Chapter 349 Human Relationships
The film itself cannot contain any scenes that challenge the government's stance on the Kashimiya issue, nor can it contain any scenes that provoke or vilify militants.
They will retaliate, and if they get angry and come and blow up the director's house, that would be really fun.
This is not a joke, as there are countless cases of people seeking to settle accounts with the producers because they are not satisfied with the plot of a movie.
The most obvious example is the gangs. Directors have been kidnapped more than once or twice.
Ordinary moviegoers in India are also very emotional. If the ending does not make them happy, then the audience will rebel.
They would flip over seats and set the theater on fire.
In Chopra's words, Indians approach cinema as Italians approach opera.
Indian audiences can get violent when they think the protagonist deviates from their expectations.
A true example of this is the newspaper on Chopra's desk: Ludhiana audiences were so disappointed at the premiere of "Redemption" that their idol and hero was portrayed as a militant that they smashed the entire theater to vent their anger.
Often after a Bollywood film is completed, the creative team is afraid to watch it in theaters because they have to be constantly wary of what the rickshaw driver sitting in the front row, who might be holding a gas can, might think.
Chopra did not dare to ignore the reactions of all parties involved in the film. He wanted to make this film, but he did not intend to risk his life.
The extreme complexity of the Kashmir issue, the oppression and exclusion felt by the local people, and the helplessness of the people in rising up in resistance due to the collapse of their economic and political systems, cannot be mentioned in the film.
Vinod repeatedly stressed to several screenwriters: "I don't want this film to be controversial. I don't want to receive death threats from opponents. I don't want my film to be banned. The censors are hypocrites. They will praise the work in front of me, but they may change it to restricted rating the next moment."
Ron and Urmila sat in Vinod's study with a great view, drinking tea and watching the fun.
They were not in a hurry, just taking it as a way to relax. Ron had been busy for most of the past six months and it was rare for him to take a break.
Urmila wished that this leisurely time could last longer, so she postponed all her plans for the day.
As a director, Chopra should not have been involved in the construction of the script. The ideal situation would be for him to get a ready-made script and start directing directly.
The screenwriter would give his opinions from time to time, but he would often give him two fatal comments: "too commercial" (which violated his aesthetic as an artist) and "the audience wouldn't buy it" (which increased his concerns about the film not being a box office hit).
He is the director, and it is entirely up to him whether to adopt the idea or how to adopt it. He has the ability to learn from the strengths of many schools.
Chopra was obsessed with the film like a demon, and often argued with several screenwriters until they were red in the face.
When discussing how to match music to a certain scene, we would hum Kishore Kumar's "Come With Me, Darling".
They then opened their voices and stretched out their arms to sing until the end of the song, until their faces were filled with joy and radiant.
This had nothing to do with the work at hand; it was just a slacking off for a few filmmakers to enjoy a moment of pleasure.
Chopra is so dedicated to the film that when he shows a violent scene, he can't help but become violent too.
He'd get his face right in your face, grab you by the collar of your shirt and yell, "I'm going to fucking kill you!" It was infectious.
Ron had seen how a film director slowly determined the theme and plot of a film.
He would occasionally interject to explain what was acceptable in the broader political landscape and what was not.
As the newspaper noted, great care had to be taken during the film's creation to avoid "hurting the feelings of a particular group."
For example, what religious background does the heroine have, what might offend the audience, and what will be popular in the market.
Having experienced a general election in Uttar Pradesh, Ron is now very politically sensitive.
"That's it, Ron! I knew I'd find the right person."
"So you've made your decision?"
"Almost there. I'm thinking about how to express the metaphor at the end."
"Then use a fade-out technique," Ron said casually.
He had also worked on Bollywood films and knew what a fade-out was. It was a shot editing technique where the screen would go from bright to dark, often used to mark the end of a story or paragraph.
But Chopra shook his head without hesitation and said, "No!"
"Why?"
"When making films in India, it's best not to use fade-outs; it's taboo."
Chopra explained that when he had just graduated from film school, he used five fade-outs in a work, but the puzzled audience thought the theater had suddenly lost power and booed.
In rural areas, projectionists would cut faded portions from the film to prevent audiences from causing disturbances due to dissatisfaction.
He also believed that metaphors should not appear too late, because when the film is nearing its end, the theater lights will be turned back on and the doors of the screening room will be opened.
In India, audiences have a knack for predicting when a film will end, with overhead lights turning on and doors swinging open five minutes before the finale as proof.
Audiences with children need to leave early and hail a taxi or tricycle outside the theater.
Therefore, even if you stay in the screening room, you won’t be able to see the last five minutes of the movie because the audience in the front row have already stood up and walked around.
Therefore, the last five minutes of most Indian movies end with a song or a replay of the previous events. This kind of ending that simply delays time is often not an ending at all, as if a dying person sees scenes from his life flashing before his eyes.
After finally finalizing the ending, Chopra handed the revised script back to Ron.
"I think this movie has good market prospects, but you know, the subject matter is too sensitive, especially with the recent unrest in Northeast China."
"So what are your plans?" Ron asked.
"I want to shoot it!" Chopra said with certainty.
"Are you worried about the Film Censorship Board?"
"No, that's the last thing. I want to go to Kashmir to shoot."
"Dude, you're really brave. For the sake of art, you're even willing to sacrifice your life?"
There is no doubt that there were exchanges of fire in Kshenkhemir almost every day, and sometimes both sides sent people to carry out assassinations against each other.
If you shoot in that place, you might get involved in a sudden gunfight, or even be kidnapped by the other party.
It's too dangerous. Ron would never set foot in that area.
"I know the trouble is, so I asked you for help."
"How do you say that?"
"I want to contact the military there and have them designate an area for the crew. This will ensure both the authenticity of the setting and safety. Ideally, the military could also provide consulting services, striving to restore the most realistic worldview possible."
"Wow, that's quite a request."
To be precise, few people can do it. First of all, movies of this type are not popular with the military.
Secondly, Ksenmir is equivalent to the front line. For cautious considerations, the authorities are not very happy with the crew going to such a place.
"I know you'll find a way, Ron. You're Mr. Soule."
Mr. Sur today is completely different from the man he was four years ago. Simply put, he is now much more important.
"Don't flatter me, this is no joke," Ron reminded him.
"Yes, I have decided that I will shoot the scenes there myself. We even changed the script to make it acceptable to the military," Chopra insisted.
Ron lowered his head and flipped through the script in his hand. The story was indeed a little different from the beginning.
The current "Mission Kashmir" is more like a movie about family affection.
Indian epics naturally have a profound influence on Indian films. Like other Bollywood films, "Mission Kashmir" also praises maternal love.
This is an emotion that is impossible to criticize in Indian art works, and family reunion is an eternal theme in Bollywood.
Almost every movie spends two and a half hours describing how traditional multi-generational families transform into urban nuclear families, single-parent families or divorced families, and how family members overcome various conflicts and difficulties and get back together.
According to this classification, "The Mission to Kashmir" should be classified as a social film, the kind that makes housewives wipe their tears with embroidered handkerchiefs when they watch it during the daytime show.
Chopra himself, like all good sons in Indian films, is very filial to his mother. He even changed his dining plans with friends at the last minute because his mother said that he had to fast on the day of the solar eclipse.
The war scenes in the script were significantly cut, weakening the atmosphere of tense confrontation.
If this change is made, there will indeed be much less trouble in review.
"I'll help you contact New Delhi. As for how to arrange it, I can't control it."
"Great! That's enough! Ron, if you're interested, feel free to tell me about the investment in this film."
"Contact Sun Entertainment." He waved his hand and left this matter to his subordinates.
Ron didn't know the military in Kashmir, but he had connections in New Delhi. At the beginning of the year, he visited all the departments.
Don't overestimate the integrity of the New Delhi military. They are also slaves to money and even more daring.
It’s just a matter of asking Ksenmir to arrange a crew. It’s not a big problem and he doesn’t need to pay anything.
It was purely a favor to Chopra. With Ron's current position, some things were just a piece of cake.
He didn't expect any reward, he didn't need it, just let them owe him a favor.
This is good for Sun Entertainment. Anyone who has received his favor will naturally provide convenience to Sun Entertainment.
"By the way, have the main characters been decided?"
"I plan to cast Amit Bachchan to play the male lead, and Shah Rukh Khan to play a former militant who has turned over a new leaf," Chopra vowed.
"You are quite ambitious, but isn't Amit Bachchan getting too old?"
"That's fine with me. It doesn't affect the story." Chopra looked at him.
"What are you planning now?"
"Well, these two people are not easy to invite."
"Um?"
"I wonder if you could help me make a phone call and let me talk to them."
"Man, you really expect a lot from me." Ron said helplessly.
"Your TV shows have taken their careers to new heights, especially 'Got Talent', which has given Amit Bachchan a second wind. And of course, as I said, you can always step in with this film."
"You can contact them first and mention my name. If you have any questions, come back to me. By the way, if you are free in a couple of days, please help me shoot a promotional video."
"What promotional video?"
“It’s about public welfare.”
Ron has been doing a lot of big things lately, such as giving back to society.
Of course, it's all about fame.
(End of this chapter)
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