Comparative Narrative Analysis on Three Movies

Film Studies

  This blog is a  task based on Studio activity on Film Studies assigned by Dr. Dilip Barad Sir in which we have to make  Comparative Narrative Frame Analysis in "Life of Pi," "Slumdog Millionaire," and Nithilan Saminathan's "Majaraja."

Comparative Narrative Frame Analysis :

First let's see, 

Slumdog Millionaire movie : 

In  Slumdog Millionaire,  the narrative is divided into three distinct timelines that intertwine throughout the film:

1. Police Station (Present Moment) : 

This timeline takes place in the present, where Jamal Malik is being interrogated by the police on suspicion of cheating in the game show "Who Wants to Be a Millionaire?" This forms the framing device for the story, with Jamal recounting events from his life that explain how he knew the answers to the game show questions.

2. "Who Wants to Be a Millionaire?" (Previous Night) : 

This timeline occurs during the previous night, when Jamal is on the game show. The scenes alternate between his time on the show and the questions being asked, which serve as triggers for flashbacks to his past. 

3. Personal Life and Childhood (Flashbacks): 

This timeline consists of various flashbacks that chronicle Jamal's life from his childhood in the slums of Mumbai to his early adulthood. These flashbacks reveal key events, such as the loss of his mother during a riot, his relationship with his brother Salim, and his ongoing quest to find Latika, the girl he loves. These events provide the answers to the questions asked on the game show, connecting his life experiences with the trivia he knows.

The film’s nonlinear structure, with its back-and-forth movement between these timelines, is crucial to its storytelling approach, as it gradually reveals how Jamal's life experiences have prepared him for the show.

In the movie  Life of Pi  (2012), the narrative structure alternates between two timelines:

1) Author Talks with Protagonist (Present Moment) 

This timeline takes place in the present, where the adult Pi Patel recounts his extraordinary story to a writer (referred to as "the Author"). These scenes are calm and introspective, as Pi reflects on his past experiences and the lessons he has learned. The interactions between Pi and the Author help frame the story and provide context for the flashbacks.

 2) Chronological Order (Flashback to Past Events) 

The second timeline is a flashback to Pi's youth, focusing on the events leading up to and during his survival on a lifeboat after a shipwreck. This sequence of events unfolds in chronological order, beginning with Pi's early life in India, the decision of his family to move to Canada, and the subsequent shipwreck that leaves him stranded in the Pacific Ocean with a Bengal tiger named Richard Parker.

The flashbacks are interwoven with the present-day conversation, allowing the audience to see the impact of Pi's experiences on his current self. The flashback narrative follows the traditional chronological structure, moving from the past to the present as Pi's story unfolds.

Maharaja Movie

Plot:

 

The film revolves around Maharaja (Vijay Sethupathi), a humble barber who is the antithesis of his grand name. Leading a simple life, Maharaja is a single father raising his daughter after losing his wife in an accident. His world revolves around his daughter and his salon, with an unusual attachment to a trash bin named Lakshmi, which once saved his daughter's life. 

The plot thickens when Maharaja reports the theft of this beloved trash bin to the police, leading to a series of exploitative and bizarre interactions. The villain, played by Anurag Kashyap, is introduced as a character capable of heinous crimes yet deeply attached to his family. The mystery of the trash bin and its connection to the villain forms the crux of the story, exploring themes of fatherly love and societal issues.

Comparative Analysis of the films: 

In three of the movies the narrative technique that is used is commonly a flashback technique. In Life of pi and Slumdog Millionaire the different timeline can be observed very clearly. The Watcher knows in which timeline is going on. In the Maharaja movie there is no distinction between the timeline it seems almost similar. No timeframe of colour difference we find in various timelines. It is done intentionally to confuse the watcher till the climax, this technique is quite useful to keep the audience engaged. 

In Slumdog Millionaire there is a point in the movie where three of the timeline meet and we get the similar ending, whereas life of Pie is a storytelling of the past. In Maharaja there is only a occurance of the scenes which only resolve in the end. 

Conclusion :

The narrative frames of  'Life of Pi',  'Slumdog Millionaire', and 'Maharaja' demonstrate the diverse ways in which stories can be constructed and presented. From the philosophical musings of ' Life of Pi'  to the fast-paced, rags-to-riches tale of 'Slumdog Millionaire'  and the character-driven narrative of 'Maharaja'  each work uses its structure to enhance themes, engage audiences, and create memorable cinematic experiences. By examining these narratives side by side, we gain insight into the power of storytelling techniques and their ability to shape our understanding and emotional response to a film.

Thank you!!