Comparative Narrative Analysis of "Life of Pi," "Slumdog Millionaire," and Nithilan Saminathan's "Maharaja."

 Comparative Narrative Analysis of "Life of Pi," "Slumdog Millionaire," and Nithilan Saminathan's "Maharaja."

Hello learners. I am student. I am writing this blog as a part of  film study where i have tried to campare three movie. The task is assigned by Dilip Sir. 

      A frame narrative, also known as a frame story or a nested narrative, is a literary technique where a main story is composed of one or more secondary stories embedded within it. The main story serves as a "frame" for the secondary stories, providing context and connecting them. This structure can be used to add depth and multiple perspectives to the overall narrative. Some notable example like "The Canterbury Tales" by "Chaucer", "Frankenstein" by "Marry Shelly", "Heart of darkness" by "Joseph Conrad".

Life of Pi :

    This film frequently utilizes a non-linear narrative with flashbacks and various viewpoints, contrasting reality (the story told to the officers) with imagination (the story told to the author). The inclusion of symbolic elements (animals), religious themes (debating the best path of religion), and philosophical inquiries such as existence of God captivates the audience on several levels.

     "Life of Pi" is a movie that doesn't follow a straightforward timeline; it shifts back and forth in time. The narrative alternates between present events and past occurrences, making it challenging to discern reality from imagination. Most of the story is presented from Pi's perspective, giving us his viewpoint. However, there are moments where Pi contradicts himself, raising questions about the truth of his account.

For example, at the start, Pi recounts his early life in India and his family's decision to move to Canada, which is interspersed with scenes of his present-day interactions with the author. Around the 18-minute mark, the narrative shifts to Pi's adolescence, highlighting his curiosity about different religions and his bond with the zoo animals.

    At exactly 22:32 that the adventure story begins, where Pi, as an narrator, retells his story. From 35:48 to 01:48:30, the main narrative of the movie takes place. The past is made more complex through the use of montage, zooms, and wide angles. Essentially, the film employs two timelines: one from Pi's life and  the present, where the author is arrived to meet.

Slumdog Millionaire :

 This film employs a frame narrative structure, blending the present-day game show setting with flashbacks of Jamal's life. The quick-paced question-answer format builds suspense and propels the story. At the heart of the narrative is Jamal Malik, a young man competing on "Who Wants to Be a Millionaire?" As Jamal responds to each question correctly, the film cuts back to significant moments from his past that reveal how he knows the answers.

In "Slumdog Millionaire," each question on the game show "Who Wants to Be a Millionaire?" is tied to a significant event in Jamal Malik's life, providing him with the knowledge to answer correctly. Here are a few examples: 

The Question about the Three Musketeers: What is the name of the third Musketeer in the novel "The Three Musketeers"? Flashback : Throughout his life, Jamal and his brother Salim, along with their friend Latika, often referred to themselves as the Three Musketeers. However, they only knew the names of two, Athos and Porthos. This question brings up memories of their childhood and the book they never finished, ultimately leading Jamal to guess the correct answer, Aramis, with the help of the experiences they've shared.

The Question about the Bollywood Star Amitabh Bachchan:Question: Who starred in the 1973 hit film "Zanjeer"?Flashback: As a child, Jamal idolized Amitabh Bachchan. One day, Bachchan arrives in his slum by helicopter. Jamal, desperate to get his autograph, dives into a latrine pit and emerges covered in filth to obtain it. This childhood encounter with his hero gives him the answer.

Maharaja : 

"Maharaja" is a 2024 Indian Tamil-language action thriller film directed by Nithilan Swaminathan, who co-wrote the script with Raam Murali. The movie centers on a barber who embarks on a mission of vengeance after his home is burglarized. When reporting the crime to the police, he cryptically mentions that his "lakshmi" has been taken, leaving the authorities unsure if he is referring to a person or an object. The narrative follows his determined quest to recover the elusive "lakshmi." The film is particularly noted for its exceptional editing, which plays a crucial role in enhancing the storytelling and maintaining suspense throughout the plot.

In "Maharaja," the narrative interweaves past and present actions that run parallel, enriching the storytelling and deepening the mystery. Here are some examples:

Past Actions:

The Burglary: The film reveals flashbacks of the barber's home being burglarized, showcasing the moments leading up to and following the theft of the "lakshmi."

Life Before the Incident: Through flashbacks, the movie depicts the barber's peaceful life before the burglary, highlighting his relationships and daily routines, providing context for his emotional turmoil.

Clues and Encounters: Past interactions and events where the barber encounters various individuals who may be connected to the burglary are shown, building the backstory and laying the groundwork for the present-day investigation.

Present Actions:

Reporting to the Police: In the present, the barber reports the burglary to the police, cryptically mentioning the loss of his "lakshmi," setting off the investigation.

The Quest for Vengeance: The barber's relentless pursuit to find those responsible for the burglary and recover his "lakshmi" unfolds in real-time, paralleling the flashbacks.

Piecing Together Clues: The present-day scenes show the barber piecing together clues, meeting with suspects, and revisiting locations tied to his past to track down the stolen "lakshmi."

Parallel Narrative Structure:

    Intercutting Between Timelines: The film frequently shifts between past and present, using editing techniques to draw connections between the barber's past experiences and his current actions.

Revealing Mysteries: As the barber progresses in his quest in the present, flashbacks reveal critical information about his past, helping the audience understand the significance of "lakshmi" and the motivations driving his actions.

     In the final 20 minutes, the audience begins to make sense of earlier disjointed scenes. For instance, the 2009 meeting between Maharaja and Shelva occurs at 01:33:28, while the 2023 encounter happens at 02:06:16. The 2009 meeting marks the beginning of the revenge plot due to a misunderstanding, while the 2023 meeting signifies the culmination of that revenge. The film's non-linear structure raises some questions that : Why did the dustbin end up at Shelva's home? Why did Maharaja remain at the police station? These questions are resolved when the audience realizes that the dustbin, which contained the stolen item Laxmi, actually belonged to Shelva. Maharaja had clues indicating that the next item was at the police station, which explains his presence there. This connection clarifies why Maharaja deliberately touched every police officer's back.

     This parallel narrative structure creates a compelling and layered story, maintaining suspense and gradually uncovering the full picture of the barber's quest and the true mystery  of "lakshmi."

       In this segment, the narrative structure becomes clearer. The actual story starts with Shelva's past at 44:32. It begins with the burglary scene, followed by the birthday party at 01:17:17, which further propels the story before the accident. From the accident, the narrative shifts to the present with Jothi's story from 07:00 to 18:06. The focus then moves to the camp of Jothi's daughter and culminates in the climax involving rape and violence against Jothi at 01:52:58.At this point, Shelva’s story reconnects with the main plot. Prior to this, the storyline lacks clarity. 

     The significance of the police station visit becomes apparent at 22:08, leading to the investigation of the killing of the first member of Shelva's team, the creation of the dustbin, the exposure of Nallashiva, and the final confrontation between Maharaja and Shelva.

     The key revelation at 02:15:14 is that Jothi is actually Shelva's daughter, Ammu, marking the peak of the story and leading to another flashback. The film concludes with Shelva's death. Viewed linearly, the story may seem straightforward, but its true impact lies in its non-linear storytelling.

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