“We Are Family”

“We Are Family” has all the aspects of a stereotypical Bollywood movie. All the things we associate with Bollywood, five minute long songs with background dancers, dramatic plot twists, emotionally reactive scenes and a happily ever after. All of the Bollywood characteristics with a modern story line. The story goes Maya and Aman have three kids, Aaliya, Aknkush and Anjali. Maya and Aman are divorced but they have a cooperative relationship and the kids love them both. In this blog post I will be exploring in depth how "We Are Family" follows a classic Bollywood structure while incorporating modern story elements and filming techniques. I will be analyzing character development, lighting, type of shots and color choices.

The plot builds on Shreya, Aman’s girlfriend/soon-to-be wife and Maya’s cancer. Shreya has to rigorously try to develop a relationship with the kids as Maya’s health is deteriorating. Bollywood and Hollywood too, often portray the step-mother as hateful, as someone who destroys the family but Shreya is a character who fights to break the misconception. Aman is also a dynamic character. During Maya’s sickness he steps up to take care of his family especially his children. The children were mainly Maya’s responsibility but he is able to take up the responsibility by moving back in with them. Now I won’t go on explaining exactly how things play out but you can watch the two hour long movie on Netflix with subtitles.

The movie begins with a few “pan shots” of Australia providing the audience with a setting. The concept of Bollywood movies beginning with shots of the location the story takes place at is usual, most directors, including this movie's director Sidharth Malhotra. They use the “pan shot” to establish location without it having to be explicitly stated. Next we see mid shots of Aman and Shreya. The shots are taken closer up, providing us with the idea of intimacy. The music playing during the opening is very melodious. It helps the audience feel the characters’ love and passion. The higher pitched music continues to play until Sidharth asks his ex-wife, Maya, who he has a calm and understanding relationship with, if he can bring a friend, who happens to be female (Shreya) to his younger daughter’s birthday. During this time the music completely pauses for a moments and then changes to play low pitch music that develops tension. We experience Maya's inner conflict through the music. 

The audience learns more about each of the characters by the colors they are presented around. Maya and the children’s house is full of color. Bright colors make up the house.

Maya reading a bedtime story to the kids. 

The children’s rooms are painted innocent colors like pink or yellow and are full of stuffed animals and toys. Their house radiates a warm, homely feeling. While Shreya and Aman’s house is very modern. 

Shreya at her and Aman's place with the kids.

The house is full of browns and blacks with minimal light brightening the house. The house gives off a strict household feel. It is a perfect place for two people who are in love with their careers and rarely stay home. 

       In the beginning of the movie Shreya was dressed in blacks and dark blues but as the movie progresses she wears pastel colors and is placed in more illuminating parts of the shot unlike Maya. Maya wears white when the movie begins which signifies her pure dedication towards her children and the kind of personality that she portrays but as the movie progresses her white clothes turn grey. The change in color shows the audience just how sick Maya really is and the growing distance between her and her kids. Color is used to portray Shreya and Aman's relationship too. In one of the opening scenes they are shown in their house with dim lights and dark clothing. Maroon candles as their only source of the lighting the scene gives us a feel for their affection. Interpreting the scene as an audience member the colors and lighting makes their relationship seem almost like an affair, something forbidden. 

Shreya (right) and Maya (left) waiting for Aman.

The picture above displays a scene in which Shreya is in a white top and Maya is wearing a completely black outfit. The light is shining from Shreya’s side onto her and it dims a bit towards Maya giving her a gloomy outlook. Without even knowing the context of the scene you can experience the tension from exploring the colors and lighting.

Maya and Aman’s three kids consider Shreya to be evil. They call her the “wicked witch.” They think of Shreya as their father’s mean girlfriend who will break apart their almost perfect family. We see their emotions through the director’s choice of lighting. The placement of light is very important in this movie and has a distinct connection to the children’s affection and Maya’s health. In the children’s house, light is illuminated onto Maya and the children as they discuss how they won’t let Shreya ruin their family. The room is dark but Maya and the kids are illuminated by a soft yellow light that expresses the mother and children’s close bond and faith in one another. At Aman and Shreya’s house (as shown in second picture) the place is illuminated by a sharp, strong, white light.

I would recommend this movie to everyone. I understand Bollywood movies can be very long and to someone who has never watched one it may seem unbearable but the emotional roller-coaster this movie puts you on is worth it. It’s a Bollywood movie but with a modern twist. Techniques like lighting, color expression, type of shot and music all bring the individual scenes together to tell a great story. It can be exceptionally hard to watch a foreign movie but this movie has hints placed using the techniques I just mentioned, allowing audience members to keep pace with the plot. The story line is unique among other Bollywood stories. “We Are Family” will teach you the real meaning of family and love. 




Citations :
We Are Family. Dir. Sidharth Malhotra. Perf. Kajol, Kareena Kapoor and Arjun Rampal. UTV Motion Pictures, 2010. DVD.
Curley, Martin. "Basic Camera Shots for Filmmaking." YouTube. YouTube, 20 June 2013. Web. 03 Feb. 2016.