Slumdog Millionaire

Slumdog Millionaire

            Director Rajendranath Zutshi brought to the big screen a film with many different screenshots; I believe that Zutshi selected the correct aspect ratio of 2.35: 1. The wide screen shots throughout the film seemed appropriately, if he had used a smaller format it might have been difficult for the audience to take in the amazing photography in real time. Initially I wondered if Zutshi had used a set and/or location with the opening scene as the young boys playing cricket on what appeared to be an abandon parking lot. Jamal played by Dev Patel is starring into the sky is semi-blinded by the sun; the aircraft breaks the glare thus causing Jamal to miss the fly ball.

            As the local police chase the kids from the field yelling, “If the planes don’t kill you I will” adds little to opening scene until the kids crawl across the wall back into the city. Then it’s evident were the film is taking place, a third world country with a huge disparity between the rich and poor. The camera men capture the poverty with a wide angel shot of the community, showing the huts, small walk ways, and trash abound. Location on a studio set while they can sometimes capture the essences of a scene it would have been a stretch for anyone relates with this scene from pictures in the news.

            Realism is captured; you are pulled into the scene after the attack on the Muslims, Jamal and his brother Salim played by Azharuddin Mohammed Ismail is sleeping underneath a makeshift tent it just feels as if danger is lurking. Through the opening flapping in the slight wind the director enhanced the feeling of danger with a long camera shot, capturing Mamam walking up the pile of garbage. I watched this scene several times trying to capture the thoughts of the director; young boys no longer protected by their slain mother are now preyed upon. The camera work really set the stage without any dialog. 

            Zutshi I feel used color cinematography throughout much of the film his use of black & white during the rail car scene, incensed the scene of hopelessness. This was very much in contrast to the vibrant colors of the blankets laid along the ocean with people washing clothes. Scene’s inside of movies changing between vibrant and bland add to the effects, sometimes the words don’t necessary capture the director’s vision.

            Special effects can be missed inside the films, couple that jumped out that took camera placement; one is Mamam being shot the other is when Jamal enters the home where Latika played by Freida Pinto is being held. Mamam is down on his knees I suspected the pillow was to muffle the shot, although it did Zutshi also used slow motion to show feathers rushing out of the pillow. As the scene further develops, the “shot” is exasperated by Salim yelling to Jamal let’s go yet Jamal can’t hear plus the audio is in slow motion to increase being immersed within the scene.

            Camera angle played a large part of helping convey the message; Jamal is having a conversation with Prem Kapur played by Anil Kapoor Jamal’s image is upside down showing how his life has yet to find its way through a very troubling youth.

            Closing scene; the director uses blinding light between Jamal and Latika, they kiss breaking the blinding light showing how they finally get what they’ve always dreamed of. Two Thumbs up to the director and plot.