Showing posts with label masses. Show all posts
Showing posts with label masses. Show all posts

7.6.14

Narendra Modi's Fatwa

It is no less than an edict, one which has prompted me to say, "yes, Prime Minister, but..."



Narendra Modi's advise to the ministers sounds school-marmish. Do they have any merit? Some do, some don't. His media-related comments are more important than the rest. Here are two quotes from separate reports:

• Sources said the Prime Minister also asked the MPs not to talk to the media as spokespersons of the party but raise the issues of their own area and constituency with them instead.


• The Prime Minister also advised the parliamentarians to refrain from giving comments to media on national issues. He said they should be polite while dealing with the media.


I completely agree. In the past few years, ministers have struck out on their own during primetime and hurt the party they represent. The ill-timed sound bytes have only given anchors a 'debate', and the issue those remarks are for is soon forgotten. The cacophony coterie thrived in this environment, and became known for outspokenness or idiocy, depending on which side they were on.

The fallout was retraction the morning after. More debates on being misquoted. More TV and print time. It did not matter what the subject was. From coal to land sharks to rape, these made up the rogues gallery. Other panelists, mainly from the media, shared a camaraderie with them. This ensured both got what they wanted — a story.

Most of them lacked expertise in the subject, and were there only due to their availability on speed dial. Why did they come to the studios night after night to be shouted down by anchors? And what did they do? It invariably ended up with the spokespersons protecting their leaders. A Catch-22 situation, no doubt.

It served no purpose. Even offending ministers were back, smiling or sneering, after being anointed/insulted by a media person whose own expertise came from the research done by her/his team. People elect leaders, not journalists. The former owes them responsibility and self-respect. They represent us.

In sensitive cases, there is also the danger of a preemptive remark interfering in a judicial probe. Not everybody is in a position to discuss national or international issues with any degree of conviction, unless they are directly handling that portfolio and have hands-on experience or have worked in the department.

What we know now is which party members are the favoured ones on what channel, which ought to be anathema for freedom of the press. We recall their quotes. Let us not forget how Mani Shankar Aiyer's "chaiwalla" comment gave the BJP and its then PM candidate a new identity, an emotional handle. The quotable quoters are elitist, as is the media that projects them.

Is there a flipside to this? Yes. Since the media is not terribly interested in work done in constituencies, for want of ministers to pin down they might not cover issue-based controversial news as much. Or, if they do, it might become a free-for-all with decoys speaking on behalf of the party. This will provide an easy exit for the head office. A shrug will suffice. If the PM is serious, he should have a team of dedicated spokespersons who do as much homework as he expects from Parliamentarians.



Another reason I welcome this media 'layoff' is that the ball will be in the court of the PM. It is his diktat, his choice to stay away, his ministers are responsible for everything they say.

The media, in fact, has the upper hand here. For every Giriraj Singh utterance, they can go straight to the PMO.

Is the directive dictatorial? No. It would be if there is a complete disconnect between the media and ministers. The media is not being muzzled. As someone who has been right in there, as also an avid objective and, need I emphasise, cynical observer, newspaper and TV journalists will have to rely on independently-investigated stories. It is no secret that 'sources' are often dissenters or opponents. The information is fed to the media, and that becomes a 'scoop'.

Is there a flipside to this too? Yes. The ministers who won't talk about national issues might try and whitewash a few glaring stains in order to please their leader. They might then not feel the need to address the problem because it is not visible, and there are no checks on it.

This does not sound simple because it is not. Therefore, I've tried to give two arguments.

Regarding the other diktats, they are self-evident. Except that doing away with sycophancy is not restricted to dissuading feet-touching. It is good as symbolism, though. We did see Modi during his campaigns touching the feet of elderly voters, and on his first day in Parliament touching the steps of the "temple of democracy". Such gestures are unnecessary, precisely because of the nature of our democracy.

His comment on 'service providers' is interesting: "Before you know it you will find yourself beholden to these people. And it will be difficult to shake them off even if you want to."

Is this restricted only to the ministers in his cabinet? What about the industrialists? He does know there is no free lunch, right?

One cannot also ignore the fact that his short lecture to the ministers came after he superseded them to meet the bureaucrats alone. It is one thing to help streamline procedure and quite another to be the sole authority. I am afraid, but a mindset cannot alter overnight. Bureaucrats are accustomed to pretending to take orders. You give them a carte blanche to handle things and they might change, but only superficially. Instead of going through a layer of benefactors, they will now feel empowered to be answerable only to one.

Narendra Modi is a man in a hurry. That is the problem. He is too busy cutting off branches and painting flowers on the trunks of trees.

© Farzana Versey

---

Image: TOI

Report sources:
Indian Express and IBN

18.2.11

'Yeh Saali Zindagi' - Life is a bitch, so is the film


Okay, I did not like Yeh Saali Zindagi. In fact, I thought it was a waste of my time. This sounds awfully non-intellectual. You are supposed to like pathbreaking cinema, appreciate nuances. Guess what? I don’t think those guys who were whistling at the cuss words or going “Oye, oye’ at the kissing scenes knew any “maa ki aankh” avant gardism. They probably did not even identify enough with the goonda-gardism.

I took a quick look at some of the reviews and phrases like “dark comedy”, “twisted plot”, “unconventional narrative”, “love with the backdrop of a thriller” hit me. Then there are technical hosannas, especially about pace.

Smart accountant Arun works for slimy boss, falls in love with nightclub singer Priti who can’t sing, who is in love with a businessman’s son, who is engaged to a minister’s daughter, who is angry because he loves the singer, who needs help of the other guy who loves her. Pace? Yeah, yeah. “Bhenchod.

Then there is Kuldeep who is in jail, wants to reform, has an aggressive wife who he tames with kisses and a son, decides on one last big ticket kidnapping with the help of corrupt cop, gets the wrong girl, who goes to real girl and real father of girl, finally goes to real lover of her singing…nah…of her body...nah…of her soul…well…Pace? Yeah, yeah. “Chutiya.

Cut to auditorium. People are laughing. Not because the comedy is dark but because a man is killed and his corpse farts. They are whistling not because there is anything exciting but the coarse language seems like their “saala”. It is programmed to sound rough and tough and hard. Oh yeah, they get the weapons and the phallic stuff to convey that.

The film is supposed to give you the underbelly of Delhi. Honestly, this could be in Jharkhand, Patna or Virar or even Sicily. No wonder they have to dateline every event. “Somewhere in Sohna, “Outskirts of Delhi”. Okay, we are such dolts, we Angrezi types that we won’t know the underbelly.

Arun's love for the nightclub singer is shown as some sort of obsession. It isn’t. He moons like an adolescent who has just discovered new use for a water tap and just as suddenly has her accounts in order (where in the beginning he had managed to get the thumb impression of another corpse…dark, na?) She goes “Oh, Arun,” like Saira Banu used to in those old films, except she is “real”. Uff, how everyone is telling us again and again that this is real, and all about subtext and layers and ensemble cast, which is a nice way to create 'confujan' and make it sound like it has so many “bhadva” layers.

It is so ‘witty’ that a bullet that backfires and boomerangs on the unrequited lover becomes the cause of denouement. Geez, the object of his love finally says, “I love you.” Now, is one supposed to go treacly and get goosebumps? No, no. This is serious cinema with layers. So, should one laugh but only slightly because it is a dark comedy? No, no. They are finally snuggled in bed.

Sudhir Mishra has made two marvellous films: Ek Raat Ki Subah Nahin and Hazaaron Khwaaishein Aisi that meshed love and the thriller genres. Yeh Saali Zindagi is neither here nor there. I mean, there are people who think describing the person one is crazy about as rajma chaawal is different and potent. Really? All Punjabis probably do, that is if they are not calling them tandoori chikkan or sarson da saag. But rajma is kidney beans and he goes on about kidney…kaleja…(which is liver)…dil…

Mishra can take a bow. He has finally made a film for the frontbenchers.

- - -

Note: I have used cuss words in the post that were there in the film and passed by the censors. I suppose I got some of the layers right. To the readers, please excuse, but I also had to be 'realistic'.