Newton - the gravity of integrity

Every 15th of August, since the first time I'd watched it, I rewatch Newton with the deep expectation of either of the 2 eventualities occurring, which would drastically reduce the profound impact this film has had on my life:

1. That I notice a mistake in the film, some error in the plot, the characters, the dialogues, the editing, the lighting, the setting, the cinematography, the music, shit, even the acting. Even, but one fault.

2. That I am unconvinced, unmoved, unsure of the ideological foundations by which I am forced to view this world; that something in my way of being gives, and I am able to dispel the ideals I have held for a long time, with reckless abandonment.

And every time, after approximately 102 minutes, I am either (fortunately or unfortunately) unsuccessful in my endeavour. And only time will tell, if I ever will be.

Idealism (and its misgivings)

I have been made privy to the notion that my idealism is a flaw. It is a position that I often oscillate to myself. But like the unforgiving motion of the simple harmonic pendulum, I am disabused of that argument quite quickly every time I remind myself why it is that I believe what I believe in.

There are many books I haven't read, many places I haven't been, and many things I don't know. I am blatantly aware of my ignorance and lack of knowledge in every waking moment of my time on this planet. It is also my cognition of my lack of intelligence that motivates me to try, work, and do better. In the process, I have adopted film as my preferred medium for understanding what the world around me feels and is trying to express, and mostly these days, it is film (amongst other things) that I rely on to shape my understanding of the human condition.

Newton is the story of a person, who is drowning in his own principles and stupidity, much like I am right now, albeit significantly more happily (I don't know if I share his optimism, because I often believe that I don't, but I may not be best suited to judge). Newton Kumar, born Nutan Kumar, is an immensely dedicated and staggeringly honest government officer and election volunteer, assigned to oversee an election booth for a poll of 72 voters out of 1.4 billion people. That is a task whose ascribed statistical weight is 0.00000005%. That's 5 preceded by 7 zeroes.

Newton makes a choice, as we all do everyday. And the choice he makes, is one that few have the will to deal with. I say few, because exaggerations about willpower are common in narrative deliberations of the resilient, chip-on-their-shoulder, black horse protagonists. However, what sets Newton (and quite frankly, the entire film) apart is the sheer stupidity inherent in his choice, a consequence only of his damning ideals (know, that my choice of the phrase 'stupid' is fairly deliberate).

Oops!...I did it again - Rajkummar Rao (probably)

Mostly, in these hypothetical intellectual terrains that similar narratives deliberate upon, the protagonist faces challenging obstacles, usually also in the form of a threat to their life. Rarely (if ever, and I say never), does the protagonist opt for the path-less trodden with equal cognisance and ignorance of just how insignificant their actions are in affecting the entropy of the universe.

You see, we've rationalised large sacrifices for large outcomes. In our anthropological development, that calculus is reasonable. But to sacrifice your life for your principles that barely amount to any practical good? That's so unbelievably idiotic, it's admirable. And it stems from our natural development as a civilisation so jaded in commercialism and consumerism, that even the price of virtue is on a steep decline.

Life is a series of consequences of decisions and actions, which you take as a reaction to previous consequences of decision and actions. Going up the ladder of recursion, you will find the absence of an origin, an initial point, something to set the events of your life into motion. And when you begin to question the absurdity of your existence, do you truly realise that life makes a Newton out of us all.

Rajkummar Rao plays the protagonist of what I believe to be the best Hindi-language film ever, and the second one of its kind that truly deserved an Oscar (besides Shatranj Ke Khiladi). I attribute the excellence of his performance to his exquisite portrayal of Newton's stubborn, naïve and yet charming brand of integrity. There's something in the incessant but innocent blinking of his eyes, the minimalism of his posture, and the economy of his words, that bring out Newton in a way I fail to see any other actor do well. This is easily his tour de force.

Burdens

Scene-stealers include Pankaj Tripathi, as usual, and Raghubir Yadav, who falls into the breed of Indian character-actors who earn rare recognition for consistently unforgettable roles. It is perhaps inaccurate to describe the cast of Newton as an ensemble, but it is these independent regional language films, actors, and production crews, that should be populating Indian cinema.

Case in point, the on-location shooting of Newton is not simply beyond belief, but so much of what filmmaking is all about. Taking a camera, setting up a shot, and telling a story in moving pictures, can only but be so effective on a set, in a studio, surrounded by studio executives. But what is considered 'avant-garde' in actually filming something where it is supposed to be taking place, contributes to the realism of a story so grounded in its roots as this film is.

The dialogue and screenplay in Newton stashes a few brilliant gems amidst the chaos and tragedy that ensues in the story. And why it is so effectively hidden yet obvious, is the disguise of comedy that it wears so deftly. It is surprisingly difficult to not laugh at some of these scenes, and to master writing a tragicomedy so realistic, is a skill worth commending. It's easy to call it a black comedy, but I wager that this classification fails to capture the depth of the central thesis of this movie.

To say this is a political film, is worthy of dispute, but to say it is a film about politics, is eloquently sufficient. So, when you do laugh at some of these jokes and dialogues, it is not a side you laugh at (as it would be for political films), but rather the system. What makes Newton a great film is its willingness to embrace the absurdity of its setup, while letting the audience interpret the complexities of its punchline.

Something else I appreciated about Newton, was its colour grading. It's difficult to find a film that is tonally and stylistically rigid, while having it produce a noticeable literary effect: warm, monotone, dry hues amidst a stark, unpredictable, rustic backdrop, much like the chaotic developments that ensue from the calm first half of the movie. The lack of diegetic music is something that I have immense respect for. Finally, an Indian film with no dance routines!

Framing a shot

Under the weight of severe expectations, Newton finds its footing in what I hope is a stepping stone to real storytelling in Indian cinema, an artistic tradition that dates to its earliest pioneer, Satyajit Ray. My unwavering regard for this movie is just as much fundamentally philosophical, as it is an appreciation of the extreme quality of the production itself, and I truly recommend this film as a watch, given that I've tried extremely hard from spoiling the movie. Perhaps, this review will make infinitely more sense after you do.

Jai Hind.

If you've lived your life correctly, Newton's crossroads will have made itself evident to you. The smart thing to have done, would be to accept a principled defeat at the hands of society, isn't it? What makes a smart person, is the readiness with which they abandon their inner Newton in favour of serving their own good.

What makes a good person, is the patience with which they hold their ground that has already cracked and given way to their worst nightmare.