One of my closest "best friend"s, Ishita is pursuing film making from XIC, Mumbai. Yes the kinds that saves the adjacent seat for you and follows the bro code. On one of those destined prolonged moments when it rained heavily in Mumbai, as it did here in Delhi we happened to be enjoying the downpour over the phone. It was the lull which intrigued us in random conversations about our glorified laziness. We were both very hungry when we began our conversation and normal people were asleep, at around 3 A.M. We were both very hungry when people woke up. I even experienced the cock in her neighbourhood crow like a professional sound recording of an alarm clock, at around 5 A.M. We were both very hungry when people left for work, at around 9 A.M. But we were also very sleepy and decided to sleep then. During this hunger induced chit chat, we discussed several interesting topics, like we always do. But this conversation was essentially about subtext. Her teacher keeps asking her to look for subtext in all study material available in forms of films(primarily), literature, music etc. She told me how stupid film reading can be at times. Mainly because it is impossible for a film maker to bring each and every aspect of minute detail to the notice of the short attention spanned audience. For example, an apple is used as a symbol of longings/desires/everything that you should stay away from. Try and notice how it might be quietly lying out of focus while a lot of action takes place on screen.
A still from 'Darna Mana Hai' 2003
We then talked about the colour theory. She told me about a great book which covers this topic called "If it's purple, Someone's gonna die". The title itself, is an example of what many film makers follow. It's creepily accurate. Try observing in films.
If It's Purple, Someone's Gonna Die by Patti Bellantoni
The next day I saw posters of the film "That girl in yellow boots". I obviously related it with the colour theory and experienced a deeper understanding of the posters, thanks to the knowledge of the 'subtext'.
Patti Bellantoni's introductory page on 'Yellow' says-
(Click on the picture to magnify)
Needless to say, I watched the movie ASAP. (Spoiler Alert-The content posted below contains information that might spoil your movie viewing experience)
The "Bunny rabbit meets Julia Roberts" girl Kalki, plays a patient, brave and upfront young girl who is out on a turbulent journey. While she's looking for her father whose unconditional love is all she seeks, that love also serves as a bait to survive the rat hole life she has built for herself. She compromises with her dignity and gives 'happy endings' or hand jobs to people after massage to gain a few extra bucks that she needs in order to feed corrupt embassy officers/visa department/postmen/police. She does it all with a smile on her face, for her own happy ending. That which remains constant, is her feet clad in yellow boots. Whether she is waiting for her visa application to get approved, or walking down the streets, or returning home, she is grounded in the tint of innocence and signified warnings.
I personally do not like the colour yellow. It puts me off. But I do like the mustard fields of DDLJ(Dilwale Dulhaniya Le Jayenge). It's probably the controlled amount of yellow which stops me from hating them. However, shockingly, I love the use of this colour in this movie. It's not just the colour yellow, but yellow coloured boots, which make all the difference.
The last scene of the movie just steals the show away when she takes off her boots and walks with joyous music playing at the backdrop. Her journey was over.
That girl in yellow boots is a brilliant piece of cinematic pleasure which carefully uses the colour theory and crafts a visual, sonic, emotional and symbolic equilibrium.
But then again, these are the views of the girl who longs for a rainbow umbrella. You might think differently.
