EurasianStudies_0110..

January-March 2010 JOURNAL OF EURASIAN STUDIES Volume II., Issue 1.
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Jamal's story, which is told in the forefront during the film is an extremely naïve (starry eyed) story.
This story, which becomes a fairy tale / fantasy from time to time, is connected to the memories and
sub-stories through questions; and those parts (the memories and sub-stories) include much more severe
and realistic elements. India's Muslim-Hindu conflict, beggar children, school teachers in the beating
process, and suburban life creates a realistic background which is described in the film, too.
The first part of the film which plays out in Mumbai suburb is extremely impressive. But as time
passes, the effect of the film starts decreasing because of this fatalism and forefront-subtext relationship.
On the one hand, global capitalism's new capital, Mumbai’s transformation is explained with a critical
perspective, on the other hand, the message “the people who are most oppressed (one of the most
oppressed) by this system, can be a millionaire and can skip class-gaps if they obey the rules of the
system and if compliance happens. But in the end, this can happen through a set of coincidences” is
given. Indeed, the film's final words, expressed by Latika to Jamal ("I thought we could meet only in
death.") indicates that even the heroes of the story believe that the happy ending of their story is possible
only by death or miracle.
Boyle’s film gives a sense of "An Oliver Twist Story In India". And Boyle shows poverty to some
extent in the film and he promises grand prize in television contest as the only way out in life for a poor
young man. Indeed, with the image of the night of Jamal's final race, television program is presented as a
“happiness umbrella” which combines everyone under. The statement "From rags to raja" speaker says
Jamal in contest, is interesting in this context. This statement expresses the possibility of switch in India's
caste system which is not possible at all. Perhaps the most important benefit of globalization, or
integration to capitalism is starting of shaking of the caste system. However, the money (funds) is the
only determinant for the classes (inter-class transitions) and this is not much better than the caste system.
In this respect, the 'fatalism' highlighted in Jamal's story and the destiny of being a millionaire of
“a slumdog” with God's providence may reach agitation sometimes and somehow. However, the
character that is remaining a little more in background in the film, his brother Salim is a more realistic
character. But he is lost and is a very weak under "good character / bad character” contrast in the movie.
For the sake of highlighting this contrast, as a cruel person who rapes his brother’s beloved and as a
shooter, Salim sacrifices himself for his brother whom he had never seen for years and ruined his life.
This cliché is used to convert Salim to a goody-goody. Yet we know that (just like kids in Brazilian films,
‘City of God’), the youths, who are forced to be suburban, mafia or to live in the rear of barriers, doomed
to the ghettos by global capitalism, sometimes have no option other than to be Salim.
(Indeed, Ayush Mahesh Khedekar in the role of Jamal and Ismail Mohammed Azharuddin in the role
of little Salim were really living in slums. The film's success also gave them a chance of being a student
and also provision of social security. This is a very pleasing development on their behalf, but what about
the rest of the children?)
Evaluating the flowing film, the childhood scenes of the movie should be noted as sections that
beautify the film. In the background of the text, there is a criticism to the gloom and the despair coming
with the modern world. Indeed, there is a silhouette of bleakness over the city caused by the shadows of
the huge ugly buildings, built instead of the old ones. In this respect, the narration of the film itself is in
accordance with the story that is flowing.
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