Slumdog Millionare wins Picture of the Year!


And it took a white director to make sure we got there! OK, OK, I will try to be less cynical. I know, I should be totally psyched that Slumdog Millionare won so many Oscars, including best picture. Any visibility for South Asians is good right?
Right. And wrong. I personally didn’t think Slumdog Millionare was an Oscar worthy movie. I thought it was creative, beautiful, interesting and had a great soundtrack, but I didn’t understand how it was Oscar worthy. Where was the complexity of the characters? Where was the deep cross-cultural analysis that helps us understand the South Asian condition? Where was there any agency displayed in the character of Latika? How did this story help the plight of the South Asian national citizen outside of reinforcing stereotypes of India?
I guess I have more questions than I have answers. And the questions I ask were certainly not the ones considered by the Academy in choosing this film. To be clear, I loved this movie and I saw it twice. The second time I brought my family, and my father a staunch Indian nationalist, hated it. He didn’t like the way it portrayed India. I do not hold the same politics as my father and I felt that it actually held more truth about poverty and corruption in India than we would like to admit. But once you sift through the amazing imagery, adorable kids and soundtrack you are left with a coming of age story, only the story is not really for Indian audiences.
And despite its attempt at a narrative of social progress, Slumdog reinforces that which is hopes to ameliorate. Mitu Sengupta has an excellent piece up at Alternet about the policy implications of films like Slumdog Millionare that lump together the stereotypes of the poor.

It is ironic that “Slumdog”, for all its righteousness of tone, shares with many Indian political and social elites a profoundly dehumanizing view of those who live and work within the country’s slums. The troubling policy implications of this perspective are unmistakeably mirrored by the film. Since there are no internal resources, and none capable of constructive voice or action, all “solutions” must arrive externally.
After a harrowing life in an anarchic wilderness, salvation finally comes to Jamal, a Christ-like figure, in the form of an imported quiz-show, which he succeeds in thanks to sheer, dumb luck, or rather, because “it is written.” Is it also “written,” then, that the other children depicted in the film must continue to suffer? Or must they, like the stone-faced Jamal, stoically await their own “destiny” of rescue by a foreign hand?

Go read her whole piece, it gives a vastly different view on the film than what has been discussed in the mainstream media.
Finally, as a feminist, I had a really hard time with the character of Latika. I understand that in Boyle’s imagination, Latika was like any third world woman. A helpless victim that can’t speak up for herself and stays in an abusive relationship, until she is saved by another man. Outside of oversimplifying the complex ways that women of color experience AND resist violence within their own communities, it reinforces stereotypes of helpless third world women. I must say, I tried to ignore this plotline in the beginning. Perhaps if I thought about it too much, I would come out against a film that is supposed to “help” my people or because I just wanted to enjoy something for once without the nagging reality that this story doesn’t make sense without the depiction of a violent patriarchy. But the unfortunate reality is that in order for South Asians to make it into the mainstream, they have to cater to the lowest common denominator of universal experience. And that is of course one where women have no agency, especially in the context of the third world. I mean that is why we are fighting all these wars right? To save women!
So yes, of course I am excited that Slumdog did so well at the Oscars. It makes me happy that all these South Asian actors are in the spotlight along with the genius of AR Rahman and MIA. However, it is only one step and we must resist the desire to homogenize the Indian experience that we know so little of in actuality, based on a fictitious film directed by a white man.

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