Love Sex aur Dhokha
I remember Dibaker Banerjee’s debut film. The opening week of Khosla ka Ghosla was the first time a girl dumped me for something else, yeah not someone, something. The second time around, for Oye Lucky! Lucky Oye! I missed the Nov 26 terrorist attack by a week. I had told my friend from and in New Delhi how I was always afraid to go to CST station, because that would be the first place that any terrorist attack was likely to happen.
So that ways the release week of his films have been eventful for me.
Soon thereafter I heard him speak at a press conference where he talked about the new grammar of cinema and that we should not look down upon the digital era where every rookie has a shot at making a film.
I knew then that he was upto making something on the new media,he had dropped hints when asked about his next film.
Love, Sex aur Dhokha in his own words is a film that isn’t one.
Cheap handycams and cheaper mobile cams with their shaky handling and scratchy sound are evolving the way people are broadcasting themselves courtesy youtube.
It pushes some buttons.
But what makes lewd MMS a rage?
That it has got immediacy and lust.
We all try to catch small little clips on our camera mobile .
Why??
Because we are born custom fitted with a 100 megapixel camera right into our heads –our eyes. And that’s what one of the points LSD makes-
WE ARE ALL VOYEURS.
And that’s exactly why Paris Hilton’s ‘one night in paris’ video went double platinum. We have all seen it, inspite of being shot in green night vision and its hazy shooting .News channels will willingly spend for an exclusive steamy sexual pixelated footage. Even in the times when 3-d films are beginning be a norm, furtively and salaciously placed cameras try to get a footage that has the potential to be the national rage, burning airwaves. And it has to have sex involved in it.
About the film, I think it can be termed as a hyperlinkning film but, not so much so .The stories are just very mildly connected. And the length should have been restricted to 90 minutes, because unlike the previous films by Dibaker Banerjee, LSD just didn’t have enough meat .But let’s not speak about the negatives of the film.
Dibakar Banerjee has moved from middle class Delhi in Khosla ka Ghosla to lower middle class East Delhi in Oye Lucky to the snooky and peeping camera mileau here in LSD. He has kept Sneha Khanwalkar as the composer who had dug out a fantastic Rajasthani folk song ‘tu raja ki raaj dulaari’ used beautifully in OLLO during the flashback of the lead character Lavinder Singh Lucky, easily according to my consideration, the best flashback in Indian cinema history. It’s delightful to see a female composer and in LSD, she has given a killer soundtrack in ‘I can’t hold it’ which again has a very rajasthani sound to it because of the lyrics and vocals.
You don’t allow us to say fuck off, alright then we will sing FO FO FO FO FO !
People may come out of the theaters saying we have more sex dished out than this in a local daily news bulletin .That’s the problem of having a juicy title , lest we forget, LSD is a potent acronym. LSD is not being preachy; I for one believe the film is very novel, a fresh idea and inspired by the times of our life, however, the entertainment value has been found lacking.
Society doesn’t know how to deal with a new technology and the debate of boon or bane has to take place to establish an equilibrium. After a while probably sting and sex clips will be passé too.
But that’s not the point of the film. The point is that we are surrounded by the digital eye and that we have to learn to live with the advantages and threats that it brings along.
