Meenaxi, tale of 3 cities: Bollywoodian befuddlement!

Publié le 24 Novembre 2008

« Meenaxi, tale of three cities » by M.F. Husain (2004), is exactly that, a Bollywoodian befuddlement. The film is a pathetic attempt at building “something else” than a traditional love-story, and, because of lack of inspiration or lack of artistic common sense, the result is just a bad film. There’s everything it needs to be bad: no story, instead an arty reflexion on story-telling, elaborate touting technique, using sexy actors, suggestive but unconnected symbolism, and glossy photography (the film’s only merit). The whole thing reminds me of Shabd, another very boring movie where Aishwarya Rai and Sanjay Dutt were striving to do their best in a writer’s filmed “experiment”. The trouble with such movies is that the experimental dimension betrays the lack of experience, precisely, of the director, or perhaps more simply their lack of artistic sense: the two films are so obviously based on their fascinated desire to film the beautiful people they have in front of their camera lenses, that what they come up with is nothing more than an advertisement for their personal desires. Strikingly beautiful actors simply cannot transform their attractiveness into a movie! (As the ageing Raj Kapoor should have known).

I had actually bought this film when I wanted to write something about Tabu some time ago, and didn’t get round to watching it. But nothing could have been wiser! In Meenaxi, Tabu swerves from the hysterical to the bossy, from the mysterious to the girlish without any apparent reason… Well yes, there’s reason: now she’s the writer’s muse, and adopts an overweening tone and attitude, then she’s his creation, and tries to be who he believes she should be… Such waste is astounding. An IMDb user calls the film a “self-indulgent waste of time”. M.F. Husain is a painter, a great painter, they say… well, that’s OK. But I’m not sure he should have wandered away from his first taste. I suppose painting can associate itself with cinema, I’m sure there are examples of good directors who are also painters. But there is something which in my mind, both the painter and the director should forget when they create, and that is a fascination for the surface, for the mirror of artistic objects. The artist for me is the one who will suggest what is beyond (or below, or above) the surface of what he is painting or filming. Even if the picture shows us the painter’s (or the director’s) obsession with an object (this object could be a woman’s figure, or a young man’s seductive face, as in Meenaxi), I believe this obsession should be generalised enough for us spectators to sympathise with it, or at least react to it on our own plane of meaning and appreciation.

 

When I read this sort of comment “the film, while constructing a fictional story, leaves open to interpretations and readings by every viewer” (back of the Yashraj DVD box), I realise that there is a big risk that the film might well be completely hollow. Certain people just have nothing to say, or what they would have to say unfortunately has been said before, and better. In that case, instead of just remaining silent, and wait for a real message to come, they use the meta plane, where they speak about their problem of not being able to speak. For me this is as much parasitism. When you are a film-maker, either you do your job, and shoot a product, which will be consumed for what it is: a comedy which finds its justification in people’s need to have a good time, or an adventure film that people will enjoy because it shocks them out of their routine, or you have indeed something original and creative to say and make, and that’s an entirely different matter.

Because whether experimental artists like it or not, art is a mediation. It must lead us somewhere. It should take us along with it to some terrae incognitae. These unknown lands might well be inside the artists’ minds – they very often are – and they are many unchartered lands which artists will continue to make us discover, even lands we thought we would never have enjoyed visiting. For me, Francis Bacon’s paintings are such a discovery, for example. Profoundly unpleasant, but full of a meaning that oozes out if you want it or not. One can never decide beforehand if the artist’s trial is going to be artistic or not, because artists constantly reshape the boundaries of what we call art. Art has to be given the credit for trial and error. But in the case of MF Husain’s work, I can see no real innovation, no shocking originality, no creative dimension. Apart from the photography (which is superb, but self-sufficient), there is almost nothing but a succession of self-satisfied allusiveness, or cheap and disconnected advertisement-quality puffed-up odds and ends.

 

Well, now that I’ve poured out my spite, I’ll finish by evoking some of the pleasant things which I found in Husain’s film… There are some rather beautiful symbolical “inventions”, such as the use of these rotund pots seen rolling down the sand dunes, or when Meenaxi is lying on the edge of a pool, we can see them bobbing away on the water. Then there’s these shots of Prague, seen from unusual angles, or bathed in a variety of lights – that’s it, Husain ought to have been someone’s director of photography! That’s where his talents lie.  One last thing: the music by AR Rahman – I knew all of it through other means before watching the movie, proof of its quality and of Rahman’s reputation! But unfortunately good music doesn’t help a bad movie.

 

Rédigé par yves

Publié dans #Film reviews

Commenter cet article

henrik 02/05/2010 12:31


Yves, I could see "Meenaxi" as a mind-altering substance, to be combined with other, more physical mind-altering substances (stay un-altered enough to switch off when Prague appears).
Interestingly, I found this interview with director MF Husain: http://www.thehindu.com/thehindu/mp/2002/08/08/stories/2002080800950100.htm And he says: "Cinema is a medium of the painter. It is not
the medium of any storywriter or anybody else. It is a visual language." Well, "Meenaxi" would underline that one-sided opinion. Who cares for a plot, right! Another flaw I'd say is Tabu. I
generelly like her, but in "Meenaxi" not. I heard that Husain is even more obsessed with Madhuri Dixit than me and in spite of some red signs flashing, I'll give his Madhuri movie a shot later.


art 07/05/2010 16:32



Thanks for your answer. Shows that indeed an artist's work do reflect their vision of art in general. And for Husain's "obsession" with an actress, it follows the same direction, I'd say. If an
actress's qualities impose themselves that much on his mind, risking to make him forget his technique, the necessity for him to be in command of all the parameters of the film, well, he's not
really a director. You can't be a director and let a face make you forget your task.


cheers



henrik 02/05/2010 08:01


Yes, it is superficial. Still, i could enjoy that part of the experience - enchanting music, ditto visuals - like a promo video of the Indian tourist authority. Only the Prague part sent me to
lalaland.


yves 02/05/2010 11:59



Hello Henrik,


Well at least we agree on that: I liked your "promo video" comment! The trouble with that kind of films is that they replace a story with flashy visuals, with "artistry" if you see what I mean.


thanks for dropping by!


yves



bawa 21/01/2009 13:04

I haven't seen this film but I totally agree about Shabd: pretentious drivel...in fact, got tired of it and didn't pay any attention to it (was watching it wiht others) as I coudln't care less whta happened to the characters.So I will avoid this one too.

yves 25/01/2009 12:50


Well said!


bollyviewer 28/11/2008 19:11

M. F. Hussain's movies are to be viewed as a series of stills - never view more than one still per day! lol
I'd earlier tried (and failed) to watch his Gaja Gamini which was pretty similar but had him obssessing over Madhuru Dixit instead of Tabu. Again, very very pretty visuals but nothing beyond that.

yves 30/11/2008 18:25



Hi Bollyviewer,


Well, I'm pleased to see that you share my point of view about Husain: I was wondering whether I hadn't been too hard with him. Mind you, I can see why he likes these actresses!


cheers