DIKSHYA KARKI
Though poems, songs and novels have captured the spirit of Kathmandu, Nepali films lag far behind. It’s unexplored cinematic grandeur, its emotions and tensions have not found a place in Nepali screen.
Recently, “Sick City” explored the dark side of Kathmandu, and Nabin Subba’s much talked about film “Goodbye Kathmandu (GK)”, that has packed up its shooting recently, stands at the threshold of being judged. The film is slated for release in September or October, 2011.
Almost a decade after releasing his last feature film, Subba is back with GK. “Numafung” his earlier film achieved phenomenal success, praised both by the audience and critics. With GK, he hopes to attract the rural as well as urban Nepali audience to cinema halls.
“GK is a balance between artistic and commercial elements of cinema. I believe it will appeal to both the domestic and international audience,” said Subba.
The idea of GK struck him in 2001 when he was on a visit to the U.S and Australia. “I interacted with Nepali youths living in those countries and discovered their longing to be in Nepal and their helplessness in changing the situation.
It touched me and I thought I had to capture that dilemma,” he added. So he sat down to script the film in 2002 but got busy with his mini series “Dalan”. The series was to end in its 25th episode, but extended till 52nd. “The series kept me busy for three years,” the director informed. Moreover, it was the time of insurgency and shooting the film was difficult.
Finally free from other professional duties, Subba decided to make a film that could represent Nepal’s diversity. Som Dhakal, his partner penned the story of Amar Sharma, an America returnee Brahmin. Subba created the character of Robin Gurung, son of a British Gurkha, and Rakesh Gongaju put to paper the character of Mangal Bajracharya.
Three young men from different castes, culture and status live in the same city and struggle to find a place for themselves. Each character has been treated exclusively. Writing the script for each individual characters and bringing them together took another year and the film began shooting in 2009, two years later than planned for. But the shooting got delayed after actor Karma, who was roped in to enact the role of Mangal, had a collar bone fracture.
He had to rest completely for six months. Once the shooting resumed, ironically, the GK crew was arrested briefly for using fake guns which authorities thought were real ones. The film finally wrapped up shooting in March, 2011.“It’s a film for the youth of Nepal. All the three male characters fall under the age group of 18-30,” explained Subba.
The films shooting style is representative of its characters. Amar is often reflective while Mangal is caught between the choices and each shot hopes to capture that mood.Actor Karma has a lot to say about his character Mangal. “I relate to the character. I’m a Newar and have spent my childhood in Patan. The dilemma he faces of choosing his family occupation of making sculptures or following his passion of becoming a singer is very realistic.”
The actor is also all praise for the French cinematographer of the film Theierry Taieb. “I’m really looking forward to the audience reaction. He discovered and shot in such secluded locations in Patan, the whole crew members were taken aback,” he mentioned.He doesn’t want to predict the film’s success but for him the film is a very realistic portrayal of Kathmandu and its youth.
“I must mention Jyotsana Maskey on whom my character is loosely based.” She sees a lot of herself in the character but said, “I’m independent like her but not as serious.” Maya, the character, besides being a social activist is also a singer. “I sing at a bar in Thamel.
Please come home to me is the track she performs in the film which has been voiced by Ciney Gurung. Other songs of the film have also been composed by contemporary pop artists like X-Mantra unlike other Nepali commercial films. The film has already received invitation from a number of International film festivals for screening, said Subba but refused to divulge details.
Whether the film will win the hearts of Nepali film lovers is yet to be seen, but it wouldn’t be too much to call it a realistic exploration. “The film is more than leaving a city in search of greener pasture. It is also about parting with one’s perceptions, letting go of one’s dreams to embrace new ones,” said the director.
Although GK is a film based on the consequences of the people’s war and the state of emergency that was clamped in Nepal, from which the country has already emerged, he believes that the issue is never outdated.
It captures the important period of Nepal’s history for the benefit of the future generation.