2011f_salaam_bombay by liamei12345


									India (2): The Lives of Street
       Kids in Mumbai

                                  Salaam Bombay

         Migrant populations flock to the outskirts of cities
         to find work. (source)

   Background (1): Mira Nair and the Children
   Background (2):
       Bombay & Bollywood
       Colonial Influences
       Religion
   Questions
   Salaam Bombay
Mira Nair and Salaam Bombay
                        Mira Nair
   Born in Bhubaneshwar,           Salaam Bombay (1988)
    Orissa in 1957 (middle          Mississippi Masala (1991) –
    class family)                    Indian immigrants in relations to
   Attended the University of       Afro-Americans
    New Delhi (Sociology and        Kama Sutra: A Tale of Love
    Theater)                         (1997) based on an Indian
   Went to Harvard in 1976
                                    Monsoon Wedding (2001)
    (Sociology) (source)             Indians and immigrants
                                    [Vanity Fair (2004) ]
                                    The Namesake (2006) Indian
        Salaam Bombay! History of
1.   Interviews of street kids in Bombay.
2.   Out of these interviews emerged a screenplay
     that was a composite of several lives.
3.   ―Then many [24 out of 150] of the children were
     enlisted for weeks in a daily workshop, not to
     teach them "acting" (for that they already knew
     from hundreds of overacted Indian film
     melodramas), but to teach them how to behave
     naturally in front of the camera.‖ (source)
        What happened to the children?
1.   "Our whole attitude was to meet them halfway and help
     them realize their own self-worth and dignity," said Nair in
     a … interview with The Christian Science Monitor (12 Oct
     1988, p.19). "[We] wanted to help them create
     opportunities they want for themselves." Responding to
     this respectful approach, some children entered school,
     some returned home to their villages, some got jobs, and
     some have stayed on the streets.
2.   Nair uses proceeds from the film to open learning centers
     for street children in both Bombay and Delhi. (source)
3.   The film’s interviews
            Salaam Bombay!

   Awards:
   the New Director's Award at the
    Cannes Film Festival in 1988 an
    Academy Award nomination for best
    foreign film in 1989
   Neo-Realism; A departure from
    Bollywood Musical.
―come back a movie star.‖
Traces of Colonial Influences
Traces of Colonial Influences
Traces of Religion? 
Traces of Religion?  Parade of
    500 rupees: How does Krishna go to Bombay?
     Why is he away from home? Why does he go to
     Bombay and what does he want to do there? (clip
     7;11//chap 8, 11—41:00 )
    A migrant in a city: What is Krishna’s first
     experience of Bombay? (clip 1) Is there a pattern
     in his life there? Does he ―grow‖ in the film?
    Street kids and migrants in a city: How does he
     relate to the people he meets in Bombay? (e.g.
     Manju, Sweet 16, Manju’s mother, Chillum & the
     other street kids.) e.g. Why does Krishna fall in love
     with Sweet Sixteen? Is there a common pattern in their
    Religion, Culture and the Government: How do
     Bollywood musical, religion and the government
     influence the kids in the film?
Major Themes

   Major Theme 1: Migrants in the city
   Major Theme 2: comradeship and betrayal
   Major Theme 3: Other Social factors
     (Language Differences and Illiteracy;
     slums in Bombay, government inefficiency;
     Colonialism/tourism -- in the background)
(1) Migratory identity in Salaam Bombay
   Migratory identity: people drifted to the
    metropolis, lost in the crowd, e.g. shots of
    the train station
    -- Chaipau: his name (Krishna); no home address
    -- Chillum: completely lost  Mixture of language
       & illterate
    -- the sweet 16: no name,
    no language
Salaam Bombay: survival
   How do Krishna and the other kids
     Skin chicken, clean chicken coops;  keeps a
      sense of beauty and love
     rob an old man,

     serve in a rich man’s

     wedding party
Major Themes in Salaam Bombay
Desire for home
  e.g. Krishna
-- tries to write home
-- needs 500 rupees so that he can go home
-- forms a ―family‖ in Bombay (Chillum, the
   other children).
 What about Manju’s

       Salaam Bombay: The migrants in a
       city (2)
   Manju’s family—
     Baba – child-abuser and pimp (chaps 12, 15 )

     Mother –loving but cannot help (happy moments
      when the father is not around)
     Manju– lonely and in desperate need of love. (e.g.
      clips 8, 9, 12, 14//chap 13, 14)
Manju – reaching out in her own ways
     Salaam Bombay: a series of

                              His wife &
The other
street kids     The Sweet
                               The circus
                Sixteen        boss
 Major Themes (2): Vicious Circle?
   Comradeship, betrayal and rebellion/survival-- Pattern
    of Repetition:
       Drug-dealing: the death of the previous drug dealer, Chillum
        and then another Chillum.
       Cheating: Manju’s mother cheated, The Sweet Sixteen
Some are self-destructive and some, surviving
 Chillum – has no friend; cheats Krishna with his ―bank.‖

 Krishna’s setting fire as a way of rebellion against his
  brother, and then against the whorehouse
Major Themes 3: Social Factors
    Why are Baba and his wife not named?
    Why do people call Krishna ―Chaipau‖?
    What roles do Krishna God play in this film?
     And the ―Chiller room‖? (clip 20, 22)
    Who sends the two kids to Chiller room?
    How is the chiller room presented?
Bollywood & Mixture

    hybrid culture and identity (e.g. Chillum, Manju’s
     dance—clip 3; Ms. Hawaii in the movie clip 6/chap
     4, 6 21:00 )
                 Salaam Bombay: social
   State intervention: Chiller Room
    (Children’s Home)
   drug, prostitution and Bollywood
   traces of colonial influence:
       cricket, tourists, statues, movies
   Religion: helpless. E.g. Ganesh (ending)
The Role of the Government
   Disciplines only to lead to violence,
    indifference of the guards and endless
    procrastination in bureaucracies
   Self-righteous intervention of Manju’s family.
Patterns in Krishna’s Life: survival,
fun, betrayal.
Fun with the Spinning Top

Left Behind …
The Ending?

   Left alone
   Weeping
   Spinning top
   Looking up at the camera --calm

   Roger Elbert. SALAAM BOMBAY!
Next week: stories of 3 girls and a
young woman
   During the time of partition -- in Earth;
   Over the issue of marriage in ―Gainda‖

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