Opinion
The Method behind Aamir Khan's
Many Moves
by
Chitra Padmanabhan
The Indian national football
team captain, Bhaichung Bhutia, barely squeezed in 11 minutes of the
mandatory 15 minutes of fame for his principled decision not to carry
the Beijing bound Olympic torch in Delhi on April 17. Reason: somewhere
between the 10th and the 11th minute his thunder was stolen by
actor/director Aamir Khan who stated that he had a different way of
wearing his conscience on his sleeve. He would carry the torch but with
a prayer in his heart for the people of Tibet; the Games did not belong
to China but to the human race.
On screen, it would be called a nuanced piece of method acting.
Off-screen it is called positioning. Or is it just a coincidence that
among the human race that owns the Games are official sponsors
Coca-Cola, a brand Khan carries a torch for through endorsements? Poor
man, he will be running multiple overlaps - carrying the Olympic torch
as a Coke team member, for himself, for humanity's claim to the Games
and, simultaneously, for the Tibetan cause against China's oppression.
That's a lot of running of the treadmill kind.
It is a measure of Khan's reputation as a thinking individual that his
recent sniper attempts to voice issues have not met with the usual
disdain reserved for motor-mouth celebrities. Largely, Khan's stance as
explained on his blog - sans any mention of the Coke factor - has been
hailed as a 'mature' decision, preserving India's diplomatic face while
expressing support for Tibet. Khan comes across as someone who is not
afraid to take a position even if he stands to lose, who thinks through
an issue carefully.
There's a catch. We are used to Aamir the perfectionist who can go to
ridiculous lengths for the right tone to his role and has been content
to let his films talk, who extended himself during the Mumbai riots
(1992-93) and after the earthquake (2001) and violence (2002) in Gujarat
without craving the public persona of a conscientious moral and
intellectual force.
But his recent postures hint at a Khan driven to craft a second coming
Rang De Basanti style, by becoming a public figure of conscience --
taking off from roles dealing with issues of nationhood, fundamentalism
and youth awakening to socio-political realities.
Except the perfectionism of Khan's reel life is somewhat missing in this
real life role. It's not quite Aamir.
Take his directorial debut "Taare Zameen Par", released end-December
2007 and screened exclusively for L.K Advani in January 2008 on request.
The bonhomie must have helped Khan in Gujarat, where violent protests
had stalled his previous film "Fanaa's" release.
He had refused to apologize to Chief Minister Narendra Modi for
expressing solidarity towards the Sardar Sarovar Dam oustees -- a stand
worthy of admiration.
At a press conference Khan had said, "I want the people of India to see
that here is a political party (BJP) that does not believe in democracy.
Here is a party that does not believe in the rights of poor people..." (Rediff;
May 25, 2006).
It was to a stalwart of the same party that Khan showed "Taare".
Remember that "Taare" had already seen a delayed release in Vadodara
following protests. Besides, the chief minister Khan had defied was back
a second time.
Khan says he is not a social activist. His primary responsibility is to
entertain. If there is an issue he feels about, he can use his public
personality to educate people. A completely valid viewpoint but educate
is a big word, presupposing a certain organic attempt at understanding
issues.
To react to the pain of the Sardar Sarovar Dam oustees by sitting in at
an NBA (Narmada Bachao Andolan) dharna in Delhi is also a response. But
the only measure of such attempts is to see who benefits more by that
action -- even if propelled by good motives. In an age of information
glut, solidarity floating on naiveté soon starts looking flimsy.
A comparison may prove useful. As Coke's brand ambassador, Khan sought
time to study the allegations of pesticide content in the aerated drink,
and of river waters being polluted by Coke plants in several states. He
wanted to satisfy himself on certain points before choosing his path of
action. Huge endorsement fees may have been a factor, but Khan was
conscious of being in the public domain where his actions could be read
by everyone.
Similarly, on socio-political issues Khan can either indulge in
impromptu behalf-ism or get his method right. At stake is credibility
and moral capital, apart from the danger of getting caught in the
crossfire by being an apolitical bleeding heart in layered political
causes.
Khan can learn from reel life alter egos. Immature Sanju ("Jo Jeeta Wohi
Sikandar") is transformed when he finally sees himself for who he is.
Bhuvan's ("Lagaan") strength flows from knowing his context; catch him
straying from it, no matter the number of mikes thrust aggressively at
him.
Carrying a torch with a heartfelt prayer must sound somewhat precious to
those engaged in a do or die struggle, considering the Olympic movement
has had an iconic history of political protest, by individuals and
nations. Clubbing the Tibetan struggle with movements halfway across the
globe, without seeing its context, is counterproductive. Being generic
has its limitations. In the public domain, a posture springing from
honesty, however tentative, has its own rewards.
Under the harsh arc lights, an unfleshed role is so easy to catch. It is
time to recognize your core and strengths, Aamir -- a la Sanju and
Bhuvan.
(Chitra Padmanabhan is a journalist based in Delhi. She can be reached
at chitrapadmanabhan@yahoo.co.in)
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