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The Invisible Coolie Shines in ‘The Cutlass’ (Comment: Special to Newsgram)

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The Cutlass
Dr. Kumar Mahabir
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Aug 21, 2017: “Coolie” is the name of the character played by Narad Mahabir in the play directed by Errol Hill titled Man Better Man.

The local play was performed at NAPA in Port of Spain, Trinidad and Tobago in June and an excerpt was staged in August during the premiere of the CARIFESTA festival. Mahabir was given a minor role as the lone Indo-Trinidadian (Indian) villager in the musical which was laced with humorous dialogue, Kalinda dances and calypso songs.

Except for recent plays written and directed by Indians like Victor Edwards, Seeta Persad and Walid Baksh, Indian actors and actresses have been given minor roles or none at all (“invisible”) in “national” theatre and cinema. In this context, The Cutlass is a movie with a difference. And indeed, the tagline of the movie on the cinema poster is “A breakthrough in Caribbean Cinema.”

Surprisingly, Arnold Goindhan is given the lead role (by the non-Indian TeneilleNewallo) as of the kidnapper named “Al” in The Cutlass. Paradoxically, he is given only a fleeting presence in the film’s trailerHe is the only Indian actor and the only character who is Indian, in a movie that is based on crime, race and class.

As a villain, Al is portrayed as an evil Indian Hindu. A calendar painting of the anthropomorphic Hindu god, Lord Hanuman (The Remover of Obstacles) is captured fleetingly on the wall of Al’s forest camp. In the film world of poetic justice The Cutlass, light must overcome darkness, whiteness must overwhelm blackness, and Christianity must conquer Hinduism. The pendant of Virgin Mary in the hands of the white kidnapped victim must overpower Hanuman.

Goindhan is a full-time Indian actor from Malick in Barataria who also sings and plays music. The “Island Movie Blog” on August 11 noted that when Goindhan “keeps his portrayal subtle, he really shines.” The July/August edition of the Caribbean Beat magazine stated that The Cutlass has delivered “compelling performances” to audiences.

The kidnap movie premiered to a sold-out audience at the T&T Film Festival in 2016 received rave reviews. It copped the T&T Film Festival’s Best Trinidad and Tobago Feature Film and People’s Choice awards. The Cutlass was also screened at international film festivals such as the Cannes Film Mart at the Cannes Film Festival in France.

The last time an Indian was chosen for a major role in a local feature film was 43 years ago in 1974. That film was titled Bim which featured Ralph (Anglicised from Rabindranath) Maraj playing the role of Bim/Bheem Sing. Bim was based on the composite life of a notorious assassin, Boysie Singh, and aggressive trade unionist and Hindu leader, Bhadase Sagan Maraj.

As an actor, Ralph Maraj was preceded by Basdeo Panday who became the first Indian in the Caribbean to appear on a big screen in Nine Hours to Rama (1963). The movie was about the assassination of Mahatma Gandhi. Panday also acted in two other British cinematic movies: Man in the Middle (1964) and The Brigand of Kandahar (1965).

But the Indo-Caribbean actor who has earned the honour of starring in the most movies – Hollywood included – is Errol Sitahal. He acted in Tommy Boy (1995), A Little Princess (1995) and Harold & Kumar Go To White Castle (2004).

Valmike Rampersadand Dinesh (“Dino”) Maharaj is rising stars to watch. Originally from Cedros, Dinesh is the lead actor in Moko Jumbie, a new feature film by Indo-Trinidadian-American Vashti Anderson. Moko Jumbie was selected for screening at the 2017 LA Film Festival.

Dinesh acted in the local television series, Westwood Park (1997–2004). His cinematic film credits include portrayals in Klash (1996), The Mystic Masseur (2001) and Jeffrey’s Calypso (2005).

Nadia Nisha Kandhai is the lead actress in the upcoming screen adaptation of the novel, Green Days by the River.

There is a real danger in marginalising Indians in theatre and film when they are in fact the largest ethnic group in T&T according to the 2011 CSO census data. Cultivation theory states that images in the media strongly influence perceptions of the real-world. This theory was developed by communication researchers George Gerbner and Larry Gross of the University of Pennsylvania in 1976.

The Cutlass can transmit the following wrong perceptions of reality: (1) Hinduism is evil, (2) Indians are one percent of the population, (3) there are few Indian actors, (4) Indians constitute the majority of kidnappers, and (5) the majority of kidnapped victims are white.

I presented a research paper in 2005 based on 40 cases of kidnapping in T&T. My findings revealed that 78% of the victims were Indians, and according to the survivors, the overwhelming majority of the kidnappers were Afro ex-police and army strongmen.

Watch Trailer: The Cutlass

 

The Writer is an anthropologist who has published 11 books


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Shankaracharya: A remarkable genius that Hinduism produced (Book Review)

The irony is that most leading scientists, particularly outside India but also within, have little knowledge of the structure of Shankara's philosophy and the transparent interface it has with scientific discoveries today.

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He was greatly influenced by three basic texts of Hindu philosophy: Upanishads, the Brahma Sutra and the Bhagavad Gita
He was greatly influenced by three basic texts of Hindu philosophy: Upanishads, the Brahma Sutra and the Bhagavad Gita.

Title: Adi Shankaracharya: Hinduism’s Greatest Thinker; Author: Pavan K. Varma; Publisher: Tranquebar Press; Pages: 364; Price: Rs 699

This must be one of the greatest tributes ever paid to Shankaracharya, the quintessential “paramarthachintakh”, who wished to search for the ultimate truths behind the mysteries of the universe. His genius lay in building a complete and original philosophical edifice upon the foundational wisdom of the Upanishads.

A gifted writer, Pavan Varma, diplomat-turned-politician and author of several books including one on Lord Krishna, takes us through Shankara’s short but eventful span of life during which, from having been born in what is present-day Kerala, he made unparalleled contributions to Hindu religion that encompassed the entire country. Hinduism has not seen a thinker of his calibre and one with such indefatigable energy, before or since.

Shankara’s real contribution was to cull out a rigorous system of philosophy that was based on the essential thrust of Upanishadic thought but without being constrained by its unstructured presentation and contradictory meanderings.

He was greatly influenced by three basic texts of Hindu philosophy: Upanishads, the Brahma Sutra and the Bhagavad Gita. He wrote extensive and definitive commentaries on each of them. Of course, the importance he gave to the Mother Goddess, in the form of Shakti or Devi, can be traced to his own attachment to his mother whom he left when he set off, at a young age, in search of a guru and higher learning.

The irony is that most leading scientists, particularly outside India but also within, have little knowledge of the structure of Shankara's philosophy and the transparent interface it has with scientific discoveries today.
Shankara wrote hymns in praise of many deities but his personal preference was the worship of the Mother Goddess.

Against all odds, Shankara created institutions for the preservation and propagation of Vedantic philosophy. He established “mathas” with the specific aim of creating institutions that would develop and project the Advaita doctrine. He spoke against both caste discriminations and social inequality, at a time when large sections of conservative Hindu opinion thought otherwise.

Shankara was both the absolutist Vedantin, uncompromising in his belief in the non-dual Brahman, and a great synthesiser, willing to assimilate within his theoretical canvas several key elements of other schools of philosophy. He revived and restored Hinduism both as a philosophy and a religion that appealed to its followers.

Also Read: Hinduism: The Nine Basic Beliefs that you need to know

Varma rightly says that it must have required great courage of conviction as well as deep spiritual and philosophical insight for Shankaracharya to build on the insights of the Upanishads a structure of thought, over a millennium ago, that saw the universe and our own lives within it with a clairvoyance that is being so amazingly endorsed by science today. The irony is that most leading scientists, particularly outside India but also within, have little knowledge of the structure of Shankara’s philosophy and the transparent interface it has with scientific discoveries today.

Shankara wrote hymns in praise of many deities but his personal preference was the worship of the Mother Goddess. The added value of the book is that it has, in English, a great deal of Shankara’s writings. Unfortunately, most Hindus today are often largely uninformed about the remarkable philosophical foundations of their religion. They are, the author points out, deliberately choosing the shell for the great treasure that lies within. This is indeed a rich book. (IANS)