Telangana Film Noir

An unemployed uneducated youth steps out of his parents’ house against the backdrop of constant beratement. The language heard, more than the tone of the speaker’s, should annoy the audience and assault their senses. The next scene shows him entering the Osmania campus. For this scene, he should ideally bother to get a guise of a student but the purpose will be served even without.

Our protagonist then meets up with other distinguished ‘students’ of the campus. There are then internal discussions amidst the members. The dialogues need not be intelligible to the audience but the charismatic aura of the refined dialect shouldn’t be lost on the audience. Having a music director compose a soundtrack to this effect is a must. The group then splits and our students start walking towards different buildings housing classrooms. The camera follows our hero’s gang. They then enter a classroom, disrupt the proceedings, manhandle the lecturer (male or female depending on how dark you want the film to be), and enter into a fight with some individuals (whose identity and purpose is of no consequence to the audience). Focusing on the fighting of the whole group, like in the opening of ‘Clockwork Orange’, should be preferred to just fixating on our protagonist. If possible, it is advisable to just copy the whole choreography of that fight since tables and chairs are easily available in our scene as well.

Once the fight ends in triumph for our hero, the camera can show our hero’s face, from close quarters, soaking up all the pleasure from that victory. With people running in a frenzy all over the campus, the audience will deduce the happening of similar disruptions in other classrooms as well.

With the mission’s objective thus achieved, our hero leads his army into anna’s den. This anna’s den should be a modern state-of-the-art green mansion, in stark contrast to its inhabitants and the visitors. I don’t think the audience will be able to stomach romantic overtones between a Telangana couple but if length of the movie, is what you’re primarily concerned with, then please chew the cud to the full. Let this anna have a brother and a sister, and let the sister and our hero have a fling (as if there ever was a chance of it being anything but).

Our Telugu audience, connoisseurs when it comes to taste in movies, will look back upon this part of the movie as the part where the director let the movie sag. So amidst, all that mushiness, you will do well to throw in a few scenes showing classroom disruptions and destruction of public properties. A particular poignant scene can show our two lovers embrace in the backdrop of a burning bus or amidst burning file cabinets. Additionally, showing our female protagonist indulge in some anti-government violence along with males might appease feminists.

Realize how we have gone through more than half of the movie without any murder (the cornerstone of film-noir). By the time we get to the part which was supposed to be the central theme of our movie, those audience who liked the movie so far will be satiated and those who disliked the movie will be beyond all hope of redemption. No matter what happens next, neither group can be persuaded into betraying their opinions. We can, at this time, all together just omit the part which inspired us to make the movie in the first place (ain’t Indian cinema magical?). But as new-generation modern filmmakers carving out a niche for ourselves, not just in Indian cinema but in world cinema, we vow to deliver what we promise.

Our hero’s arch-enemy, meanwhile, happens to be none other than anna’s and our heroine’s brother. Disregard the fact that even a child watching his second movie would have seen it coming. This character can be shown standing behind the proud anna, glaring with envy at our hero who brings news of victory. Never mind if the actor hired is incapable of portraying envy with his eyes. We’ll just don him in a gaudy green tee through out the movie. Since he’s a Telangana-bidda it will be totally realistic and moreover, we can claim to be catering to the art-house audience as well.

We can show the envy building in our character’s psyche, as we go through the movie, by increasingly making the green tee more gaudy. When we reach the point when there’s no gaudier green and the movie is 150 mins long, we have our villain escorting our unsuspecting hero into a desolate abandoned bungalow. A moment of humor can be had here when the two are walking through a dark corridor and the villain’s, by now, incandescent green tee starts glowing.

Closest image I could find showing the transition of green

To catch the audience unaware, the villain starts choking our hero as soon as they step into some light and the shirt stops glowing. This is where the modernity of our director kicks in. In traditional movies, the villain never kills the hero, even less so when they are in a one-on-one situation. Here however, the villain nonchalantly squeezes the life out our hero and makes it appear as if our hero committed suicide. In addition, the villain also becomes the ghost-author of the suicide letter which vehemently declares ‘not having autopsy done on his body’ as the last wish. The usual ‘did this for the telangana-cause’ finds its way into the letter, as it should.

When the police arrive and order an autopsy, anna’s brother instigates mob-violence criticizing  the Government for disrespecting the last-wishes of  Telangana martyrs. The breaking out of the mob-violence can be the last scene of the movie. If however, you feel the audience are incapable of closing the movie for themselves, you can show the Government giving in to the miscreants and cremating the body without any enquiry.

*If you feel your audience is versed with dark literature dealing with incest, you can feel free to imbibe the romance into the reason for envy.

The beauty of this story-line is it needn’t take place only in Telangana. It could’ve so easily taken place in Kashmir or Kandhamal or Gujarat or Bombay or Singur. I’m not saying you discard this story-line after making one film, I say use it to make five films. You can also place the movie in a fictional place dealing with a fictional problem and claim to be as visionary as James Cameron.

Gujarat Riots

**No disrespect to anyone. Shame on you for feeling otherwise, if at all.


10 thoughts on “Telangana Film Noir

  1. I’ll try reading for the umpteenth time once again, as I did with many of your previous posts and get back to you 😛
    btw.. nice read as far as I understood 🙂

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