THE STORY – When a teenager from the slums of Mumbai is interrogated about his suspicious performance on a quiz show, he revisits various events from his past to explain how he knew all the answers.
THE CAST – Dev Patel, Freida Pinto, Madhur Mittal, Anil Kapoor & Irrfan Khan
THE TEAM – Danny Boyle (Director) & Simon Beaufoy (Writer)
THE RUNNING TIME – 120 Minutes
A special kind of magic permeates the air when you witness a tale of amazing fortune play out. It’s easy to recognize the phenomenon because it taps directly into the dreams and passions of the audience. Most people have lives that, while fulfilling, could be improved by some journey to greater prosperity. Watching an individual climb and maneuver through a treacherous landscape in pursuit of untold happiness is a universal wish fulfillment we all strive for in our lives. It’s one of the reasons why “Slumdog Millionaire” has been found to be so resonant. The story itself may be a familiar venture, confined to structures with well-worn archetypes; however, that doesn’t diminish the exuberant elation that is present, particularly when the storytelling is as enthralling as it is here. Director Danny Boyle has often used this trait, and this is another fine example of his skill set creating an engrossing cinematic experience.
The film begins with Jamal Malik (Dev Patel), who has found himself in the extraordinary position of being a contestant on the game show “Who Wants to Be a Millionaire.” He’s already worked his way through every question and is about to reach the final one where the grand prize lies. However, the host, Prem (Anil Kapoor), grows jealous of the young man’s rising popularity, which threatens to eclipse his own star. He lodges an accusation of cheating against Jamal, who is taken into police custody and interrogated by the police inspector (Irrfan Khan). During their conversation, Jamal reveals the series of coincidences and happenstances that occurred in his life that led him to all these correct answers. He details his upbringing in the streets of the slums, the carnage that turned him and his brother Salim into orphans, and the perilous journey they were set upon to survive. It is also where he meets Latika, another lost child whom he has steadily fallen in love with. The adult Latika (Freida Pinto) is trapped in the clutches of a protective gangster, but Jamal is determined to reunite with her. He hopes his appearance on the show will aid in his quest and bring him back to the love of his life.
One consistent trademark in Boyle’s filmography has been a notable flair for creative presentation, despite a variety of tones and subject matter. The camera moves with a fierce energy, the editing is kinetic, and every sense feels heightened with the characters. There’s hardly a moment when Anthony Dod Mantle’s cinematography isn’t drenched in vibrant colors or uses creative framing to convey a chaotic yet oddly alluring environment. The immense poverty shown in the beginning can teeter into an exploitative perspective, but as seen through the eyes of children, it’s a crowded labyrinth worthy of exploration. Chris Dickens’s editing weaves in and out of timelines with a furious pace that always keeps one engaged. The soundscape is always arresting, thanks especially to A.R. Rahman’s lively score that blends traditional Indian music with a festive pop flavor. Even the natural tension of the game show is tactfully woven into the story’s heightened stakes, as the glittery studio lights act as an ominous halo. Boyle’s tactics as a filmmaker have always been distinctly expressive, and this is another example of his bold vision creating a captivating showcase.
Simon Beaufoy’s screenplay mixes intriguing set pieces with forced contrivances. There’s a certain leap one is willing to take in believing these answers have magically fallen into Jamal’s lap, but that is simply buying into the story’s fantastical premise. Believing that each one of these instances occurred in a sequential direction of his own life is an entirely different pill to swallow. Some revelations also seem too conveniently placed, like a religious figure appearing during a violent riot or a blind child singer knowing about Benjamin Franklin. The questions have to balance difficulty for an Indian audience while still appealing to a wider (e.g., Western) audience. The anxiety meant to be created during the game show can sometimes feel false, but the script gets more credit for a twisty structure that’s fun to navigate. There is a bit of a false note in the ending, which feels too obsessed with the outcome of the game rather than Jamal’s search for Latika. The film offers a minor commentary on the insidious nature of the show, which draws the eyes of millions because people see it as an easy way to lift themselves out of their current oppression. While not directly intentional, the storytelling somewhat endorses this belief, rather than earning a finale similar to Sylvester Stallone’s “Rocky,” in which the personal journey of growth matters more than the superficial conflict surrounding it. Beaufoy’s efforts are inconsistent but effective enough to create a gripping framework.
Because the film’s narrative allows for a plethora of flashbacks, we are treated to a trio of actors who play the central young characters. Between the two brothers, Salim is less interesting, and therefore the actors playing him are the weaker counterparts. Azharuddin Mohammed Ismail, as the youngest version, struggles to fully embody the bubbling menace, which makes it seem like his effective moments are more down to the direction. Similar sentiments are for Ashutosh Lobo Gajiwala and Madhur Mittal as the middle and oldest versions of the character, respectively. They give serviceable performances for roles that don’t have many layers on the page. Still, they at least get some definition, which isn’t the case for Pinto, Rubina Ali, and Tanvi Ganesh Lonkar, who play Latika. It’s quite infuriating how this character is simply reduced to an object that is meant to be either desired or saved, with no real interiority of her own. All three actresses try their best to make an impression, and Pinto at least has endearing chemistry with Patel. Still, she can’t compensate for horrid material that treats the lone female character with such little investment.
Patel is really the anchor for the film’s ensemble. That’s not to disparage Ayush Mahesh Khedekar or Tanay Chheda as his younger versions, both of whom have a spirited charm and aura to their personalities. But it’s Patel who truly finds the emotional depths of his character, the only one who is really able to achieve that. He can blend into the anonymous corporate world of Jamal’s day job, tap into the angry fury that rises when confronted by his traitorous brother, be defiant during a game show that is tempting him to fail, and be completely earnest in the decades-long affection he has for the woman he loves. Some of these are staples of a recognizable archetype, but he flourishes in crafting an authentic portrait that one can’t help but root for. His scenes opposite Kappor and Kahn are also a delight. The former indulges in the plasticine television personality with a real menace underneath that makes him a constantly engaging screen presence. The latter manages to exude a surprisingly tender atmosphere that lurks beneath a tough facade. As characters, they are more a means to an end, but they are in the hands of very capable performers.
“Slumdog Millionaire” is the kind of film engineered with fine detail to be a crowd-pleaser. It places the audience directly in the viewpoint of a character who finds themselves in an unusual circumstance, inviting all to witness all the eccentricities that led to an incredible life and a moment that can lead to joyous elation. The filmmaking efforts do wonders in showcasing such a vivid aesthetic, easily the most important facet in crafting this mesmerizing world. The script can be a bit wonky at times, failing to always deliver a believable sequence of events or collection of characters, but it does provide a sturdy foundation to build from. The performances may vary in effectiveness, but that almost always depends on the material they are given. In totality, some aspects are more fulfilling than others, but it’s hard to deny the grand vision that serves to uplift. Even in its more calculated instances, the film still succeeds.
