Angry Young Man and His Troubled Relationship with his Father

Indian cinema’s Angry Young Man surfaced in the 1973 blockbuster Zanjeer. It also hailed the end of a generation of cinema that celebrated the stability and status quo India was facing in the late ‘50s and ‘60s.

The Angry Young Man, in the avatar of Amitabh Bachchan in Bollywood and Rajnikant in Tamil Cinema, was a superhero of the common man’s dream. He was just an aam aadmi (common man), with powers and weaknesses of a regular human being, who has decided to act. As normal Indians are afraid of challenging their fate in reality, the Angry Young Man fulfilled the dream they could vicariously live.

However, the Angry Young Man, especially the roles played by Amitabh Bachchan, has a special distinction. He is almost always with an absent or a dead father. And when the father is present, he is in a deeply troubled relationship with him.

Let us probe this issue a little more. In more than fifty films, from Zanjeer (1973) to the recent Bbuddah Hoga Terra Baap (2011), the Angry Young Man’s character tries to restore justice, honour and dignity for himself, his family and the people around him. Except for Inquilab (1984), his fight concerns the personal space of family. And in India, who is the archetypal head of the family?

Modeled on a feudal outlook, the post-independence Indian Government framed all types of taxation, laws and governance policies, primarily on the basis of an undivided family; be it Hindu or Muslim. The unquestionable authority of the Prime Minister, other Ministers, the Supreme Court, its Judges and the Police entail from such an outlook.

The tapering figure of the father figure is central to a society and its citizens. In America, there may be a faltering loyalty to Uncle Sam. But in India, it is the father who wields the law.

In Lacanian Psychology, a male child constructs his identity throughout his growing years, by internalizing the name of the father. In short, the name of the father can be equated to the child’s position in the lawful order of the society, in its norms and customs. In contrast, an imaginary father is the figure that sets the child out to the world, alone and cut off from the peace of his mother’s lap… the blissful security lost after the child becomes adult.

In all the films from the Angry Young Man genre, Amitabh or Rajnikant, crave to return to their mother’s lap. In Deewar, the character Vijay, in his last words to his mother, says “Tujhse dur rehkar mujhe kabhi neend nahi aayi maa! Main kabhi nahi so saka maa! Aaj phir mera sar tumhari god mein hai maa. Ek bar phir mujhe sula do maa!” (I could never sleep staying away from you mom! I could never really sleep. Today, again, my head is in your lap. Put me to sleep once again!). By killing or compromising the imaginary father, and making peace with symbolic father, the Angry Young Man finishes his journey in his mother’s lap, thus finishing a cycle of action with his real father.

When the real, imaginary and symbolic fathers can not be separated, the Angry Young Man emerges. In a very simplistic, almost fairy tale overview of life, this almost always happens in Bollywood.

Among all the Angry Young Man films, Amitabh’s character actually has a real but a flawed father only in Laawaris (1981), Sharaabi (1984) Aakhree Raasta (1986) and most significantly Shakti (1982). Only four out of around fifty films where he played the role of an Angry Young Man. In almost all other films, the father is dead, mostly killed by an enemy, thus setting Vijay (meaning Victory, Amitabh’s name in most of the movies belonging to this genre) on a road to vengeance.

But that does not make the Angry Young Man’s disturbed relationship with the father a myth. In the absence of a real father, the child clutches the imaginary father in a very ambivalent way and makes it a friend and an enemy both. In officially first film of the Angry Young Man genre, Zanjeer, the hero (Vijay, again) grows up to be a police officer who’s obsessed with upholding the law (the imaginary father’s one side) and wiping out evil(the imaginary father’s other side). To complete the journey, the hero must know the name of the father. Hence, in Zanjeer, as in Shahenshah (1987), he decides to punish the bad on his own. However, it is significant that he never negates the law. He merely supplements its execution.

In this way, the Angry Young Man’s journey never collides with the ideology of the powerful class or that of the State. In fact, it is not surprising that this character was nurtured more carefully in the post-emergency India, as he talks in favour of tradition, a classless society and power structure. The hero rarely talks about bigger issues. Even when he does, as in Coolie (1982) or Inquilab (1984), he is more concerned about solving his personal problems. That actually made the character a sociological stereotype and called for a change in Bollywood’s prime genre at the end of the ‘80s, which gave birth to the dark hero, as in Baazigar (1993) or Khalnayak (1993).

The hero wants to salvage his pride (because of birth), bad karma (for good means) and lack of security as he grows up. Hence, even in a romantic film like Mili (1975), the Angry Young Man’s psyche surfaces, and the reason is the same – a shame of father’s (or parents’) deed. The ultimate goal is always to be at peace with the father, real or symbolic, by the end of the film.

Hence, it’s not surprising that nowadays the Angry Young Man comes back as the father figure himself. From a Fruedian point of view, that is how it should happen. At the end of the journey the child succeeds in becoming the father himself.

Careers in Film and Television Editing

India makes the maximum number of films in the world. In addition to this, there are some 30 prominent channels, along with many regional networks. The Indian Media & Entertainment Industry is inviting great investment and has tremendous growth potential. Today, the number of aspirants who wish to make a career in films and the television sector, especially in the field of editing, is at an all time high. The scope of editing is ever widening in this era of technological explosion because every piece of audio visual media, requires an Editor.

Editing is a crucial job, which goes far beyond matching visuals and sound in accordance with the script. A good Editor can make the critical difference to a program’s final quality.

An Editor is therefore both an artist and a technician. As a technician, s/he needs to be abreast of the state of the art technology, which keeps moving towards higher levels of sophistication. At Digital Academy-The Film School, we not only ensure a hands-on experience with state of the art software, but also prepare students for the possible changes of technology in the future for e.g. the shift of Standard Definition Television (SDTV), to High Definition Television (HDTV) or the change of celluloid based technologies to Digital projection technology, be it 2K, 4K or higher.

 

What we aim for is to impart an education that grounds the student’s minds in the unchanging principles that govern narrative communication, while also preparing them for the ever changing flux of technology.

With greater responsibility comes greater visibility and better money. Today’s Editor’s can expect to earn top of the line remuneration especially in the high end spectrum.


Careers in Cinematography

Television, video, and motion picture camera operators produce images that tell a story, inform, entertain an audience, or record an event. Making of commercial quality movies and video programs requires technical expertise and creativity. Producing successful images requires choosing and presenting interesting material, selecting appropriate equipment and applying a good eye and a steady hand to assure smooth natural movement of the camera. Technical expertise, a “good eye”, imagination and creativity are essential.

Cinematographers need good eyesight, artistic ability, and hand-eye coordination. They should be patient, accurate, and detail-oriented. They also should have good communication skills, and, if needed, the ability to hold a camera by hand for extended periods.

Employment of Cinematographers is expected to grow faster than the average for all occupations in the near future. Rapid expansion of the entertainment market, especially motion picture production and distribution, will spur growth for camera operators. In addition, computer and internet services provide new outlets for interactive productions. Cinematographers will be needed to film made-for-the internet broadcasts such as music videos, digital movies, sports, and general information or entertainment programming.

Mostly starting as apprentices to well-established cameramen, the rise to the top need not necessarily be slow and steady for aspiring Cinematographers. All it takes is one independent job to be noticed and the sky is then the limit. Remunerations are modest for apprentices but leap in quantum measures as one’s artistry and uniqueness is recognized. Cameramen are highest paid technicians in any film unit. A career in Cinematography is a career of adventure, excitement, good remuneration and extreme job satisfaction.

Careers in Film & Television Direction

It is now common knowledge that the audio-visual medium is the fastest growing medium of communication in the world. Films are made not only in the fiction format but also as documentaries, training films, corporate films, advertisements and video art. The world of films is like a mushroom cloud that keeps getting bigger and bigger.

Every film must have a Director. It stands to reason therefore that higher the number of films, higher will be the demand for Directors. A film Director is an artist-technician who is also an expert manager, logistics person, coordinator and chief executive officer – all rolled into one. A Director is like a master puppeteer who holds all the strings and makes illusions look like reality. It is a difficult job that requires tremendous creative energy, enthusiasm along with loads of patience and humility. A career in Film Direction is one of extreme creative satisfaction, apart from side benefits of fame and money. But only those who are ready to go through the grind and put in hard labour as well as application can succeed.

Most students of Digital Academy join the industry initially as Assistant Directors and work their way up towards the Directors post. But there is no hard and fast rule about this and if the student has the capability they might well straightaway become a Director as soon as they pass out from Digital Academy-The Film School.

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