialogues – it immediately makes the viewer familiar with the world.

Releasing a film like The Archies on Netflix for home viewing was certainly a good idea as it doesn’t offer the conventional “theatrical” zing. However, that does come with the disadvantage of convenience where viewers may be tempted to pause or switch off too soon. I was certainly guilty of that.

The Archies seems to be a fun experiment that perhaps would’ve worked better as a short series, or a live theatre show but doesn’t quite have the “va va voom” for a feature film.

Popcorn Rating –  [3/5]