I would like to welcome the decision taken up by the Belgian parliament to keep public places free from Burqa and Naqab (worn by some Muslim women that covers a person's face fully or partially). This is a very important step taken up by any country on the matter of public safety, in these days of global terrorism. Belgium rightly deserves the credit to be pioneer in this front.
Wearing Burqa or Naqab in public places puts extra challenge on the people or authority who work on maintaining public safety. You can't see a face and hence don't know if some unauthorized person has entered into a building or moving around a public place. The images captured by CCTV cameras installed for public safety in various places will be of little use if a face can't be detected for later investigation. A couple of years ago, a jewellery shop in Mumbai (India) decided not the allow wearing burqa inside their shop, to prevent theft of marchandise. In the examination hall or at a job interview, it will be difficult to detect if someone has impersonated the actual candidate. There are numerous such examples that you can cite from your personal experiences.
Besides security issues, there are other matters of inconvenience if a person dealing with public (e.g. a teacher or public servant or sales person etc.) wears a Burqa while at work. Because it becomes a barrier for communication, and doesn't help in building up trust and confidence quickly. Hence it hinders learning process (in schools/colleges), building up trust and clarity of communication (in govt. or other public offices) and building up customer relationship (in commercial establishments).
As the matter is related to a religious practice, my opinion is to become aware and sensitive towards the need of the changing time and to apply our own judgment accordingly. Wearing a turban by a Shikh, a skull-cap by a Muslim, putting a vermilion or sandal powder dot on forehead by a Hindu or a carrying a small cross as locket by a Christian or some similar practice by people from other religions will not pose a security threat to the common public. But the same can't be said about wearing a Burqa. I believe people are free to practice their religious rights and custom, but should not cause inconveniences or discomfort to others. If so, then it should rather be considered as insensitivity towards other people and humanity in general.
On a lighter note, it definitely gives a good opportunity to the tasteful Muslim ladies to invest on some nice clothing and jeweleries. We should hear a lot of cheers from their side. However, a word of caution for the Muslim parents and husbands - get ready to accommodate a hole in your wallets!
Friday, April 30, 2010
Friday, April 16, 2010
The Japanese Wife movie review – another feminist propaganda inside a weak cinematic frame
This is an English movie for urban Bengali audiences. The story is about the long distance relationship between a Bengali man and a Japanese woman. The man was from rural area of Sundarban, about 40 kilometers away from Kolkata and the woman was from Yokohama. It all started with a pen-friendship between these two introvert individuals which matured into a ‘marriage’ when they exchanged wedding ring over postal service! However this man and his wife didn’t get a chance to see each other face to face, during their seventeen years of married life; the only way of their communication was through letters.
The man Snehamoy (portrayed by Rahul Bose) was raised by his aunt (portrayed by Mosumi Chatterjee) who was a widow. She wanted Snohamoy to marry her girl-friend’s daughter Sandhya (portrayed by Raima Sen), until she came to know about Snehamoy’s “marriage over mail”. Later Sandhay married another man and after ten years, came back with his son to stay with Snehomoy and his aunt as her husband died. These are the central characters of the movie which evolve around the relationship between them and inherent expectations.
The theme was quite romantic and had a promise to highlight some interesting aspects of human relationship. But the director (Aparna Sen) didn’t choose to put much effort on establishing the characters in the background of time and space. Snehamoy was a school teacher lived only 40 km away from Kolkata in the year of 2007; even then he didn’t manage to visit his beloved wife Miyage once in last 17 years. This is absurd because of the fact that the teachers in the Indian province of West Bengal (of which Kolkata is the capital) have been getting a decent pay-check since last couple of decades and these people are quite affluent in the rural areas having a low cost of living. If their bonding was so strong then Snehomoy’s financial condition should not have been an issue to make several trips to Yokohama to meet his wife.
The rural characters portrayed in the film looked cosmetic. The kids were evidently from urban background and didn’t look like village boys with there poor accent. Even Mousumi and Rahul were found to be struggling with rural accent and manners. The cinematography was not well planned to showcase the rivers, fields and villages of Sundarban to provide the audience with the right feel of the context.
This creates a serious doubt on how much the director has been exposed to the rural life and rural people in West Bengal in 2007.
Only bright spot in the movie was the silent expression of Raima in Sandhya’s character. Rahul was decent if we forget the rural accent part. The fact is that he was possibly the only option for that character having necessary personality to earn some credibility.
The director Aparna Sen has been known for her feminist ideology which has been nicely reflected in this movie. Here we see shaky Snehomoy glorifying the affection of his aunt, dedication of Miyage and silent-longing of Sandhya, by jerking off lying on a boat or fighting temptation towards street hookers in a village fair. Was this contrast really necessary, to portray a simple and passionate man’s love and longing for his wife?
Apparently, the movie has been made for the urban Bengali audiences, who already have grown a taste for good Hollywood movies and smart Bollywood movies. Most of them have stopped putting their money on Bengali movies any more. There are a few and faithful who still go to watch Bengali movie, primarily to do a social service by encouraging Bengali movie makers. Obviously they expect at least some sensible, intelligent and sincere movie from a Bengali director of repute. I’m not confident if this movie will be able to satisfy their need.
Also these days the popular belief is that, some directors make movie targeting some lobby or some festival organizers, and don’t bother about making either a memorable or a commercially successful film. With some good connections, these people end up grabbing some awards; and public usually come to know about the film for the first time when the award is announced in the news paper.
In a nutshell, the movie is not worth recommending for a view unless you have a lot of spare time or you want to donate something for the betterment of Bengali culture.
NB. I’m one such lovers of Bengali culture who still spend their money and time on Bengali movie as a social service. But being a common mortal I’ve been getting tired lately doing this service for so many years. Somebody please help us!
The man Snehamoy (portrayed by Rahul Bose) was raised by his aunt (portrayed by Mosumi Chatterjee) who was a widow. She wanted Snohamoy to marry her girl-friend’s daughter Sandhya (portrayed by Raima Sen), until she came to know about Snehamoy’s “marriage over mail”. Later Sandhay married another man and after ten years, came back with his son to stay with Snehomoy and his aunt as her husband died. These are the central characters of the movie which evolve around the relationship between them and inherent expectations.
The theme was quite romantic and had a promise to highlight some interesting aspects of human relationship. But the director (Aparna Sen) didn’t choose to put much effort on establishing the characters in the background of time and space. Snehamoy was a school teacher lived only 40 km away from Kolkata in the year of 2007; even then he didn’t manage to visit his beloved wife Miyage once in last 17 years. This is absurd because of the fact that the teachers in the Indian province of West Bengal (of which Kolkata is the capital) have been getting a decent pay-check since last couple of decades and these people are quite affluent in the rural areas having a low cost of living. If their bonding was so strong then Snehomoy’s financial condition should not have been an issue to make several trips to Yokohama to meet his wife.
The rural characters portrayed in the film looked cosmetic. The kids were evidently from urban background and didn’t look like village boys with there poor accent. Even Mousumi and Rahul were found to be struggling with rural accent and manners. The cinematography was not well planned to showcase the rivers, fields and villages of Sundarban to provide the audience with the right feel of the context.
This creates a serious doubt on how much the director has been exposed to the rural life and rural people in West Bengal in 2007.
Only bright spot in the movie was the silent expression of Raima in Sandhya’s character. Rahul was decent if we forget the rural accent part. The fact is that he was possibly the only option for that character having necessary personality to earn some credibility.
The director Aparna Sen has been known for her feminist ideology which has been nicely reflected in this movie. Here we see shaky Snehomoy glorifying the affection of his aunt, dedication of Miyage and silent-longing of Sandhya, by jerking off lying on a boat or fighting temptation towards street hookers in a village fair. Was this contrast really necessary, to portray a simple and passionate man’s love and longing for his wife?
Apparently, the movie has been made for the urban Bengali audiences, who already have grown a taste for good Hollywood movies and smart Bollywood movies. Most of them have stopped putting their money on Bengali movies any more. There are a few and faithful who still go to watch Bengali movie, primarily to do a social service by encouraging Bengali movie makers. Obviously they expect at least some sensible, intelligent and sincere movie from a Bengali director of repute. I’m not confident if this movie will be able to satisfy their need.
Also these days the popular belief is that, some directors make movie targeting some lobby or some festival organizers, and don’t bother about making either a memorable or a commercially successful film. With some good connections, these people end up grabbing some awards; and public usually come to know about the film for the first time when the award is announced in the news paper.
In a nutshell, the movie is not worth recommending for a view unless you have a lot of spare time or you want to donate something for the betterment of Bengali culture.
NB. I’m one such lovers of Bengali culture who still spend their money and time on Bengali movie as a social service. But being a common mortal I’ve been getting tired lately doing this service for so many years. Somebody please help us!
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