Satish Iyer

The telephone shrilled loudly.

Kapoor lifted the receiver. He listened intently and almost dropped dead. He started sweating profusely.

His wife Madhavi cried, "Kapoor, what happened?"

Kapoor responded, in despairing tones, "Madhavi, we are doomed. This is the end of the road for us. I know I haven't directed the most entertaining film, but I hadn't expected this. This is too much. There will be another call for me soon. Madhavi, I am lost!"

"But what happened? Did anybone threaten you? Was it Bhai on the phone? But why should anybody threaten you? Tell me!"

"Madhavi, leave me alone. My film won't be accepted."

"What's wrong with the film, dear? The name 2047, the 100th year of Indian Independence itself is big attraction. Besides, it's the directorial debut of the superstar Kapoor, my dear husband.

"The first scene where Vijay meets his son in New York is simply too good. Don't you think the scene will click with the audience?"

It is the year 2046. Vijay, a reporter settled in America, is meeting his eight-year-old son Anil, who's studying in India and is visiting New York for the first time to meet his father.

Father and son go on a sightseeing tour when the Statue of Liberty catches Anil's fancy.

"Dad, what's that?"

"Son, that's the Statue of Liberty."

"Dad, what is a statue?"

Vijay then realises that his son is studying in India and India (in 2047) is the land of no statues.

Kapoor had visualised that, seeing the daily desecration of statues in India. He felt that the Government of India would be forced to take the drastic step of breaking down all the statues to avoid daily violence.

Kapoor murmured, "But after this phone call, will this scene find approval from the audience? I don't think so."

"Why are you so down? Who called? How will it affect the film? It's just too good for anything to spoil it.

"The scene is very controversial and I am sure somebody will make a hue and cry. That would arouse some expectations from the public.

"The Indian crowd has always shown an affinity for politicians and controversies. And we have exploited that to the hilt. Whether it was Choli ke peeche or the desecration of Ambedkar's statue at Ramabhai colony, the scene or the incident always finds its way to the headlines. The incident at Ramabhai colony is still alive in the minds of the people and we can make a quick buck out of it. And you still think all's wrong?"

"But the film will never be released," whined Kapoor.

"Has it got stuck at the censors?"

"That was in the old days, Madhavi. I am too powerful for my film to be stuck in the censor room. What happened today is beyond my control..."

"What is going on? Will you tell me?"

"Wait, Madhavi. The next phone call will answer your question."

Madhavi was used to Kapoor's tantrums. But today, he was carrying his acting a bit too far.

What could have gone wrong? She was beginning to get a bit worried. Kapoor had put in a lot of effort into the making of the film. And now, what had happened? The film was indeed revolutionary in nature. But what was wrong with that? Those scenes were enough to carry the film. The meeting of Vijay and the Indian embassy would have the audience in splits.

Reporter Vijay has to meet the Indian ministers who travel to America on special duty. The frequency and purpose of the visits of the Indian ministers tire him and he has stopped keeping track of them.

He strolls to the airport to hear the announcement, "The flight from India is arriving an hour late." As if anyone expected it to be on time!

Vijay walks over to the neatly dressed delegates from the Indian embassy.

"Who's the minister? What's his mission?"

The man with the French beard replies, "Mr Karikram, Honourable Minister for Anniversaries. He is here to celebrate the 50th anniversary of Clinton's visit to India. Isn't that a great occasion? Isn't it magnanimous on the part of India on its 100th freedom anniversary to remember the visit of Clinton?"

The scene is a reflection of the grand celebrations in the country on the occasion of India's 100th year of independence. The reasons for celebrations aren't restricted to India alone. Mr Kowda's 100 days in office, the 150th birth anniversary of Mr Sadabhai Jiyojee, etc, are some other reasons.

With crores of people fighting for survival, how could the government indulge in such lavish expenditure? What purpose do these celebrations serve? All this led Kapoor to think that India might soon indulge in celebrating the 50th anniversary of visit of Clinton, 50th day of rainfall, and so on.

There is nothing wrong in celebrating when there is a reason to rejoice. But how can a government, which believes in subsidies for every commodity yet one that speaks of liberalisation meet its ends by spending on unnecessary incidents?

Madhavi felt this scene would definitely enforce a successful thought process. She tried to console herself after the telephone call, which had rocked Kapoor.

Madhavi had seen the film thrice. She was sure it had all the makings of a blockbuster. Why, the climax sequence -- at the court -- was one of the best executed shots of Indian cinema. It not only had technical finesse but also strong content.

The judgement comes as a surprise to everyone. The educated class in India is found guilty for the lack of growth of India. They are blamed for being negligent to the society around them, as they are only focused on their own growth.

On the eve of the elections, he cribs loudly, "These uneducated politicians are ruining the country. I am not going to vote!"

How can he then expect a good politician to be elected? Why doesn't he stand for the elections? Why doesn't he lend a helping hand to solve the country's problems?

Madhavi hoped the the film would remind the youth of their duties. A national reawakening in the offing, she felt.

But what was the telephone call about?

The distributors were supposed to meet Kapoor the next day. A preview show had been arranged for them. The response to the earlier shows was encouraging. The general opinion was that the film could be sold for record amounts but the call had made Kapoor sore. Will anyone buy the film?

Kapoor put on the music of 2047. It was soothing.

The telephone rang again.

Madhavi rushed to lift the receiver. Kapoor tried to stop her, but couldn't.

A minute later, Madhavi dropped the receiver.

Kapoor asked, "The distributors aren't coming for the preview, right?"

"2047 won the National Award for Best Film!" cried Madhavi.

Page design: Uttam Ghosh

(The above piece is a work of fiction, a reader's reaction to the National Awards Controversy)