I recently had the opportunity to read "Marriage of a Thousand Lies" by SJ Sindu and hear explanations of her work by Sindu herself. I found the book extremely interesting and was especially fascinated with how Sindu talked about rebellion. She talked about how she provided the main character with sisters to play against, who took different paths in life. One is in an arranged marriage, and one is off living a free, albeit disconnected life. The two sisters are both satisfied with their lives surprisingly, and I enjoy this part of the book because it provides us with a little complexity. A lot of writers taking on the subject of rejecting traditional norms would only cast an arranged marriage in a cold light, but Sindu chose to make it a successful relationship to give the impression that there are a variety of paths in life, not just two (the right and the wrong). One might choose not to rebel, but to bend to their society or parent's will, and still have a fulfilling life and relationship. Some may not as well, and some could be happy in either state of rebellion. In the end of the book Lucky, the main character, does not end up together with Nisha, her same-sex counterpart. Instead, Nisha agrees to a traditional marriage and Lucky is still married to her (gay) husband. I think this is especially daring for the author because it makes the story more about it's portrayal of societal norms and character, rather than relying on giving the reader what they want to see. It's a book that makes a statement; a statement that sometime rebellion isn't possible, and a statement that life is complicated, especially in cultures and societies that work against what as individuals we believe or feel is right. In the end, we should please ourselves and follow our own path regardless of others, but we are still subject to fate. We don't control our destinies, but we can guide it in the direction we think we will fit within most.
I read the screenplay for “The Graduate” and immediately was captured by the strange dynamic between Ben and Mrs. Robinson. I got a good idea of the framing of the two within the shots as I read their parts. What’s interesting is their emotional distance when alone, but their secret closeness when among an unsuspecting crowd. If I were the Director of Photography, I would shoot around these two characters during most interactions, regardless of if a tertiary character was speaking. These scenes are always about how Mrs. Robinson feels about Ben’s behavior around her family, or how he presents himself. I would attempt to shoot mostly at eye-level to get a level of intimacy, and get both character’s in frame at a time. These shots could be facilitated by one character having their back to the other, which works contextually because they try to maintain a sense of unfamiliarity when around Mr. Robinson or Ben’s parents. You could have interactions happening in the background, but have t...
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