Swades, India

Swades, a film about Indian traditions, cultures, and heritage in the face globalization revolves around the main character, Mohan’s, realization of his own history. In this film by Ashutosh Gowariker, Mohan, a NASA engineer, returns to India to locate his beloved Kaveriamma, who was his nanny and like a mother to him. In the process he meets an old childhood friend, Gita (jokingly referred to as Gitli), and an assortment of other characters from the remote village of Charanpur. As the film progresses, Mohan becomes more and more engaged in village life, helping to construct infrastructure as well as influence village politics, but still in continual communication with the West (often asking for more time off). By the end of the film, the happy ending the audience has been waiting for comes, and Mohan returns to India to become part of the culture he left behind.

The central theme in the film is that of returning to one’s heritage, since no matter where somebody moves, they are born with some notion of a cultural background. The film does not hide this theme behind vague symbolism or excessive special effects. Rather, the film tends to feature this film prominently by Mohan’s transformation as well as the behavior of all the characters’ around him, who are stubborn to Mohan’s suggestions. In the end, there is compromise as somewhat of a “melting pot” (ironic for a film that mildly criticizes America) between Mohan’s technology and progressivism and the slow, traditional life of the village combine.

Swades aptly presents its message without trying to hide it in vague cultural references or heavy literary techniques. Rather, the simplicity of the film makes it a more enjoyable viewing experience, and the message a universal one that people can adapt for their own lives.

Underground, Serbia

Emir Kusturica’s Underground presents a very unique perspective on the conflict in the Balkan region. While it borders on being a comedy, the severity of the themes in the film produce a unique mixture (a black comedy) in which symbolism and interpretation must be used to read the ironic takes on different subjects.

Though there are many symbols and themes in the movie, one of the ones that seems to get the most ironic treatment is the white horse. White horses are traditionally representative of purity and chivalry. The situations in which the notion of a white horse appears, though, are neither pure nor chivalrous. For instance, the title of the film being produced in one of the subplots of the film, involves a white horse. The film is greatly distorting the truth about what occurred during the skirmishes that Marko and Blacky fought in as well as the role Natalija played in those battles. While this is criticizing the film industry (ironic since it is a film), it also relates to how throughout history in the Balkans, there has been very little notion of what is pure, right, or chivalrous. There are too many sides to the battles that have been fought in the region for a sole winner or loser to be certain.

Reinforcing this ironic treatment, as well, is the appearance of a white horse passing through the background behind Marko in the final war scene of the movie. The appearance of a white horse in the midst of a battle contributes to some of the absurdity of the film’s humor, but also, like before, has significance to the plot and characterization. The irony comes from the relationship between Marko and the chivalry implication of the white horse and that Marko has been everything less than chivalrous throughout the course of the movie.

Underground, through its irony and comedy, effectively connects to the audience (despite its length). The film, thanks to these universal symbols, is quite global. It is through these global elements, like the white horse, that the audience relates to very dark local aspects of the film. Underground, therefore is an excellent movie for viewing enjoyment as well as hard analysis.