4 Movie Scenes That You Didn’t Know Had A Hidden Meaning
Movie viewing experience has become very dynamic, the technology has developed, the content has improved and even the audiences have evolved. But as a viewer amidst all these advances what we still value the most are the moments in the movies that make you pause the film and then ponder about it for a while. The scene might be having hidden subtexts, some trivia around the film, an inside joke, a crossover reference, juxtaposing two situations or even a frame with scope of viewer’s interpretation. With this thought itself we aimed to develop a series called #PausedOnPurpose where we bring to you some moments from films that have been crafted specially and need a revisit to acknowledge the geniuses that lie beneath.
These scenes have been #PausedOnPurpose to capture the brilliant detailing in the characterization of Muraad and Safeena (from #Gullyboy) through a metaphor. These frames indirectly speak a lot about their narratives.
In these scenes, both of them are reluctant to walk side by side with their respective mothers (in the case of Murad, it’s his stepmother). The mothers can be perceived as metaphors for the mess in their life, giving the viewers an impression that they are walking away from those problems both figuratively and literally.
Zoya Akhtar’s visual language has been top notch and very expressive in this film. Even in these frames we can see a contrast between their problems. In Murad’s frame, there’s action, noise, people around, just like how his life has been in his gully, full of people and liveliness – but still incomplete.
In Safeena’s frame there is a monotonous off-whitish background with no one around them, just like her life, complete and peaceful from what it appears but hollow from the inside. Remember, she doesn’t have a single friend shown in the movie except for her mutual friends with Murad, which is a testament to her lack of social life because of forced conservatism.
Both these characters want to break out and escape from their worlds of problems and are trailing for it, but till that time they have each other to make this chaos a little more bearable.
2. Piku (2015)
The frames were #PausedOnPurpose to ponder upon a very simple yet striking thought. You would’ve questioned yourself “hang on, are Rana and Piku a thing or not?”. And if this question crosses the viewer’s mind then there lies the victory of the genius filmmaker Shoojit Sircar (@shoojitsircar), who should be given due credit for it.
In Indian cinema, there’s been a trend of depicting love and romance in a particular template. There have been some over the top romantic sequences, sometimes borderline and sometimes out and out cheesy expressions of romance, due to which beauty of subtlety becomes really rare. But Sircar dares to deviate from it through and through in the film.
In the film there are several subtle scenes when cute glances and stares are shared between Rana & Piku, they seem to grow an organic bond, and there are also scenes when Bhaskor (Amitabh Bachchan) goes in the background and the focus is on the little yet very expressive moments that they share. One such moment is shown in the upper images, where Piku says that whoever wants to marry her will have to adopt her 90-year-old baby (Bhaskor) and then jokingly asks Rana, “Can you take the pain of marrying me” to which Rana replies “Do you think I have lost it, to do something like this” and both share a laugh.
All of this does hint the viewers that there is some chemistry building between both of them but right till the end Sircar avoids to explicitly define their relationship. In the last scene, they are just shown playing badminton casually, which again doesn’t spoon feed any perception and leaves the viewers to think it their way.
Couple or not a couple, does it really matter? If it’s beautiful then let it be its own kind of beautiful, that’s what Mr. Sircar teaches us through this interesting journey of Rana & Piku’s companionship.
3. Swades (2004)
When you hear this word from the mouth of the wrinkly old woman in her hoarse voice, everyone rejoices, even you as a viewer can’t help but feel the happiness of the villagers of Charanpur. After the 12 minute long scene of Mohan with a bunch of enthusiastic villagers trying to generate electricity through hydropower, we see all the tension getting released through this scene.
The beauty of this scene lies in the way Gowarikar has used this bulb. It was symbolised very beautifully and we as viewers could perceive it in certain ways. Bulb is widely known as the symbol of innovation. It’s considered as one of the most important inventions in the history of mankind. When the bulb gets lit up, there are several other hopes that light up – hope of innovation, hope of development & hope of the much needed change in the lives of the people of Charanpur.
The usage of lights has been very evident throughout the film, in different ways, even in the lyrics of the song “Ye Tara Woh Tara”, there is description of starlight after they face a power cut during a film viewing.
Another important scene which should not be missed is of Mohan confronting the villagers that they have started to accept their fate without the electricity and have got used to the darkness (metaphorically & literally). Mohan steps up by taking the charge to make them independent by generating their own electricity and shows the sign of being their guiding light in the darkness.
These are the simple little things that Gowarikar has taken care of to pour the emotion and feels of the people of charanpur and make us question ourselves as to what we intend for our country, our people.
4. Andhadhun (2018)
A blind person beautifully playing the piano with a lot of chaos around, sounds like a scene from Andhadhun (2018), right? But guess what, director Sriram Raghavan had created a similar scene in the uniquely shot action-sequence in one of his earlier directorial ventures Agent Vinod (2012). It had the song “Raabta” playing in the background.
In both the scenes the filmmaker has ensured that there is tension and a sense of rush through the visuals, but at the same time there is an element of poise with the musicians keeping their calm and doing their job silently.
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