Cinematic life imitates art; an uplifting, unexpected triumph

Rating: 9/10 (16 February 2009)

If there is anything director Danny Boyle seemingly refuses to do, it is play to expectations. Following a slew of praise circling around his recent delving into science fiction (superb zombie film 28 Days Later and existential space travel film Sunshine), it is hard to imagine a project more out of left field for Boyle than a game show centered romance set in India. But however unconventional it may appear, the conviction and passion Boyle invested into what is arguably his strongest piece of cinema makes Slumdog Millionaire, much like its subject matter, seemingly overcome all obstacles and adversities to end up as the almost universally recognized smash hit of the year.
Upon attempting in to zero in on the film's massive source of appeal, it would seem that it is the odd juxtaposition between the gritty urban realism of its setting and magic realism of its central conceit which makes the film such an appealing oddity. What might have emerged as a relatively typical story of underdog romance in a different setting or set of circumstances is transformed into an honest, pathos tinged yet triumphantly uplifting hymn to life and persistence through adversity. Boyle's emphasis on the hardships of growing up in a poverty stricken Indian slum makes protagonist Jamal's inevitable triumph all the more jubilant, as the audience's sympathies are so resoundingly behind him after surviving his incredible, harrowing journey together. After two hours of struggle, hardships and despair, one can't help but earnestly wish for him to overcome the obstacles in his path and have his stubbornly single-minded determination be rewarded by the sort of happy ending only the movies could truly deliver, making what otherwise may have proved a cop out of a happy ending instead a rejuvenating entry into the pantheon of movie magic.
Of course the technical plaudits of Boyle's film are inescapably masterful, combining A.R. Rahman's pulsating powerful musical score and director of photography Anthony Dod Mantle's raw, violently mobile Scorsese-esq camera-work for a depiction of Indian slums erupting into urgent cinematic life. Dealing with potentially tricky setting, Boyle deals with his subject matter with the utmost of sensitivity and tastefulness, never exploiting the poverty to the point of formulating an urban testament to the horrors of humanity's excesses, but instead driving home his dramatic point while still extracting a hauntingly beautiful as well as chilling aesthetic out of mountains of garbage, violence and destitution. However, beautiful or not, the film is often a difficult watch, with Boyle refusing to shy away from some of the more brutal aspects of Indian slum life, including orphaned beggar children having their eyes put out with hot spoons to attract more pity and money from passers by, and the infamous torture sequence where Jamal is interrogated under suspicion of cheating at the game show. Far from being senseless, these moments of brutality establish a deadly reality to the tone of fantasy romance which might otherwise overtake the film, keeping an appealingly balanced and understated tone throughout.
Nonetheless, countless plaudits or not, the film is hardly perfect, as it cannot be denied that the basic premise of Jamal's life experiences coincidentally serving to provide him with the answers to each "Who Wants to be a Millionaire?" question strains credulity to excessive points (as well as the latter questions of the game-show coming across as conspicuously easy to fit the narrative), but so firmly does Boyle manoeuvre audience sentiment that this potentially hokey approach instead becomes one the viewer urgently wants to subscribe to, regardless of the plausibility of it. Similarly, for all of the screenplay's strengths, for the sake of narrative speed or cohesion, character development occasionally suffers. Moreover, the "history/social context of India in point form" approach through telling Jamal's life through flashbacks may prove unsatisfying to some viewers, but Boyle's neat cinematic sweeps, daring sentiment and punctuations of brutal honesty and realism make the film a lasting, troubling and eventually supremely satisfying experience.
Co-director/casting director Loveleen Tandon's influence becomes most prominent through the selection and direction of the film's exceptional cast, who contribute an alluring energy and authenticity to the complex subject matter, unquestionably bringing the film to life. Dev Patel is truly heart-warming as the stoically irrepressible Jamal - while initial criticisms may dismiss him as overly bland, over time the harsh reality to Jamal emerges, and what at first might seem a lack of emotion later becomes apparent as a protective exterior of stoic resolution. Patel knowingly interjects with moments of caustic fury or sly wit which add nuance and substance to a tortured character, making Jamal instead one of the most inspirational pieces of characterization of the year. Similarly, the luminous Freida Pinto makes Jamal's love interest truly human in the midst of the horrors beset her, making their unconventional budding romance just quirky and understated enough to work, and not be consumed by melodrama. Despite an underwritten character, Madhur Mittal builds layers of devastating depth to Jamal's Jamal's ruthless, self-serving but ultimately human brother Salim, refusing to bank on antagonistic conventions and keeping his character frustratingly yet believably complex throughout. The supremely talented child performers playing the lead trio at earlier installments of their lives also demonstrate surprising versatility and authenticity, maintaining a human context to the troublesome story. Finally, backing up the lead performers, Anil Kapoor is slickly despicable yet perversely charming as the host of the Indian incarnation of "Who Wants to be a Millionaire?".
The combination of flashy, operatic exteriors and the old fashioned, intimate story lying on the interior make Slumdog Millionaire a winner, melding unashamed sentiment with enough realist social context to make it uplifting without being a guilty pleasure. While advising seeing the film may seem slightly redundant considering the swarms of critical praise circling it, reflection and distancing from the hype still reveal a film, which, while hardly perfect, has more than enough unassuming charm to warrant the recognition.
-9/10