deferred live

Today is only yesterday's tomorrow.                                                                   

Hollywood as a genre

1) I can predict the other end of the dialogue.

2) In the middle of a death chase the actor keeps his knack for his wit.

3) The monologue is perfectly crafted. So good that I couldn’t beat it if I had an hour’s time to write it.

4) The beggar/busker/underdog is obliged to be friendly. Usually s/he is the obscure philosopher and I am clever enough to notice it.

5) More often than not, the Japanese and other Asians are only capable of limited hand gestures with a retarded smile. Their vocabulary is limited to “thank you”, “yes/no” and “thank you”. Almost all of them suffer from vigorous involuntary neck movements.

6) Asians not belonging to the above description, are monks. They sit in front of the smiling Buddha and bless the hero before the final battle [ figurative battles included ].

7) The man in a mission in the middle East / Asia falls in love with a local girl; the girl does not speak much English but somehow connects with the man. The girl dies, the man wins, he returns with great pathos and the piece of memorabilia given by the girl [ often a talisman that is rust proof ].

8) He returns/will return one day and find his sowed seed.

9) The black man is unnecessarily solemn. He does the mundane[est] of task with the deepest of intensity.

10) After the break-up the protagonist retains his/her sense of humour or murmurs such Shakespearesque profundity as “parting is a sweet sorrow”.

11) 99% time truth prevails.

12) For the rest 1% there are sequels.

13) Often one gets to know profound things about ones self from complete strangers. Things like “you know, you are the most lonely person I ever met”. Revelation like this sets the person into deep introspection. Statement like “we live for nothing, but die for something” [ John Rambo ] evolves at the end of such introspection.

Hollywood characterises itself as the smartest possible one-line answers to the most common one-line questions. Some examples:

From X-Men Origins: Wolverine
Female Bartender: Are you drinking to forget?
Logan: No. I’m drinking to remember.

And none of the above are as amazing as the fact that after being aware of these clichés, I come back to this genre. Again and again. Now that must mean something! Just as it meant something when I saw that crude writing at the back of an auto-rickshaw, “bhalobasha sudhu kadae” [ love makes you cry, only ]. It was the worst possible banality, in the middle of a humid hot Calcutta street, rendered in the worst possible font, over a shockingly garish background. But at that moment, it meant something, that not too subtle one liner “bhalobasha sudhu kadae”.

April 26th, 2011 at 8:14 am