Carl Jacobs: A Champion for Individualism in Conflict with Society in "Euphoria" Season 2, Episode 4

 

"Euphoria," the critically acclaimed HBO series, is a masterful exploration of the tumultuous lives of modern adolescents, delving into the complexities of addiction, relationships, and identity. In Season 2, Episode 4, the narrative takes a profound turn as it focuses on the character Carl Jacobs, a symbol of individualism in stark contrast to his family, representing societal norms and expectations.

This pivotal scene, in which Carl enters his home intoxicated and urinates on the floor, serves as a powerful allegory for the clash between the pursuit of personal freedom and the conforming pressures of society.

A Defiant Act of Rebellion: Carl's Urination on His Family's Pride

Carl's audacious urinating on the floor of his family's home in "Euphoria" Season 2, Episode 4, carries profound symbolic weight. This house, built with his sweat and toil, represents the epitome of societal achievement and conformity. However, Carl's act is a stark rejection of the societal norm that places unwavering emphasis on hard work and material success. It serves as a poignant commentary on the potentially hollow nature of relentless ambition.

In this moment, as he relieves himself on what should be his pride, Carl appears to grapple with a sense of regret, realizing that there must be more to life than the relentless pursuit of material success. His act becomes a form of self-inflicted punishment, an acknowledgement of the emptiness that can accompany a life dedicated to work and achievement.

The Bold Rebellion: Carl's Unveiling of the Individual's Power

In a stunning and audacious display of rebellion, Carl's decision to walk with his exposed penis in front of his family in "Euphoria" Season 2, Episode 4, unveils a powerful symbolism. In most societies, exposing one's nakedness, particularly in front of one's children, is seen as taboo, often laden with dire consequences. The biblical reference to Noah and his son serves as a poignant reminder of the historical weight attached to such actions. In many African societies, witnessing a parent's nudity can be considered a curse.

Carl, embodying the essence of individualism, takes a bold step that asserts these norms. He symbolizes that the individual should inherently be greater than the society they inhabit because the individual is the one who creates the society. Just as without the parent, children cannot exist; without the individual, society is void.

Carl's nudity becomes a declaration that the restrictions and expectations society imposes on the individual are a curse to society. A child can never instruct a father, but the father shows the child the way. Thus, society has retarded growth and development because it instructs its parent, the individual, instead of following the parent’s way.

In this act, Carl's defiance mirrors the sentiment found in Eminem's song, "I Am Not Afraid," where he speaks of challenging the universe by pulling out his penis in the dark, a symbolic act of reckoning with life's injustices. Similarly, Carl's audacious stride with his penis exposed can be seen as his way of exacting a form of payback upon society for the ways in which it has constrained, controlled, and perhaps even "messed him up."

Carl's bold actions in this scene are a stark reminder that the individual possesses immense power—the power to challenge societal norms, question established conventions, and assert their right to exist as more than mere cogs in the machinery of society. It underscores the idea that true growth and progress can only be achieved when individuals are unafraid to challenge the status quo, even if it means confronting the uncomfortable and unsettling norms of the world around them.

The Power Play: Carl's Positioning and the Society-Individual Dynamic

In a scene rife with symbolism in "Euphoria" Season 2, Episode 4, the spatial positioning of Carl and his family underscores the intricate power dynamics between society and the individual. This visual representation speaks volumes about this complex relationship's inherent imbalances and struggles.

Carl, embodying the essence of individualism, occupies the lower ground, speaking from a position downstairs while looking up at his family. This arrangement serves as a potent symbol, illustrating the societal construct that places the individual beneath the collective power of society. It suggests that the individual often finds themselves in a subordinate position, accountable to the collective's norms, expectations, and judgments.

Conversely, Carl's family, situated upstairs and looking down at him, symbolizes the overarching power of society in this context. Their elevated position signifies the societal hierarchy that tends to exert control, influence and even judgment over the individual. It reflects the societal structure where conformity is often demanded, and deviation from the established norms can lead to ostracization or marginalization.

This powerful visual representation encapsulates the perpetual struggle between society and the individual. The family's gaze directed downward upon Carl mirrors how society often looks down upon and enforces conformity upon those who dare challenge its norms. The individual, represented by Carl, is left with the choice to conform or face the potential consequences of non-conformity.

In this scene, "Euphoria" masterfully captures our world's intricate power dynamics. It prompts viewers to reflect on the constant negotiation between individuality and societal expectations, where the individual must navigate the ever-present pressure to conform or risk being marginalized by the collective force of society.

Marsha's Outreach and Carl's Defiance: The Symbolism of Society's Response

In the pivotal scene featuring Marsha, Carl's wife, reaching out to him in "Euphoria" Season 2, Episode 4, a complex interplay of symbolism unfolds, shedding light on society's response to the rebellious individual and the individual's defiant stance against societal expectations.

Marsha's reaching out to Carl is a potent symbol of society's attempt to extend a helping hand to a wayward individual, aiming to guide them back towards conformity. Her suggestion that Carl should see a doctor symbolizes how society often judges non-conforming individuals as "sick" or deviant. It reflects society's inclination to pathologize those deviating from established norms.

In response, Carl vehemently protests, asserting that he is "100% fine." This defiant declaration carries profound symbolism, signifying the individual's yearning for autonomy and the belief that self-discovery and self-fulfilment can only be achieved by charting one's path. It underscores the idea that when individuals are allowed to find their way, they have the potential to achieve a sense of self-fulfilment that cannot be attained through conformity alone.

Marsha's response, expressing her fear in response to Carl's defiance, mirrors society's apprehension toward those who challenge the status quo. Society often becomes accustomed to the default norms and is reluctant to accept change, fearing the disruption that may come with it. Just as Marsha is scared by Carl's refusal to conform to societal expectations, society can fear those who seek to redefine or challenge established norms.

In a moment of poignant irony, Carl embraces the derogatory names that society may assign him: "faggot, sexist, pig, creep." While this may initially sound like a form of empowerment, it prophesies society's tactics to eliminate those who refuse to conform. These derogatory labels can become weapons to discredit and marginalize those who question the status quo.

This scene in "Euphoria" masterfully encapsulates the intricate dance between the individual and society. It highlights the struggle of the non-conforming individual, their defiance against societal expectations, and the societal fear of change. It serves as a powerful reminder of the challenges and consequences faced by those who choose to tread their path outside the boundaries set by society.

Carl's Bold Revelation and Society's Unyielding Isolation

In a striking sequence in "Euphoria" Season 2, Episode 4, Carl takes centre stage, fearlessly acknowledging his non-conforming desires and embarking on a journey to reveal the double lives led by his family members. This emotionally charged scene unfolds with powerful symbolism, shedding light on the dynamics between the individual and society.

Carl's unapologetic declaration of his sexual preferences, encompassing men, women, and transsexuals, is a resounding affirmation of his identity. He boldly embraces who he is, refusing to conform to societal norms that attempt to restrict his self-expression. This act symbolizes the individual's relentless quest for authenticity and self-acceptance.

As Carl stands upstairs with his family members, the symbolism of their equal positioning underscores a momentary glimpse of parity between the individual and society. However, his revelations soon take a different turn. Carl begins by confronting his wife, Marsha, about her flirtatious interactions with other men on social media, a breach of the loyalty expected within a marriage. This act of non-conformity by Marsha mirrors Carl's defiance against societal expectations.

In a moment of empathy, Carl tells Marsha that it's acceptable for her to feel loved by someone other than him, extending the same understanding he desires. However, Marsha's response, retreating to her room and locking herself in, symbolizes society's unwillingness to confront its contradictions. It often prefers to hide behind established norms rather than confront the complexities of individuality.

Descending the stairs and sharing his revelations with Erin, Carl's symbolic positioning shifts, signifying the futility of the individual's efforts to find equal footing within an unyielding society. He confesses to Erin watching explicit content on his computer, exposing Erin's double life. However, Carl's demeanour suggests a sense of resignation, as if he knows that his revelations may not alter the course of his familial relationships.

As Carl finally descends the stairs, leaving his family members still positioned upstairs, his comment, "You pushed me to a corner," resonates with the defeat of the individual by society. It symbolizes how the relentless pressures of societal conformity have isolated him, pushing him into a metaphorical corner.

When Carl ultimately leaves the house, it signifies the sad culmination of a non-conforming individual's battle against the unyielding forces of society. He is a symbol of someone who, after relentless pushback, has been effectively eliminated by a society that often struggles to accept those who challenge its established norms.

The Complex Dance of Society and the Individual in "Euphoria"

In the tumultuous world of "Euphoria," Season 2, Episode 4, a profound exploration of the intricate relationship between society and the individual unfolds, weaving a tapestry of symbolism and introspection. This episode's various scenes and moments offer a poignant commentary on the struggle for autonomy, self-identity, and the relentless push and pull between societal expectations and individual desires.

Throughout the episode, Carl Jacobs, embodying the spirit of individualism, becomes the focal point of this intricate dance. His bold defiance of societal norms, symbolized by urinating on his home and openly embracing his non-conforming desires, represents the individual's yearning for autonomy and self-discovery. Carl's actions challenge the status quo and beckon society to confront its contradictions.

Marsha, Carl's wife, and other family members represent society's reactions to non-conformity. Marsha's fear and withdrawal when confronted with Carl's revelations mirror society's reluctance to address its double standards and norms. The episode underscores society's propensity to pathologize non-conforming individuals while ignoring its inconsistencies.

The spatial symbolism of Carl being on equal footing with his family members upstairs, only to descend the stairs as he exposes their hidden lives, is a powerful visual metaphor for the futility of the individual's struggle to find equality within the unyielding embrace of societal norms.

Ultimately, Carl's departure from the house represents the tragic outcome of a non-conforming individual pushed to the margins by a society unwilling to confront its realities. It encapsulates the toll of the relentless battle between the individual and society's expectations.

"Euphoria," in this thought-provoking episode, invites viewers to reflect on the delicate balance between individuality and conformity, offering insights into the challenges and consequences faced by those who dare to challenge the established norms. It reminds us that pursuing personal freedom, identity, and self-discovery can be a lonely and difficult journey in a world where society often demands conformity above all else. The episode serves as a testament to the enduring struggle between the individual and society, leaving us much to ponder about the complexities of this timeless dance.

 

 

 

 

Review of Dreams in a Time of War

In a world directed by economic power and wealth, honest, critical, and dissenting voices that challenge the popular capitalist hegemony are often disparaged and ridiculed. Such are the works of professor Ngugi wa Thiongo, a Kenyan literary icon. His authentic voice on the evils of colonialism and the corrupt neo-colonial Africa has made his books lie in the inaccessible corners of libraries in Kenya and across the globe. Fortunately, passionate readers with a concentrated desire for knowledge find these books that redeem them from ignorance. You learn about the hidden narratives of the African struggle for independence, the unwillingness of brazen colonial powers to face their brutal colonial past, and the true heroes of the African independence struggle.
 "Dreams in a Time of War" is Ngugi's autobiography. Unlike most of his books, which tackle most of the abovementioned themes, "Dreams in a Time of War" depicts how turbulent events affect young, innocent children and how they capture these events and struggle to understand them.
 A Child's State of Confusion
 Landowners to squatters
 A child's state of confusion is the primary theme in "Dreams in a Time of War." Several traumatic events happen in Ngugi's life as a young boy that we only see him trying to process as an adult when writing this piece.
 Ngugi's father, a landowner in Limuru, suddenly becomes a squatter. Their neighbor, an African Catholic Christian convert, grabs their land. There is nothing that Ngugi's father can do to win his land back, yet everyone knows the land belongs to his father. Ngugi does not understand how society cannot solve open land theft straightforwardly. All he hears is that times have changed, and those that possess title deeds are the owners of the land. He chooses not to concern himself with the matter.
 Christianity vs. African Traditional Religion
 Young Ngugi is torn between Christianity and African Traditional Religion. Their neighbor is a Christian (a catholic father). His uncle, his father's eldest brother, their other neighbor, is a staunch believer in traditional African practices. Ngugi's father scoffs at both Christianity and traditional African practices. Thus, Ngugi has the free will to choose his spiritual path. He wanders between the two spiritual paths while failing to pledge allegiance. There is a time he gets baptized and adorns the Christian name "James." There is a time he undergoes the Traditional African rite of circumcision that graduates him from a child to a man. Most of these activities he does since others are doing them.
 African Independent Schools vs. Colonial Government Schools and Missionary Schools
 Ngugi notices a difference in knowledge that teachers provide him depending on the type of school he attends. While at the African independent schools, he can speak his native language, Gikuyu. History teachers also teach them about Mekatiliti of Giriama, Wayaki wa Hinga of Gikuyu, and Koitalel Arap Samoei of the Nandi, African leaders who organized their tribes to repel the British invasion of their country for several years. At government and missionary schools, history teachers talk about Ludwing Kraft, Rebman, and Vasco da Gama, European explorers and colonizers that prepared the way for the invasion of Kenya. When the African independent schools are closed, Ngugi is saddened that his only dream of getting an education is stopped. He only wants an education, so he moves to a colonial government school. His dream as a child is to get an education. That is all that matters to him.
 Family Separations and Divisions
 When Ngugi's family experiences separations and divisions, he does not know whose side he should take. When Ngugi's father chases his mother away from home, Ngugi stays back with his brother. Ngugi knows his father's compound is his home. However, when his father asks him to stop playing with his children (his other siblings), Ngugi leaves with his brother and follows their mother. Ngugi never thought the fight between his parents would reach him, down the family order, and result in his father disowning him.
 During the state of emergency, Ngugi's beloved stepbrother, Wallace, joins the Kenya Land and Freedom Army. He has another stepbrother that works as a police informer that sells the secret of the Kenya Land and Freedom Army. Ngugi also has a stepbrother that fought for the British empire under the King's African Rifles in World War II. He often fears what might happen when these three brothers with different allegiances to the colonial government meet. He cannot decide who is wrong or right in the struggle between freedom and slavery.
 When the colonial government evicts Ngugi's grandmother from her home in Elburgon, she comes to Limuru to stay with them. Ngugi can see apparent strife between mother and daughter (his grandmother and mother). He feels that his grandmother is always stern with his mother. Ngugi's grandmother never appreciates anything her mother does. He knows something is not right but lacks the knowledge and power to solve it.
 A child's Biased Love Towards the Mother
 "Dreams in a Time of War" reveals how children develop biased love towards the present parent, which is usually the mother. Mothers are caregivers in most families. They spend much time with their children and develop strong bonds with them. These bonds of love become so great that they make children elevate their mothers to an angelic, pure, and godly status. Such is the relationship between Ngugi, the character, and his mother. The fact that Ngugi chose to write "Dreams in a Time of War" as a dedication to his mother infers that he would likely be biased.
 Conflict Between Mother and Father
 Ngugi assumes that his father is in the wrong when he fights with his mother. Ngugi assumes that the stresses resulting from his father's loss of wealth and property have driven him to beat his mother. However, there are many background occurrences in this relationship that Ngugi ignores that can cause a couple to fight and even break up.
 Ngugi's mother is a hard-working woman who can force the land to yield. When her husband loses his land, it dramatically affects her too. She no longer has the pride, confidence, and motivation that one gets working on her property. Thus, this loss of land might have contributed to her disputes with her husband since she is uncomfortable with it. Additionally, Ngugi's grandfather (his mother's father) is wealthy, with vast lands and cattle. Most children want to do better than their parents. Thus, her husband's failure to surpass her father in wealth could have caused Ngugi's mother to be upset with him. Ngugi's mother also had a daughter who had fallen in a fire and died of severe burns. Maybe this traumatic incident still haunts both parents and causes them to fight. Finally, Ngugi's father has four wives. Only Ngugi's mother left him. Thus, it is unfair for Ngugi to claim that the heat of financial stresses made his father change; otherwise, the other three wives would have abandoned him too.
 Conflict Between Mother and Grandmother
 Ngugi believes that his grandmother is unappreciative of his mother's effort to care for her. One can gather from the story that when Ngugi's grandmother separated from his grandfather, Ngugi's mother followed his father to Limuru, and her mother remained in Elburgon with Ngugi's aunt. Ngugi's aunt lived with his grandmother taking care of her. It might be that Ngugi's grandmother always held it against Ngugi's mother for choosing Ngugi's grandfather over her. Maybe Ngugi's grandmother resented the great love Ngugi's mother shared with her father (Ngugi's grandfather) that happened to leave her for another woman. Ngugi's grandmother's resentment towards her daughter is quite understandable based on her life experiences.
 Strength in Unity
 "Dreams in a Time of War" stresses the common saying that unity is strength. The book is set in a blustery colonial Kenya where the struggle between freedom and slavery is rife. In such trying times for the oppressed people (Kenyans), unity among the people emerges as the most effective way of ensuring survival and fighting oppression.
 Refuge
 The people of Limuru help Ngugi's family settle there after they come from Murang'a, where they escape pestilence. The people of Limuru are very compassionate and empathetic. They welcome Ngugi's uncle (his father's brother) into their community and give him adequate land to farm and live with his family. Later, when Ngugi's father also moves to Limuru after finding life hard in Nairobi, his brother welcomes him to Limuru. Ngugi's uncle gives his father adequate land to farm and live in with his family. Here, we find two brothers that pestilence forced out of their homes finding refuge and life support in a new community far away from home.
 Domestic Violence
 Ngugi's mothers help one another stop their husband from battering one of them. Ngugi's father beats his wives on rare occasions. During such occasions, the other wives, not facing his wrath, always stop him by making loud cries in the compound to invite people to stop him from beating his victim to a pulp.
 Advancement of Education
 Africans start African independent schools to help meet the educational needs of African children that the colonial government neglects. They start schools like Manguo, where children are taught to be proud of their heritage. Ngugi attends Manguo Primary School. Since African independent schools face staff shortages, Africans build the African Teachers College at Githunguri to train teachers for their schools. When Alliance high school sends Ngugi an admission letter, his half-brothers donate money to raise his tuition fee. Njoki, his sister, buys him a pair of shoes. Here we see a large African population that the colonial government neglects their need for empowerment through education. They come together to start their schools and educate their children.
 Conclusion
 "Dreams in a Time of War" has well captured the puzzles children face growing up. It shows that children react to tempestuous events depending on how grownups react. Children also follow the norms of society to wade through life without trouble. This excellently-written novel also shows that children develop love bias toward the parent who spends a lot of time with them, their caregiver. Children develop a strong bond with the ever-present parent and take her side in any conflict she faces. Moreover, "Dreams in a Time of War" reveals that unity is the only way an oppressed society can redeem itself from the claws of slavery and suffering.
 Besides these solid psychological themes emanating from this simply perfect work, there is evidence of adult bias in the novel. "Dreams in Time of War" is a novel whose prime character is a child (the young Ngugi). However, an adult Ngugi that is experienced, knowledgeable, and decisive has written it. Thus, the novel has lots of logical deductions on the puzzles the young Ngugi face. It would be better had the novel been written by the young Ngugi to portray better his thinking, emotions, and reactions to events.
 Overall, "Dreams in a Time of War" is a significant literary piece worthy of your time. It helps you know the life of the legendary writer Ngugi wa Thiong'o. It also helps one understand a child's psychology. Moreover, it helps you understand the brutal colonial history of Kenya and the ignored participation of Africans in significant world events like World War II. Grab your copy.

Human Beasts

 "Animals are worse than humans. See that cock beating his tied opponent pitilessly. The wild thing about animals is that when their opponents are at their weakest point, they see it as an opportunity to eliminate them. 

"Unlike them, we, humans, show much care and compassion. We recognize our fellows lowest points, and empathize with them. We are far better in love than animals," Ngala recollected Owalo's sentiments.

However, he strongly disagreed with Owalo. 

 "There is nothing good about humans. They are more opportunistic and devouring than other animals.

"People have brains, but their actions prove that brawn is much better. Their greed, enveloped in sweet terms like civilization and development, has destroyed the environment, eradicated several other species, and sown deep seeds of hatred among themselves. That is why men keep fighting over petty things like religion, race, ethnicity, and traditions. No wonder they came up with this fallacious idea of 'survival for the fittest' and make it appear normal by supporting it with the idea of 'natural selection.'" 

Ngala alighted at Tom Mboya Street and headed for KenCom to wait for his high school classmate, Obonyo. Twelve years had passed since he last saw him. Now that he was in Nairobi, it was necessary to have good old friends close. He was desperate to stabilize his staggering life. He sat on a "depression" seat nearby and observed passengers boarding the several huge KBS buses at the stage. 

"Nairobi carries hoards of humanity," Ngala pondered. "A single city produces sixty percent of the nation's GDP, a massively uneven distribution of resources," he mumbled. "Sixty percent of the nation's production occurs in this city, yet it carries less than ten percent of its population. This situation is highly unfair to over ninety percent of poor Kenyans who don't live here. 

 "Must we all crowd this overstretched city to get jobs?" 

Then Ngala saw a man rolling up the front side window of a KBS bus to avoid speaking to a lady. The woman was left red-faced as she stood confused beside the vehicle.

"Is it necessary? Must he embarrass her publicly? She did not approach his window, shouting or doing anything out of order," Ngala mumbled again as he watched in disbelief. "Humans have become so ignorant of other people's feelings. We only see our hurt and anger. People do not take time to feel other people; like that haughty man."

Suddenly, Ngala's phone rang. It was Obonyo calling him. 

"Hello."

"Hello."

"Have you arrived?"

"Yes. I am standing here below a traffic light besides KenCom building. In front of me is a lousy crowd watching a busy band shooting a gospel music video."

"I know that place.I am coming there. Give me thirty seconds."

When Ngala and Obonyo met, they greeted each other warmly like two great childhood friends meeting for the first time when old.

Obonyo had not changed except for the trim beard he had grown. He was in great shape, like one of those few people enjoying the rare fruits of this unbridled capitalism. 

They walked into Cafedeli, a high-end restaurant along the busy Moi Avenue, and sat confidently like the wealthy foreigners around them.

"Boss, bring me a glass of strawberry milkshake and get him a cup of white coffee and two beef samosas," Obonyo ordered.

"My friend, you are one of the few people eating their education," Ngala followed up that order with this witty comment aimed at his friend.

"Do not worry; your time will come," Obonyo responded.

The waiter brought the food. Ngala's plate had two samosas, sliced tomato and lemon, and a small sauce dish. His cup had a thick and robust white coffee, proof of its high grade.

"Kenya is a significant producer of tea and coffee globally, yet we drink the lowest grades of the two products. One has to visit classy restaurants like this that are typically for these wealthy foreigners to get such a strong and sweet cup of coffee. 

 "Now we are here with them. That is why when I say you are eating your education; I firmly mean it."

Obonyo laughed.

"I am sorry about your loss. I mean, your mom," Ngala said remorsefully. 

"It's a pain hard to bear. 

"She had an accident at the flyover in Nyamasaria. 

 "She had hired a trailer to move her grains to Kondele. The vehicle lost balance and tipped over the edge protection as the driver oversped while passing through the sharp bend of the flyover. They fell down the highway below," Obonyo paused.

"The sad part is people rushed for the container behind to loot grain instead of rescuing her and the driver. 

 "Those who tried saving her later stole her purse." 

Tears welled in both eyes as they stared at the light-brown soft board table without noticing it. Ngala did not know what to say.

"That is wicked," Ngala mumbled suddenly.

 "Are such actions motivated by poverty or greed? 

 "It must be greed," Ngala thought assertively. 

 "How can one steal from a dying person? How can one put bread above life? 

"Life had become so meaningless that it was reasonable to let a person die.

 "Or was this the paradox of life? Others die as others fight for the resources the dying are laeving to live. Was survival for the fittest at play here again?"

A man should expect nothing from his fellow man in this capitalist system. It holds that only the strong, capable, and fit deserve to live. A man should expect nothing from these world religions that serve to advance the interests of unrestricted capitalism. In the Bible, people read God charging the Jews to murder and destroy other tribes. Were not those tribes God's creations? Man has become hopeless, and whoever thinks religion promotes morality and humanity needs to think again objectively.

"Recently the Kenya Bureau of Statistics released the 2019 Census Report," Ngala started again. "One key statistic is the nation's fertility rate that has dropped to about 3.8. This shows our population will reach a replacement level in the next few decades."

"What do you mean by fertility rate and the replacement level," Obonyo inquired.

"Fertility rate is the average number of children in a family. Replacement level is a situation where a country has a fertility rate of 2. This occurrence implies that most families mainly have two children that act as replacements for their parents when the parents die. In such a situation, the population remains relatively constant. 

"Our low fertility rate shows that Kenyans are aggressively responding to the economic stress they have faced over the last decade. 

"Look at you. You are thirty yet you have no plans to marry. This shows that in as much as you reap these benefits of capitalism, capitalism still does not assure you that you need to start a family." 

 "That's true. I work hard. I work a lot. Rarely do I get free time for anything — not even for courtship. 

"You've made me remember. Sorry, I need to leave now. I must finish a client's project before tomorrow. I'll settle the bill. We will meet again soon."

"Okay."

They both rose and walked away.

Why Language Choice is Crucial in a Film’s Success

 

"Bloody Indians. Can't you read English?" a British soldier scornfully asks Manikarnika.

"I can read English. It's a mere language. Just words. Words without culture have no meaning." Manikarnika responds. 

 It has always been that way. Language is part of a culture. Language goes hand in hand with culture. You cannot separate the two and expect to pass a message. Film producers and directors must be careful when selecting the language in their films and television series. When you choose a language that does not match the culture of your setting, then your work is bound to fail. I have seen how Kenyan producers grapple with the choice of language for use in their films and tv series. 

 Kenya has several local languages. Then there is Kiswahili, the national language, and English, the official language. Most Kenyan producers select English for their production. That is why they fail, and the Kenyan film industry remains stunted. 

Creating a Kenyan movie in English is suicidal. Virtually, Kenyans do not speak English at home or even at work. English is a language of official papers and documents only. Most Kenyans speak Kiswahili or their mother tongue. Thus, when a film is in English, it becomes unrealistic and boring at best.

A Kenyan tv series, Makutano Junction, was produced in English. It failed to attract public attention because it used English. The portrayal of a local chief, politicians, and market women speaking English buried it. Virtually no local leader in Kenya speaks to residents in English. Additionally, no market women speak English among themselves and their customers in this nation. People could not watch it since it did not show the genuine Kenyan society. It needed to speak the language Kenyans understand.

A film needs to be accurate to succeed. A film achieves reality only when it upholds the culture of its setting. That is why India's, Nigeria's, and Tanzania's film industries are experiencing immense growth today. They are true to their cultural settings. Indians produce their movies in Hindi, Bengali, Marathi, Telugu, and other local languages. Those are the languages most Indians speak. These are the suitable languages to use to depict a particular issue in Indian society successfully. Using a foreign language in an Indian film is like producing a Nazi film in Kiswahili.

 Most Nigerian films use Nigerian pidgin English, the most common language in Nigeria. Most people love these movies since pidgin English helps them portray authentic Nigerian society. 

The Tanzanian film industry has also emerged strongly due to its use of Kiswahili, Tanzania's national language. Its films and tv series, such as Huba and Kapuni, are popular across East Africa due to their use of Kiswahili. Thus, one learns that realism is the key to the success of a film, and language plays a crucial role in making a film genuine. 

Besides foreign languages making films unreal, they also make actors struggle to perform. In Makutano Junction, several actors struggle to express themselves and their emotions in English. The actors in Indian films produced in English also struggle a lot with using English. These struggles result in low-quality films since actors need to express themselves better, damaging their producers' reputations. 

 

Unfortunately, most producers argue that they must use English in their creations because it makes them reach a wider audience. They should know that using English does them more harm than good. It makes them produce substandard films that cannot relate to and communicate to any audience. Additionally, they should learn from Indian, Nigerian, and Tanzanian film industries that one can only reach, penetrate and establish themselves in the international arena by being authentic in his production. Indian films are typical in Kenya, yet very few Kenyans speak Hindi. Hollywood films dominate the world because they are true to the American culture rather than because many people understand English. 

Culturally-relevant language makes a film real. Thus films must be culturally competent by using the appropriate language to achieve success. This simple trick shows why a series like Selina have gained national fame. Producers, choose your productions' languages wisely.

Bajirao Mastani: Against All Odds

 

The greatest commandment of all is love. Nothing reminds us better of this saying than Bajirao Mastani, a tragic film that shows how only a few people genuinely love. 

Our dreams make us develop pride and ego. Then pride and ego make us hateful. Thus, to love others, we must sacrifice our dreams. Bajirao Mastani demonstrates this point well.

Plot

Bajirao inherits the title of the Prime Minister of the Maratha Kingdom after his father's death. He brings success to the Kingdom in the next few years by conquering nearly half of India. He embarks on military duty to the South, where he meets Mastani, a beautiful princess of the Kingdom of Bundelkhand. Mastani wants him to help her father fight invaders that have come to conquer Bundelkhand. Bajirao is impressed by Mastani’s fighting prowess when she enters his tent, downing several soldiers. He agrees to help her save her home. After the victory against Bundelkhand invaders, Bajirao stays for a few days in the Kingdom, where he and Mastani fall in love. Before departing to continue his campaign South, Bajirao gifts Mastani his dagger. Unfortunately, he is unaware that when a man gives a lady his dagger in Bundelkhand, she becomes his wife. Thus, he married Mastani. 

Bajirao abandons his campaign South and heads back to Pune (his hometown). A few days later, Mastani (now his wife) follows him there. Bajirao’s mother ensures that Mastani does not meet him, especially after learning that Mastani is a Muslim. Mastani, determined to meet her husband, acts as a dancer and attends the party to celebrate Bajirao's victory and beneficial alliance with Bundelkhand. Bajirao learns of her presence and plans several meetings with her later. He agrees to take Mastani as a second wife after she accepts that she will tolerate all the ridicule she will suffer by marrying him. 

Kashi, Bajirao’s first wife, learns later about Mastani’s existence. Bajirao's second marriage angers her, so she moves to her maternal home to have their baby there. Mastani is also pregnant. She is isolated and ridiculed such that Bajirao attends to her himself when she gives birth. Later, Bajirao brings Mastani home. Nobody is there to welcome them except for Kashi. While she lives in Bajirao’s mansion, Mastani is scorned and called derogatory names like “mistress” and “court dancer.” She is not affected by that. She is only focused on Bajirao’s love for her.

Later, Bajirao's eldest son, Nana Saheb, first attempts to kill Mastani while Bajirao is attending a feast. Bajirao arrives in time to save her. The second time, Nana Saheb and his grandmother arrest Mastani when Bajirao leaves for war. They aim to kill Mastani. When Bajirao learns about this, he is enraged that he goes to battle alone, suffering severe injuries. A few days later, Bajirao and Mastani die together simultaneously in different places. 

Conflicts in Bajirao Mastani 

Love vs. The Pride of a Woman

The movie presents two wives of Barijao, Kashi and Mastani, with similar challenges but different reactions. Kashi symbolizes the pride of a woman, while Mastani symbolizes love. 

Kashi

Kashi is angered that Bajirao has brought home a second wife. She feels her pride is hurt because Bajirao’s eyes and heart caught another woman's. This occurrence exposes Kashi’s side that Bajirao and, probably, the audience did not imagine she had. 

 Before Kashi knows Mastani’s existence, she appears as a loving and supportive wife. However, when Kashi learns about Mastani, she becomes a hateful and jealous woman. First, she leaves Bajirao to have their child at her maternal home. When Kashi returns, Kashi supports all the ridicule and suffering other people make Mastani endure. She enjoys all the vile things Bajirao’s family and court throw at Mastani. She even calls Mastani "mistress." When she learns that Mastani is about to be killed, she delays informing Bajirao. Were it not for Mastani’s superior fighting skills, the assassins would have killed her. Kashi does not oppose Mastani’s arrest. She only asks for Mastani's release upon realizing that Bajirao will die without Mastani. She even tells Bajirao that he hurt her pride when she forbids him from visiting her chambers. 

Here, we see Kashi’s pride, in the pretense of love for Bajirao, make her clear and pure mind turn into a dark and hateful heart. Kashi thinks she loves Bajirao, but the movie reveals that she loves her dreams more. She supports the scorning of Mastani, whom she ought to help uphold her dignity because she wants Mastani out of her life with Bajirao. She joins the company of people who call Mastani a mistress and dancer, hoping they will break Mastani down and make her leave Bajirao. 

 Kashi loves her pride (dreams) more than Bajirao. That is why it is hard for her to understand that Bajirao and Mastani are in love. Her pride makes her not see that the heart chooses who to love, and Bajirao and Mastani are blameless here. Her dream of being the only wife of Bajirao unfolds as pride and ego, preventing her from understanding the love Bajirao and Mastani share. 

Like Kashi, most people today claim their partners betray them. They do not realize their immense pride and ego clout their love and make them hate their partners. True love does not have room for hate.

Mastani

Mastani is a valid symbol of love. The film uses her to show what love is, which is different from people's collective knowledge of love. She accepts to be Bajirao's second wife in a society where people ridicule second wives. Additionally, she is a Muslim, so Bajirao's Hindu society twice discriminates against her. Mastani’s love makes her strong, weathering all these challenges. Mastani, a princess of Bundelkhand, abandons her home and moves to Pune, where she lives a low life among courtesans. People call her mistress, concubine, and dancer. That does not matter to her. While Bajirao’s family disrespects her, there is no time that she responds with anger or insult. She is humble and sober throughout the movie until she dies in prison. Mastani shows that love is humble and strong. It makes her ignore her title as the Princess of Bundelkhand and lives that low life in Pune because she loves her husband. Bajirao’s love is enough for her. She needs nothing more; neither pride and titles nor riches and servants. It is very moving to see how Bajirao, the Prime Minister of the Maratha Kingdom, attends to her when she is left alone in labor. That is the movie's sweetest part and most magnificent expression of love. Had Kashi put her passion for Bajirao above everything else, like Mastani, neither Bajirao nor Mastani would have died. Her pride destroys her love for Bajirao and not Bajirao’s second marriage. 

Mother vs. Son

The arrival of Mastani rocks a steady family as it puts mother and son at loggerheads. Radhabai, Bajrao’s mother, opposes Bajirao’s marriage to Mastani. She tries as much as possible to prevent Mastani from seeing Bajirao when Mastani arrives in Pune. She leads her court in insulting and degrading Mastani. Radhabai is a conservative Hindu eager to preserve her family's status. She believes that welcoming a Muslim as a second daughter-in-law destroys her family's high position among the Hindu priests and people. Thus, she does everything to have Mastani out of her house. 

Bajirao’s love for Mastani is so strong. The actions of his mother, brother, and Kashi against Mastani stress him a lot. It is hard for him to fathom that his family cannot see and accept the pure love that he shares with Mastani. Bajirao reveals how his mother, Kashi, and brother are mainly concerned about the status of the family than their love for him when he chooses to leave his position as Prime Minister. He tells them that if that position matters to them, he will abandon it so that the appropriate person takes it and uphold the family's status. Later, he takes back the role because he admits that his love for the Marathi Kingdom is more significant than his love for Mastani. Here, Bajirao exposes Radhabai, Kashi, and his brother, that their love of status is far greater than their love for him. Their opposition to his marriage to Mastani (a Muslim) is not because Mastani has a bad character but because her marriage to Bajirao lowers the family's status in Hindu society. This occurrence reminds me of Alexander the Great, who lost popularity among his commanders and Greek people due to his tendency to marry foreign women.

Religion vs. Love

Religion or love, which one is mightier? This question lingers even today in a world plagued by terrorism and Jewish aggression in the Middle East. Bajirao Mastani shows how man has struggled with this question for centuries. The notable thing about this question is that love is one of the core teachings of virtually all religions in the world, yet there comes a time when love and faith collide. So, is the love taught by religion true love, or does religion have pride and ego that make it unloving?

In Bajirao Mastani, Mastani gives birth to a boy and gives him a Hindu name, Krishna Rao. Bajirao asks the Brahmin priest to conduct a Hindu naming ceremony for the innocent Krishna Rao, but the priest refuses. He argues that Krishna Rao is an illegitimate child. It is hard to understand why a priest should refuse to perform a ceremony for a child whose "fault" is only being born. Whatever the wrong things Bajirao or Mastani did, their child should be free from condemnation. Here the actions of this priest or religion do not amount to love. The priest and his faith have started isolating and killing the dreams of a young soul even before it knows what is right or wrong.

Additionally, Bajirao's family is devoted to Hinduism, respecting every practice and norm of the religion. One of the critical teachings of Hinduism is love and selflessness. However, their actions towards Mastani, a Muslim, go against the basic principles of their religion. Bajirao's family ridicules Mastani and does not show her an ounce of love. No one can get attracted or converted to that religion with the immense hate they show Mastani, a fellow human being. Thus, the film shows that love is more significant than religion as it shows the maltreatment of Mastani and her child under the Hindu religion. 

Conclusion

Bajirao Mastani is a classic epic movie with deep themes that challenge women, families, and religions to self-examine themselves. It reveals how people's selfishness (immense love for their dreams, pride, and ego) makes them develop hate disguised as love and feel betrayed. It shows that true love is humble and selfless. Watch it and get challenged.