Asian Film

Films are used to depict social issues in a community. Directors use particular techniques in the field of filmmaking to show the themes of the movie. Watching movies from the beginning provides perceptions of the characters and their agendas. The first quarter of the films allows the audience to form their insights concerning the movie and decide whether the film is fascinating or not. There are some movies whose beginnings are not encouraging or give a different perception of the film. Some of such movies include Kahaani directed by Sujoy Ghosh and The Personals directed by Kuo-Fu Chen. The two films have redefined the Asian film industry and earned a decent place on an international level. The two films elucidate different insights at the beginning so that at the end of the film the audience is compelled to review the storyline to understand the buildup of the themes to an intriguing climax. The two films Kahaani and The Personals give a different picture when the beginning, middle and end of the movie are compared. The end of both movies compels the audience to review the movies, which is a resourceful technique employed by both film directors.

Kahaani is an intriguing movie that keeps the viewer hooked from the beginning. The start of the movie shows the gas attack on the metro rail in Kolkata, and a software engineer residing in London visits Kolkata to find her husband amid fears of his death following the attack. The young pregnant woman goes from London to India to search for her husband. She is desperate to find him given the gas poisoning that causes several deaths in Kolkata. She first visits the police to report her concerns and ask for help in locating her husband (Sujoy). A police officer named Rana offers to help her find her husband. They visit the National Data Center (NDC) where her husband is expected to be on an assignment. Her hopes of finding him are shuttered when no record of her husband is found in the NDC. Later she meets the head of the human resources who tells her about an employee that resembles her husband. The employee is Milan Damji whose records are hidden in the old NDC office. Agnes, the head of human resources, is murdered before the files of Damji can be retrieved. At this point in the movie, it can be concluded that Vidya is a young pregnant woman desperately looking for her husband who by the look of things might be dead (Sujoy).

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The film goes on to show that the files of Milan Damji are also wanted by the Intelligence Bureau (IB) in Delhi. An IB agent comes to Kolkata to follow up with the records and Vidya finds out that Damji is wanted for the gas poison on the metro rails in Kolkata (Sujoy). Khan, the IB agent from Delhi, states that Damji was a rogue IB agent. Vidya fears that her husband’s resemblance of the IB agent might have caused him troubles with the law authorities. The movie at this point shows that Vidya was a wife concerned about her husband’s whereabouts, and the perception of her escapades shows that she is not deterred. She goes on to kill an NDC officer who has sent an order to have her killed over the investigation of Damji’s location (Sujoy). Towards the end, Vidya, the IB agent, Khan and the Kolkata policeman Rana find Damji, but Vidya recognizes that he is not the husband. Damji offers to provide the location of her husband if she gives him his file that was wanted by the IB. The end of the film revealed that Vidya is on a revenge mission for her husband’s death. Her husband was killed supposedly by a top IB agent. The end discloses that Vidya’s husband was Damji’s colleague which clears Damji as a rogue and wanted IB agent. The end of the movie Kahaani compels the audience to review the film to catch the essence and the buildup of the scenes towards the end (Sujoy). The director uses anticipation to keep the audience interested as the scenes unfold. The suspense allows the audience to maintain patience until the end.

The Personals is a movie that gets the audience guessing and interested throughout the film. The beginning of the movie shows an eye in up close and the cameras move to show the eye being examined by an ophthalmologist. The film introduces an attractive woman named Du as the same ophthalmologist examining the eye. The view of Taipei where the film is shot depicts loneliness, since the city is a metropolis (Kuo-Fu). Du has broken up with her boyfriend and is desperate to find someone else. She places an advertisement in the personals section of a newspaper and receives responses of potential husbands. She decides to interview them one by one in restaurants and cafes. While viewing the film for the first time, it appears uninteresting because of numerous interviews that do not seem to achieve a specified objective. Du as the lead character seems to have no idea of what she is looking for as the interviewees come and go. Meanwhile, she secretly sends messages to her ex-boyfriend describing her encounters with her potential husbands. The choice of the location for meetings seems to be lonely, because the cafes and restaurants are deserted (Kuo-Fu). The director uses the forlorn nature of the city and empty restaurants to show the desperation of Du. The interviews show the potential husbands’ details in terms of their ages, names and occupations. The director also uses the face of Du to maintain the attention of the audience.

Du uses facial expressions that show her disappointment, humor and distress when interviewing each candidate. Her facial expressions are used as a technique by the director to maintain focus, since it was more or less an interview film that could easily make the audience lose interest. At this point, the judgment on the characters is developed and the main character appears to be desperate, but her facial expressions are different for each interviewee (Kuo-Fu). Du seems to have lost her objective of placing the advertisement in the personals. She appears to be lonely, since the movie does not show her interacting with other people, except for her interviewees. The film from the beginning gives the insights of Du, and the viewer sees the story from her point of view. Towards the end, Du finds someone she likes who could discard her from loneliness, and she sleeps with him.

The next scene is that of regret, as Du sobs in the bathroom as the man puts his clothes on and leaves. She is left with thoughts that the director brings to the audience through a voiceover that explores the deeper cause of her loneliness. She seats in a cab and a voicemail left by the man she slept with is heard asking to see her again (Kuo-Fu). Her details are brought on screen in the same way her previous interviewees’ information has been disclosed. She is reduced to the same level as her interviewees to show that she is not different from the men she has interviewed. All of them long for company to evade loneliness in their lives. From the beginning, the audience is likely to make a judgment that the movie is romantic and humorous as it tracks the quest of a young lady to find love in a city that appears to be lonely. Comparing the beginning of the movie to the end, it is clear that the film is built on a deep plot that seeks to explore personal struggles that Du has in her life (Kuo-Fu). Understanding of the plot of the film comes at the end and changes the perception built throughout the movie so that the audience is compelled to reevaluate this motion picture.

In summary, through the embedded tension and contention in both films, Kahaani and The Personals allow the viewers to comprehend the insightful connotation of the plots. Both movies bring forth different perceptions of characters and plots at the beginning of the movies. At the end of the both movies, the real nature of the characters is revealed and the revelation deepens the plots. Towards the end, both films shows the rich characterization and the development of the story to demonstrate the wide spectrum in terms of plots. The two films show that the plot and characterization are vital factors in movies when using the embedded technique. This embedded method allows the audience to comprehend the detailed tension and argument of the film. It also shows the relevance of other scenes in the buildup of the conclusion of the movie.