IALC ASSIGNMENT

Name: Bhargav Saikia

Group: B

Term: Freshmen (July 2010)

Email: bh.saikia@gmail.com

Mobile: 9769237395

Topic: Analysis of the film, Delhi-6 (Director: Rakeysh Omprakash Mehra)

IALC / Bhargav Saikia / Group B / WWIL

Chandni Chowk in Old Delhi is an awe-inspiring place, not only for its popular eateries and shops which
date back to the last century, but also because it is quintessentially Delhi or more appropriately a “mini
India”. For Rakeysh Omprakash Mehra’s Delhi-6, this celebrated locality provides an inspiring backdrop to
an episodical tale about a handful of characters that are as diverse as the city itself; characters who represent
the one billion population of the Indian republic. Mehra has often insisted that the city of Delhi is a pivotal
character in his film and not just a mere backdrop. He could not have been more correct. Old Delhi in
particular, where the film is set, is a living symbol of the country’s contrasting cultures and beliefs and also a
reminder of her rich past epitomized largely by the ancient Mughal era. In Delhi-6, Mehra along with his
gifted writers (Prasoon Joshi and Kamlesh Pandey) exploit this fact with panache to present characters that
have been handpicked from every corner of the country; characters who convey a myriad of emotions and
actions. These are everyday-people that we can relate to easily.

Mehra’s films have always been inspired by The Ramayana, celebrating the victory of good over evil.
For Delhi-6 he uses various episodes from the age-old theatrical play Ram Leela, compelling us to
rethink about the way we perceive ourselves, those around us and our society in general. There is a
beautifully executed sequence where Roshan (Abhishek Bachchan) is asked to purify himself having touched
the untouchable and low-caste Jalebi (Divya Dutta), a blasphemous act in the locality. Almost immediately,
Mehra shifts the action to the Ram Leela where ideas of discrimination based on social status and caste are
being banished and the equality of all living beings is being preached. The interplay between these two
significant scenes is one of the many examples of how the writers have intelligently used the epic Scripture
to portray the many virtues and vices that we as human beings may have within us. Mehra and his co-writers
have scripted a very relevant story that has an universal appeal and is appropriately set in contemporary
India, underlying the idea that India works because Her citizens make it work; there is calm and a fine
balance in the country in spite of the diverse teeming
population and the chaos that accompanies it. The
moral of the story is well-intentioned and may
well serve as an important lesson for
people in these difficult times. The film stresses
on the fact that one should look within
himself to discover his morality and frailty and
make an attempt to get rid of any vices from the
inner-self.

Ram Leela sequence in Delhi-6

The beast within is very cleverly represented by the Kala Bandar (Monkey Man) who is shown to be
creating a menace throughout the city, disrupting peace and harmony and is also the cause of many
unpleasant events that unfold post-intermission, chiefly that of the divide between Hindus and Muslims.
Numerous other small but significant nuances give considerable depth and a deeper meaning to the film;

IALC / Bhargav Saikia / Group B / WWIL

there are two of them which stand out, the symbolic scene where a pregnant cow gives birth to its calf in the
middle of a busy road, which is considered sacred and the unconditional love that Roshan receives from his
neighbors on his arrival in Chandni Chowk despite meeting them for the very first time, highlighting the fact
that even if those people are just normal middle class citizens, they have a big heart and they lead a happy
and content life by spreading love around them. The latter is synonymous with what Delhi is popularly
known to be – “Dilwalon ki Dilli”.

Delhi-6 brings together a dream ensemble cast. Where else would you find an unbelievably talented bunch
of actors like Waheeda Rahman, Supriya Pathak, Divya Dutta, Om Puri, Atul Kulkarni, Prem Chopra, Vijay
Raaz, Rishi Kapoor, Abhishek Bachchan and Sonam Kapoor together in one single film? These actors
genuinely raise the bar of the film. I would rate Divya Dutta’s bravura act as the foul-mouthed Jalebi a point
higher than the rest of the cast. It is fascinating to watch the talented actress slip into a very challenging
character so effortlessly and special brownie points to her for carrying off that heavy accent with such rare
flair.

Much like in Mehra’s Rang De Basanti, music here is an integral part of the narrative. While some may
be disappointed with the picturization of songs like Rehna Tu and Bhor Bhaye, Mehra uses them
intelligently to portray important aspects of the film, the best example being Rehna Tu which is used to
romantically interpret one’s affection towards the city of Delhi. A. R. Rahman’s beautiful melody combined
with Prasoon Joshi’s sublime poetry and the director’s out-of-
the box thinking makes this track very special. However, the icing
on the cake turns out to be the robust title track which
gives Delhi a contemporary anthem to sing
along to. Rahman also scores the background music
which is more effective post-intermission, suitably
complemented by excellent sound design.

Binod Pradhan’s cinematography is best

termed as intimate. It is evident from the film’s
stunning visuals that he loves every corner of the
walled city and with his long-proven expertise
with the camera, he gives shape to the director’s
vision flawlessly, never once going over the top and maintaining perfect balance between depth and clarity.
The Jama Masjid, Ram Leela and the climax have been especially well shot. Dialogues are effective and
thought-provoking. Editing by P.S. Bharthi is crisp which limits the film’s length to 2 hours and 18 minutes.

The brilliantly shot Jama Masjid scene

Also laudable are the production design by Samir Chanda and choreography by Vaibhavi Merchant. Dil
Gira Dafatan has been innovatively choreographed where the characters from Chandni Chowk, along with
the actors from the Ram Leela, are transported to New York’s Times Square. Although the purpose of this
fantastical sequence may only be clear to the discerning audience, it still looks appealing enough to please
anyone and everyone. The film is shot in a town called Sambar in Rajasthan where Old Delhi has been
immaculately recreated.
IALC / Bhargav Saikia / Group B / WWIL
Rakeysh Omprakash Mehra had shot two contrasting versions of the film’s ending and if you have been an
ardent follower of Mehra’s previous films, then the finale of Delhi-6, in which Mehra has tried to play safe,
may surprise you which will quite likely be met with differences in opinions. Nevertheless, Delhi-6 is an
unforgettable cinematic experience. A universal film in all respects, connoisseurs of good cinema will lap it
up whole heartedly. It is that rare gem of a film that will be remembered and discussed for many more years
to come. Personally, I consider this film as one of my personal favourites.

END

IALC / Bhargav Saikia / Group B / WWIL