Manish Gupta's Hostel from 2011 is an often insane, grindhouse-shredder that gleefully, unapologetically swerves all over the cinematic map, making stops at other films (from many other countries) in both subject and tone.
As Karan, Vatsal Sheth recalls the titular hero of The Story of Ricky, Lam Ngai Kai's ultra-campy Japanese pulp marital arts/Manga freakout (1991) --- he's got a lethal death-stare, seemingly limitless composure in the face of monumental threats and aggression and he kicks more than a little ass when pushed past the breaking point.
But Karan's not fighting an evil prison warden and his regime of futuro-torturers. His problems come in the form of a gang of marauding thugs who, Gupta would have us believe, run the college hostels (dorms) as gangsters terrorize a ghetto, with full backing of the administration, government, and supposedly parents. That sounds far-fetched, but after reading enough about Gupta and why he made this film, I do believe he's not exaggerating.
Bullying is not new. It's been around since the first caveman ripped the first chunk of meat out of his neighbor's hand just because he could. What's fascinating about Hostel (at least from the viewpoint of an American) is how the culture seems to dictate how "visible" bullying can be without raising flags, and how society reacts and tolerates it. You can see it as early on in film as Tom Brown's Schooldays (1940, based on the 1857 novel), to Renee Dalder's classic teensploitation splatterwork Massacre At Central High from 1976 (which the second half of Gupta's film resembles) to the myriad shootings depicted in art films like Gus Van Sant's Elephant and Tim Sutton's oblique Dark Night. For anyone who seriously asks why there are so many Columbine clones in the news monthly... well, it's all here.
Gupta's film is shocking because of how public the humiliation is and how widely accepted it is. Exactly WHY that is would be very fascinating, and perhaps Indians have a better understanding of the answers to those questions. Other factors such as economics and shame play heavily into this as well. Most Americans will look at this film and say "why doesn't Karan just leave?" and Karan is asked that question and he replies that he has no choice. He can't afford a place to live and his parents are dead. This is obviously a fact of life in India that most (relatively rich) Americans could not hope to grasp.
Once you get past that shock and settle into the film, it takes you to more than a few places you don't expect. A very dark, early example of this is when Karan is literally being beaten to a pulp by 20 of the head bully's goons and the hostel director interrupts it to chide the goons on their beating technique, so Karan won't end up in the hospital. Then another encounter with a "real" gangster takes a very funny and unexpected turn.
In between all this we get a love story that's very throwback Bollywood in tone and style (cheesy love songs and all) but almost a relief from the film's near-constant montage of sadism. Probably the most disturbing aspect of Hostel is the Massacre at Central High-esque theme of the bullied becoming the bullies, and as a result the second half of the film is even harder to endure (in a good way) than the first.
Gupta should be highly commended for making this film. His passion fills each frame and is joyous to behold in it's courage. As a technical piece of film-making, it's got a lot of problems, mostly in pacing and length, the supporting actors who are so-so and mostly stiff in their line readings --- but that could be a play on the classic Bollywood style as are some of the "on purpose" audio clicks you hear on the soundtrack (as you'd hear in a worn grind-house print where the reels change). It flys it's freak-flag high... you can't help admire it for that. And it definitely has something to say and something to make you think about.
As Karan, Vatsal Sheth recalls the titular hero of The Story of Ricky, Lam Ngai Kai's ultra-campy Japanese pulp marital arts/Manga freakout (1991) --- he's got a lethal death-stare, seemingly limitless composure in the face of monumental threats and aggression and he kicks more than a little ass when pushed past the breaking point.
But Karan's not fighting an evil prison warden and his regime of futuro-torturers. His problems come in the form of a gang of marauding thugs who, Gupta would have us believe, run the college hostels (dorms) as gangsters terrorize a ghetto, with full backing of the administration, government, and supposedly parents. That sounds far-fetched, but after reading enough about Gupta and why he made this film, I do believe he's not exaggerating.
Bullying is not new. It's been around since the first caveman ripped the first chunk of meat out of his neighbor's hand just because he could. What's fascinating about Hostel (at least from the viewpoint of an American) is how the culture seems to dictate how "visible" bullying can be without raising flags, and how society reacts and tolerates it. You can see it as early on in film as Tom Brown's Schooldays (1940, based on the 1857 novel), to Renee Dalder's classic teensploitation splatterwork Massacre At Central High from 1976 (which the second half of Gupta's film resembles) to the myriad shootings depicted in art films like Gus Van Sant's Elephant and Tim Sutton's oblique Dark Night. For anyone who seriously asks why there are so many Columbine clones in the news monthly... well, it's all here.
Gupta's film is shocking because of how public the humiliation is and how widely accepted it is. Exactly WHY that is would be very fascinating, and perhaps Indians have a better understanding of the answers to those questions. Other factors such as economics and shame play heavily into this as well. Most Americans will look at this film and say "why doesn't Karan just leave?" and Karan is asked that question and he replies that he has no choice. He can't afford a place to live and his parents are dead. This is obviously a fact of life in India that most (relatively rich) Americans could not hope to grasp.
Once you get past that shock and settle into the film, it takes you to more than a few places you don't expect. A very dark, early example of this is when Karan is literally being beaten to a pulp by 20 of the head bully's goons and the hostel director interrupts it to chide the goons on their beating technique, so Karan won't end up in the hospital. Then another encounter with a "real" gangster takes a very funny and unexpected turn.
In between all this we get a love story that's very throwback Bollywood in tone and style (cheesy love songs and all) but almost a relief from the film's near-constant montage of sadism. Probably the most disturbing aspect of Hostel is the Massacre at Central High-esque theme of the bullied becoming the bullies, and as a result the second half of the film is even harder to endure (in a good way) than the first.
Gupta should be highly commended for making this film. His passion fills each frame and is joyous to behold in it's courage. As a technical piece of film-making, it's got a lot of problems, mostly in pacing and length, the supporting actors who are so-so and mostly stiff in their line readings --- but that could be a play on the classic Bollywood style as are some of the "on purpose" audio clicks you hear on the soundtrack (as you'd hear in a worn grind-house print where the reels change). It flys it's freak-flag high... you can't help admire it for that. And it definitely has something to say and something to make you think about.
