March 18, 2010

'BORN INTO BROTHELS' (Documentary)


In the aftermath of Oscar fever (and in lieu of my upcoming shoot in India), I took the time yesterday to watch 'Born into Brothels: Calcutta's Red Light Kids', winner of the 77th annual Academy Award for Best Documentary Feature.

The film takes place in the Red Light district of Calcutta, India, where photographer Zana Briski has spent several years living with prostitutes in an attempt to document them. Over time, she got to know the children of these women, and her focus shifted. She began an initiative to teach these young people photography, which she hoped would empower them, and ultimately help to get them out of the brothels. The film documents her attempts to do so.

The content is amazing. Children in films are generally a winning formula (that why we call them "the money shots"), but because of their backgrounds these kids are particularly special to watch. They have the energy and fun that we associate with children, but lack any sense of childish naivety. For some of them this has developed into a worldy-wisdom that is at once touching and fascinating to behold. Watching them start to discuss the subtle aspects of photography is nothing short of revolutionary.

However, this film is a great example of how story and storytelling are often at odds with each other. In spite of the fantastic content, the directors choose to weave the story around Zana's crusade to help these kids. While there's no denying that her actions are noble and commendable, Zana herself remains a carbon copy, one-dimensional character. (I would like to say she was uninteresting, but I would be lying, because I was interested in her. I would love to have known what inspired a Western woman to devote several years of her life to living with Indian prostitutes and their children. As a film maker I can relate to the need to get to know your subjects intimately, but I sensed from Zana that there was an untold story.)

The kids in contrast, were full of personality, and I would have loved to have gotten to know them better. It would have been fascinating to have witnessed how they developed as people, and how their art progressed. The only child that we get more than a superficial insight into is Avijit, who gets more screen time than the rest. I can't help but feel that their portrayal suffered because of the focus on Zana. The road movie montages instilled a sense of "feel good" into the film, but it's a pretty trite formula.

Without being too crude about it, I felt that the film was a bit of a zoo. The audience is given incredible access to this other world, but there's an emotional detachment from the animals because the zoo keeper keeps talking about them, and saying what's right for them.

I support the initiative that they undertook, and I admire Zana for her commitment to the kids, but as a piece of film making I question their judgment. However, as the success of the film shows - 'content is king'.

In spite of my criticism, it was an engaging film, and an amazing journalistic feat if nothing else. 7 out of 10.

1 comment:

.... said...

Thanks for visiting.
It has a very interesting blog. I like inspiring movie scenes.
Right now I'm doing a photographic work inspired by scenes from director Pedro Almodovar.
Greetings

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