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Review of 2013 Film ‘The Ship of Theseus’, a ‘Hinglish’ Film Directed by Anand Gandhi
The Ship of Theseus is a troubling dialectical observation of the fleeting human form on its journey around the globe of reality. It examines contradictions in reasoning about human beliefs, values and ideologies, exploring the caverns of space and time to find answers in the mysterious light of truth. The film is profound, at times dense enough to throw you into a whirlwind of confusion, yet its mysterious ability to stimulate your mind to question the very foundations of existence is nevertheless a remarkable feat for writer-director Anand Gandhi. It’s even more surprising to know that Ship of Theseus is Gandhi’s first feature film, and wait until you hear the biggest surprise – this work comes from the same guy who started the incredibly fabulous ‘Evil Mother-in-law Vs Saintly Daughter-in-law’. Mother-in-law traditions in Indian television soaps such as ‘Kyunki Saas Bhi Kavi Bahu Thi (Because the mother-in-law herself was once a daughter-in-law)’ and ‘Kahaani Ghar Ghar Ki (The Story of Every House)’ date back more than a decade.
This man has completed his journey, completed his eight-year pilgrimage (he conceived it in 2005, after making two short films ‘Right Here Right Now’ in 2003 and ‘Continuum’ in 2005) and he has found some answers, which He brought to the world in the form of the ship of Theseus. His search is probably still ongoing, but this picture is as good as it gets.
Building the mighty hull of the Ship of Theseus down to its bare bones would require considerable skill (Mr. Ebert is missing) and so forgive me if my efforts fail. There are three characters on three different journeys catalyzed by the coaxial theme of organ transplantation. Substitution serves as the physical manifestation of the Plutarchian paradox, which asks ‘if all the parts of a ship are replaced by planks and the same are used to build a new ship, will the new ship remain the same? ?’
Alia Kamal, a visually impaired photographer whose appreciation of beauty and art develops through touch and sound in the absence of images, seeks perfection in her images and often rejects her boyfriend’s well-received photos, leading to arguments between the couple. Her sixth sense of using sound as her guide to capture delightful visual moments (plus her boyfriend and ever-reliable editing software) is threatened by her decision to proceed with a cornea transplant to restore her sight. He will realize that there is no such thing as a ‘duck car’, an image he designed inside his head of God knows what.
Maitreya, the second character, is an English-speaking scholar (and atheist) monk who fights for the noble cause of preventing animal cruelty during cosmetic and medicinal testing. He walks to the fast-track court (which is consistently lazy) and lets his Parsi lawyer fight for him (while the defense lawyer dismisses the case as ‘an emotional plea’ and begs door-to-door. When his guardian Chavarka notices that he is a Saving a centipede from being crushed under someone’s foot and letting it slide onto a leaf, he jokes that ‘the centipede might be trying to kill itself and now that it’s saved, it will find its way to nirvana’; the two endless friendly arguments usually lead to moksha or Around the concept of enlightenment.
Soon, it was found that Maitreya had liver cirrhosis and the sick monk, whose strict refusal to touch anything made at the expense of animal cruelty, refused to undergo a transplant that involved taking dozens of such pills. He withdraws into solitude, and punishes his own body; For someone who believes so much in karma (what goes around comes around), God only knows what sin the saint committed to suffer so much.
Navin, the third character, is a money-savvy stockbroker who keeps himself busy in the world of shares and stocks even after being hospitalized. Once released, he goes home where his art-loving grandmother (whom he calls ‘Ajji’, meaning grandmother in Marathi) scolds him for showing little interest in art and social affairs. When he is hospitalized after breaking his leg, he arranges for a Rajasthani musician to sing folk tunes for him and his friends inside the hospital; Naveen meanwhile fidgeted around, trying to find a way to escape. The two later have an argument, where Navin accuses her of being intolerant of his attitude towards living, which is luxury in material comforts and yet has basic human compassion. When he learns that a poor man’s kidney has been stolen a day before he gets his own, he fears that he has one and searches for the rightful owner. God knows what drove him all the way to Stockholm in search of a new owner.
Anand Gandhi steers his Titanic ship on its course and it remains completely unhindered by any stupid iceberg. The easy way to look at this movie is that it’s about organ donation, but if you look closely, you’ll see the theme of ‘reprogramming the human psyche by external forces’ shine through. The film’s structure is so vast, its themes so multifaceted, that you sometimes don’t feel sure if you’re moving in the direction you want the film to go. My advice to those who do not understand everything is to leave it to God and understand what is easy for your mind to understand. The next view will reveal more answers.
Pankaj Kumar’s cinematography is very fluid, and Gandhi allows the camera to linger for long periods of time. It is here that our actors, Aida El-Kashef, Neeraj Kabi and Soham Shah (also the producer), all communicate excellent visuals, bringing an emotional intensity that gives these philosophical ideas a simple, human form of expression. Here are some powerful images that draw our focus to the grand scheme of things. We then begin to ask ourselves, “God knows why…?” Our journey begins.
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