Slumdog Millionaire is a Danny Boyle creation, based on the novel “Q&A” by Vikas Swarup, which was adapted for screen by Simon Beaufoy. The magic realism is toned down by the gritty, yet beautiful take on India and the narrative is a series of flashbacks in retrospect. An 18-year-old Indian boy from the slums finds himself on the game show “Who Wants to Be A Millionaire?”. His life story is told through his answers to each game show question, which delves into his past in a series of flashbacks. He’s uneducated and game show authorities are weary of his winning streak, accusing him of fraud and cheating. The film captures elements from several contemporary masterpieces, including: Forrest Gump, The Usual Suspects, City of God and August Rush.
Slumdog Millionaire is like Forrest Gump in the way that an ordinary boy is pushed to extraordinary limits, despite unfortunate circumstances. He has enough life experiences and stories to make up for his lack of education. Instead of sitting on a bench like Gump (Hanks), Jamal (Patel) recounts his youth from the confines of a police station, where he is being questioned. His ongoing on-and-off romance with Latika (Pinto) is reminiscient of Forrest’s infatuation with childhood sweetheart, Jenny. Boyle weaves an intricate story that bursts with colour and imagination. The story of India is told through Jamal in a similar way to Forrest’s story of America.
The infamous storytelling device from The Usual Suspects is exploited in Slumdog Millionaire, as Jamal’s story is contested from the beginning. His imaginative and vibrant stories are told with such enthusiasm. The police chief is confronted with the possibility that this slumdog could be telling the truth in a remarkable turn of events. His stories seem elaborate, but are reeled in with his confessions to a life of crime and murder. As one gets to know Jamal better, it becomes difficult to see his path to riches as anything other than pure destiny. The scenario recalls The Usual Suspects and casts doubt into each story, giving space for cynicism.
Slumdog Millionaire is brought down to earth by some realistic depictions of life in the slums. Crime is rife, food is scarce and unemployment is high. The story traces Jamal and his brother Salim (Mittal) in a similar fashion to City of God. The squalor and crime of the slums have parallels with City of God as the two are forced to make the most of their lot. Young criminals, organised crime and revenge has its place in Slumdog Millionaire, and the cruel, real world shatters any hopes of a Bollywood fairy tale. Boyle doesn’t allow the story to drench itself in too much hardcore realism, and these troughs make the highs seem more meaningful.
Slumdog Millionaire also has dashes of August Rush. Jamal is orphaned when his mother is slain in a riot, and his quest to reunite with love gives an Oedipal spin on his romance with Latika. Evan’s musical genius from August Rush is substituted for Jamal’s incredible luck, but both share a remarkable sense of serendipity. The Oliver Twist/Peter Pan fairy tale is an inherent theme in both films, and the boys both share an extraordinary optimism and love for life. Evan’s obstacles to reunion are Wizard and Richard from social services, while Jamal is distracted by his brother’s spiral into the world of crime and blood money.
Boyle steeps this crime, drama and romance story in a suspended reality, much like Millions. The innocence and magic are toned down by competing traces of City of God, while the inspiring and uplifting everyday miracles of Forrest Gump and August Rush form part of Jamal’s saga. Slumdog Millionaire is a beautiful tapestry with a life-affirming message, and despite its influences, still maintains the credibility of being original. “Slumdog” is a Danny Boyle masterpiece, and its solid all-round production effort accounts for its 10 Oscar nominations in the build-up to the 2009 Academy Awards. Slumdog Millionaire will definitely be an audience favourite and makes an interesting departure from traditional Bollywood and “Hollywood/Bollywood” films.
The bottom line: Extraordinary.
