A Screenwriter's Angst

So I hit that inevitable, dreaded juggernaut of Indie filmaking. A state of suspended animation because my investor thinks my script is too risque` and doesnt have enough "family drama". A family drama that will be used as a pretext for all the maamas and maamis, chaachas and chaachis to come together, around a center table packed with samosas and dhoklas, to stare at fine drapes and "tears and faints-on-demand" sentiments with some sophisticated naach and nautanki. I refuse to serve up plasma size entertainment for a chai party.

And oh yeah ! in these so called family dramas the Indian women aren't supposed to be having orgasms. Its ok for them to be sweaty and rub their legs against eachother like some imaginary rock climbing exercise
OR
even show their bare, wet shoulders under shower heads with extreme "bliss" on their faces. Bliss, Yes. Orgasm, No!!!

Family drama - some kinda screenwriting nirvana for me now. Why can't I keep it real and still be a successful screenwriter ?

I was on the verge of giving up on this project. After a couple of Malbecs, I figured that independent filmmaking is not all about creative art, its about a personal struggle and triumph too like any other passion that we all share. A basic value statement, yet very re-inforcing.

I haven't written a Reservoir Dogs, for a Miramax to see what other ain't seeing. But, I am sure somewhere out there is a pair of eyes with deep pockets that respects the cinematic values of a female orgasm.

I will not edit or refine that scene. My conviction stems from a spate of quality films I have seen lately including....

Middle of the World - My fascination with Brazilian films continues with this extraordinarily simple film about a man who embarks on bicycles with his 5 kids to find a decent living. He travels to Rio De Janeiro. The journey is a revelation of the man's unbridled allegiance to value systems like honesty, persistence and self-respect.

Parineeta - A brilliant coming together of great story telling and filmmaking technique. I could hardly tell that the Director of Photography (N. Subramanian), lead actress (Vidya Balan) and Director (Pradeep Sarkar) were all making their feature debut. The script was amazingly tight. Very commendable and convincing time reset to 1960s, given that the adaptation is from a book that was set in 1930s.