Annie is the nickname of Anand Grover, a laidback and idealistic student training to be an architect and who also happens to have a chicken living in his dorm that lays eggs. This is one of many idiosyncratic characters that we encounter. In which Annie gives it those ones, contender for the quirkiest film title ever conceived, has taken on a mythical status amongst Parallel Cinema aficionados, a cult film from the late 1980s partially funded by Doordarshan. Legend has it the film only survives on existing video copies circulating through subterranean channels, allusiveness that adds to the mystique and cult status, along with SRK’s first screen role as a stoner.
Set in the 1970s and with a script by Arundhati Roy and who also stars in the film, it was the second of only two feature length collaborations between Roy and director Pradip Krishen. Roy’s script is very personal, a semi autobiographical take on the counter culture experiences of her time at the School of Planning and Architecture in Delhi, a benign institution symbolised in the character of Yamdoot Bilmoria (the brilliant Roshan Seth), a Head of Department who is lofty and disingenuous towards his students, and a remnant of colonial power and pretentious etiquettes. Adopting an episodic structure, the rapport amongst the students is wonderfully brought to life with Roy and Krishen choosing to present the dorms as an extended hippy commune with pot smoking loafers who embrace the joys of youthful cynicism, sticking up two fingers at the establishment.
Roy takes up the role of Radha, a young trainee architect who has the most scathing political voice, attempting to critique the ideological usage of space in urban planning and what this heralds for the citizen. But Yamdoot effectively censures Radha. Later when Radha gets the chance to polemicize as part of the final exam, Yamdoot and his panel of all male professors are more interested in the dinner menu than affording her the chance to speak her mind. An underlining theme that steadily gains momentum is the farcical nature of civil and government institutions that largely promote conformity and discourage dissent but it is exactly this speaking out against the prevailing powers that be which has made Roy such a significant political activist and voice in India.
Punctuated with covers of The Beatles, an eclectic ensemble cast and end titles that seem to recall American Graffiti (1973), this is a cult film that occupies the similarly eccentric comedic terrain of Jaane Bhi Do Yaaro (1983). Together, they make the perfect double bill.
|The A Bomb
Joe Dante is by far the most mischievous of the filmmakers spawned by exploitation maestro Roger Corman. Unlike his contemporaries Dante has made fewer films. His oeuvre is characterised by a darkly satirical edge and his nightmarish representations of American suburbia have run contrary to the mainstream. Consider the way he smuggles a creepiness about Reagan’s America into a populist film like Gremlins but all with a sense of anarchic fun. Dante’s mischief did him no favours with the studios so it was lucky directors turned producers like Spielberg shared such zany and cartoonish tendencies. Both Gremlins and Innerspace were backed by Spielberg and Amblin. Dante’s finest satire is his 1993 film Matinee and it is a terrific genre film that deals with three of my favourite cinematic themes; childhood, politics and cinema. The backdrop is the cold war era and the Cuban missile crisis. As tension between America and Russia escalates, a small town in Key West Florida anticipates the arrival of B movie horror director Lawrence Woolsey (a riff on Hitchcock and played by John Goodman) with his latest shlock flick Mant (a man who is exposed to radiation and an ant). A young boy Gene, whose father is part of the US navy assigned to defend American waters, is a lover of cinema especially bad horror movies. Gene prefers his movies to girls and when Woolsey comes to town Gene confesses an unhealthy love of the horror genre. Dante juxtaposes the imminent threat of the atom bomb to the way cinema offers fictional solutions and escapist diversions; it’s a potent satirical combination since Woolsey’s horror creation Mant is an anxious manifestation of nuclear radiation. Woolsey makes no excuses for the way he exploits and benefits from the pervasive climate of cold war anxiety, producing films that are hyperbolic and demented. The local cinema, owned by a neurotic manager, has only one screen and caters to mostly the adolescent school kids who converge on the screening of Mant turning the auditorium into a controlled chaos. Woolsey’s plans of self promotion involves placing buzzers under seats, using his own state of the art Rumble-rama and getting the town’s delinquent to don a rubbery Mant suit. In case you’re wondering, yes, all three succeed in convincing an observant cinema chain owner to invest in Woolsey’s taste for theatrics. Dante’s nostalgic depiction of cinema going is one to be savoured as it is the cinema theatre that becomes a microcosm of the town’s various social, political and personal dilemmas. The ending is also powerfully self reflexive demonstrating with great fun the way audiences can be duped so easily by the most seductive of illusions. Also watch out for the terrific cameo by director John Sayles.