“Maadarchod” (motherfucker) is probably the first dialog that one notices, and it appears within 2:25 minutes into the film. Saurabh Shukla–however little role he will play in rest of the movie–delivers those words of ‘fatherly wisdom’ with an intensity that can only be expected of him. He literally chews and then spits that word out of his mouth to Dev Patel’s face. Right then we know ‘Slumdog Millionaire‘ has arrived. It is rated #62 right now on IMDB top-250 list and the fact that it is not in top 5 is proof enough that those Americans are fucking morons!

Slumdog Millionaire
Slumdog Millionaire starts with the question, “Jamal Malik is one question away from winning 20 million rupees. How did he do it?” Your choices of an answer are, “A. He cheated. B. He’s lucky. C. He’s a genius. D. It is written.” Why does one have to ask that question? Because Jamal has had no education, at least in the formal sense; he can barely read; and he’s a ‘chai-wallah‘ in a call center. Slumdog Millionaire is the story of the protagonist Jamal Malik, an 18 year-old orphan from the slums of Mumbai, who is about to experience the biggest day of his life. With the whole nation watching, he is just one question away from winning a staggering 20 million rupees on India’s own version of “Who Wants To Be A Millionaire?“

But when the show breaks for the night, police arrest him on suspicion of cheating; how could a street kid know so much? Desperate to prove his innocence, Jamal tells the story of his life in the slum where he and his brother grew up, of their adventures together on the road, of vicious encounters with local gangs, and of Latika–older role played by Freida Pinto–the girl he loved and lost. Each chapter of his layered story reveals the key to the answer to one of the game show’s questions, and how he learned it. But one question remains a mystery: what is this young man with no apparent desire for riches really doing on the game show? When the new day dawns and Jamal returns to answer the final question, the Inspector–played by incomparable Irrfan Khan– and millions viewers are about to find out.
SM is the crown jewel of the cinematic intelligence, a story, that is intense, gripping, non-linear, bewitching, sometimes cute and adorable and hard-hitting and gut-wrenching at other times and with so many layers, told and visualized so brilliantly! The directors of the movie, Danny Boyle and Loveleen Tondon, should get a standing ovation for the result of their (hopefully) hard work in whichever award function they show up, and of course from me. It is simply extraordinary the way they’ve used the show to narrate the life-story of Jamal. It has already been awarded the best motion picture (drama) at the Golden Globes, and I will be highly surprised if it doesn’t get the Oscar of best motion picture. Oh wait, if it didn’t, I’d know why it didn’t — yes, the fucking morons! SM is the best Danny offers till date, even better than one of my many favorites, Trainspotting.

Danny Boyle: the director
Coming back to the movie, you can take my word that you’ll find yourself on the edge of your seat with every story told, every scene played, every dialog delivered. As the story unfolds, you’ll witness the truth of Mumbai slum, the harsh life slum-kids live, the riots in the name of religion, the way the mafia operates, it treats its women. Where it is not tragic or dramatic, you’ll see the sarcasm that’s sharper than the sharpest blade through the stories with an ironic sense of humor, e.g., when Malik gets an Amitabh Bachchan autograph. And when that autographed photo is sold by his brother for “good enough money”. It tells you a lot of things, yet in no way, it is an attempt to be something that teaches morals; it rather lets you be the judge of good and bad. The protagonist is not an idealist, even though he is motivated by love. The maestro Rahman composes a soundtrack for which he’ll be remembered with the greats like Henry Mancini, Llyod-Webber etc.
There can’t be a single blemish you can put on any of the portrayals by the actors. Indeed, it has won an award for ‘best ensemble of characters’ — the ‘Black Reel Award’.
No movie is great without its shortcomings. Like all the other great movies, this work isn’t perfection either. It builds on the certain stereotypes the western world has about Mumbai, India in general: poverty, filth, slums, call centers, child abuse, riots, rape, mafia and murder. There are certain parts that probably even the directors or the screenplay writer cannot explain. So be warned: Before you like it as much as I did, make sure you can appreciate even the shortcomings. More the shortcomings rather.
Missing this work of Art is highly inadvisable on my part. If you are not watching this movie and watching any other, you are wasting your time! Nope… You’re wasting your time doing anything else before watching SM!
I have not watched this movie, but I have watched this one. After this review, I feel I’ll do my wallet and myself a huge favor not watching रब ने बना दी जोड़ी (Rab Ne Bana Di Jodi). With the help of Wikipedia and him, let me go through the plot of the movie — at least the one I think it would be. But before I do that, let me warn you that this is not, by any stretch of imagination, a movie review. This rather is a geek’s reflection of his own frustration while he, in the oblivion of his dark, shady room with three computers, a few thousand books and a chess board, listens to his neighbor banging some girl three times a day. You’ll get a lot of hints of innuendo in this “frustlog”.
So, the plot…
End User: Tania [Taani] Gupta (Anushka Sharma) is an extrovert, flamboyant and vivacious girl, set to get married to the guy she loves.
Anushka Sharma
Male Stable: Surinder [Suri] Sahni (Shahrukh Khan) is an introvert, responsible and sincere cubicle worker for Punjab Power corporation.
Beta Male: Raj. Surinder, with the help of his childhood friend Balwinder “Bobby” Khosla (Vinay Pathak), a hair-saloon owner, metamorphoses into an alter ego he calls Raj. Raj is a loud, rude, outspoken and fun-loving person.
Alpha Male: Sameer (Salman Khan), a boy of Indo-Italian parentage who wants to learn Indian classical music.
Sameer?! “Where does he come into the picture,” you would ask. The problem is that Raj cannot be the Alpha Male, for he is an alter-ego of a Male Stable. He has to be somewhere in between a totally unpredictable jerk –as an Alpha release of a software is– and somewhat predictable stable release. So to complete the evolutionary process of a male –on the lines of a software product– I have to bring Sameer in. Not surprisingly, when it comes to the mental disorders like love, every end user wants to “use” the alpha or beta release of the product, and male wants to be in alpha release phase. Thankfully, ‘Rab Ne…’ is only about the latter process of development including only beta and stable product. If you’re a software giant, you already know that an end user can be fooled to go in for more featureful, less stable release.
Coming back to the plot:
A suggestion worthy of a lot of praise for the experienced consultant brings the stable male and the end user together into a marriage. The End user finds herself in a routine and loveless alliance. Unbeknownst to her, however, the stable male had fallen in love with her at first sight, for the good user habits, though he remains too shy to tell her.
Male stable, with the help of a novice hacker, metamorphoses himself into an alter ego with more useless features, e.g., dancing, and less stability, he calls Raj and we call the beta male. This development process seems so much like Firefox and Adobe Acrobat Reader. Likewise, Raj is a loud, rude, outspoken and fun-loving product.
Due to some “divine intervention“, the end user gets to try her hand on the beta version and eventually starts feeling that beta’s attributes are more in tune with her user habits. Beta eventually declares his love for her. A torn user resists but finally capitulates. Beta offers to elope, but during the “climax”, user believes she sees a sign of sexual pleasure, as in numerous porno flicks (“Oh, God!” See The Devil’s Dictionary for more on this connotation of the word ‘God’.) telling her that the stable male is still the one for her. [I know how you wish to hear "her climax", but the movie never openly admits that the user reached a climax. I can say that for sure as I know how the Censor Board in India works.]
Finally, seeing the success of a feature rich beta product, the stable version decides to acquire a few useless traits — dancing in this case.
I thank Aditya Chopra and whoever is the director for giving us this movie, thereby raising the question, “Why do the females (want to) fuck jerks and get married to nice guys,” and giving me an opportunity to “explain”.
Well, Darwin’s “sexual selection” theory has the best explanation. In ‘The Descent of Man‘ (1871), Charles Darwin wrote that natural selection failed to explain human evolution. Instead, he proposed an alternative theory. Species evolve when males and females select each other for certain qualities. He called this sexual selection.
Female mammals, in general, are more selective than males. Females, in most mammal species, do most of the work of producing and raising children. In contrast, fathering offspring is less work, so males aren’t so choosy.
“The exertion of some choice on the part of the female seems almost as general a law as the eagerness of the male.“ — Charles Darwin
Females choose males with features that make the males less able to survive. E.g., a peacock’s bright colors make him visible to predators, and his huge tail slows his escapes. His beautiful tail communicates to peahens that he’s an especially fit individual, i.e., he’s so fast that he can escape predators despite his heavy tail. Sexual selection is, in general, the opposite of natural selection.
A peacock's mating call
Natural selection advances via slow environmental change. Natural selection advances evolution only in harsh environments (e.g., predation, climate change). Natural selection produces animals better able to survive-usually smaller, more efficient, and less conspicuous.
In contrast, sexual selection advances with each generation. It produces rapid evolutionary changes and advances evolution in stable environments. Sexual selection produces animals (especially males) less able to survive, with bigger, brighter, or exaggerated features.
Human evolution may have begun when fathers helped raise mothers’ children, giving the children a survival advantage. Among hunter-gatherers today, children without fathers are more than twice as likely to die during childhood. A woman could have sex with a “desirable man” (a.k.a. jerk in most cases), and risk competing women taking him from her. Or she could choose a stable, monogamous relationship with a less-desirable man whom no one other woman wanted. Should you even guess who she’d choose?
Now you know why Taani preferred Suri over Raj when it came down to her own or her offsprings’ survival, or why Nandini chose Vanraj over Sameer.

Sameer and Nandini
After all these speculations, some of the readers might ask what kind of male I am. To put all your vivid imaginations to rest, I would like to think of myself as an alpha or at most a beta male, for I have a keen interest, not practice, to “put things at their designated places,” and that I know the end user always prefers the beta –more feature rich versions. Whether I’m that or a stable one is not I’m to answer, it is you, the females, who, if at all, which after reading this you don’t, want to try and test me out.
…with two exclaimation marks! We are talking about the movie.

Rock On!!
Clichéd for the same old happy ending. That should be enough for a spoiler. Happy endings bore me. Almost always! Surprisingly, this one did not. Here is the rest of the story in very few words:
Four young dreamy-eyed musicians. They split. The lives they are living after their once the next-best-thing band, if not miserable, are unhappy. Ten years down the line, they come together to perform one last time. It is not a musical. (Well, almost all Bollywood flicks are somewhat musical; that much is this one too.) It is about musicians. It is not just about musicians. It is about musicians who live their lives in oblivion. Common, not so happening lives like machines, in which no one is happy. A frustrated wife for her husband doesn’t earn and lives in a dream. A husband-wife couple who live their lives under the same roof, but are poles apart. A drummer who gives in for his father’s business, and a keyboard bassist who works as an unsatisfied musician working with a Hindi film music composer. Old friends unite to live their dream and that is the message it conveys.
The reasons for why ‘Rock On!!’ did not bore me: Common lives. Common people. Fued among friends is somewhat realistic. Nostalgia (yeah! Surprising that the nostalgia factor was something, in this particular case, that actually made the it catchable). Decent music. Tight performances. Dialogues! I simply loved the brilliant scene when one of the band members sings Gloria Gaynor’s ‘I’ll Survive’ and asks one of the leading ladies to sing a song. The oblivious expression and the dialogue delivered with the same feeling of unease was brilliant!
“Lekin mujhe gaana nahi aata.” [But, I can't sing.]
Upon much deliberations, she gives in saying,
“Mujhe English gaana nahi aata.” [I don't know any English songs.]
… and then goes on to sing, ‘Ajeeb daastaan hai yeh…’ I can’t forget the perfection in the expression on the actresses face.
I will stop any further comments here, for I’m going to recommend it to you. Although, not at par with some older flicks in terms of surprise, appeal and portrayal of the lives of common people, it is a refreshing change after a long time. Oh, you belive in stars and ratings? Here is mine: 7 out of 10. Well that’s quite a lot, for I’ll rate ‘Rang De Basanti’, ‘Dil Chahata Hai’, ‘No Country for Old Men’ and ‘Juno’ the same.