Barfi! and the Inability to Speak

The film Barfi! (2012 dir. Anurag Basu) has been critically acclaimed as a film that represents the changed outlook on disability in Indian cinema (Mohapatra 2012, p.130). Films like Black (2006 dir. Sanjay Leela Bhansali), Fanaa (2007 dir. Kunal Kohli), My Name is Khan (2011 dir. Karan Johar), Guzaarish (2012 dir. Sanjay Leela Bhansali) have portrayed a significant shift from open ridicule, to pity of disabled characters however, the narrative is still very much defined by disability, making it the most defining characteristic of the character. In Barfi! the inability of the lead characters to communicate has resulted in the filmmakers’ use of cinematography and music to compensate the sensory loss from because of the lead character's inability to speak.

Barfi’s inability to speak is because he is deaf and mute, while for Jhilmil it is the mental condition of autism that limits her verbal ability. Ostensibly, the story is about how the two characters overcome their disability and achieve happiness despite it. However, instances in the film constantly remind one of their disability so that as a viewer one cannot overcome it— they exist outside of the “normal”, in marriage and love and this is presented as lovable and amusing freaks.

The thin-moustached, sweater wearing, umbrella-wielding tramp, Barfi, played by Ranbir Kapoor is clearly inspired by Chaplin and his grandfather Raj Kapoor who was known for playing the Tramp in Awara (1951 dir. Raj Kapoor). The visual medium is used extremely well by Anurag Basu as the Chaplin-esque physical comedy succeeds as a means of non-verbal communication. The use of sets and movements, as well as the toy-town setting of Darjeeling adds to the visual experience.

Barfi’s constant comic run-ins with the police are backed by the strikingly French accordion style used in the film Amelie (2001 dir. Jean-Pierre Jeunet) which had clearly ‘inspired’ Pritam. Shifting focus from the obvious plagiarism we may ask, why did the use of such music become necessary?

Part of the answer may be found in the use of music in the Tramp films. Though the film is not completely devoid of speech or narration, however the expression of the lead character is accentuated as Chaplin did by using music to bring for comic effect. Chaplin himself studied music and composed the pieces for his film City Lights which despite the arrival of talkie films was produced as a silent film. This was because the universality of the character of the Tramp was in his voicelessness.  Therefore he chose to remain silent— the language of mime was universal. His silence was replaced with the use of sound technique only to provide ‘synchronized musical accompaniment and effects’. The astonishing ability of musical movement to emulate physical movement was explored extensively in the musical accompaniment to these films. 
This was perhaps why the music of Barfi! was influenced not by the style of music used in Chaplin’s films but the technique of using sound to replace words. In the film, Barfi and the cop, in one of their many chases have exactly the same encounter as in another Chaplin film, The Adventurer. The accordion music from the song 'Itti Si Hassi' (A little bit of laughter) plays in the background:

The soundtrack of the film has the difficult job of speaking for the characters and it is in this way that the sensory gap from the characters’ inability to speak is compensated. The film has a total of ten songs which is by no means the highest number of songs in a Bollywood film, but it works in interesting ways. For instance the song 'Ala Barfi' (Here comes Barfi) introduces the matwala (with a mind of his own) Barfi to the viewers and remains his theme throughout the film, henceforth whenever we encounter Barfi we hear the whistling from 'Ala Barfi' which gives us a cue about his arrival on screen. The song 'Main Kyan Karoon' (What do I do?) is written in the male voice and clearly speaks for Barfi, telling the viewers his agony with love. The songs 'Kyon' (Why) or 'Aashiyaan' (Home), play in situations where ordinarily one would hear dialogue between the two characters, and the film breaks into montages while the song speaks for its characters— setting the stage for romance.
However, the specific sound that Pritam emulated had a significance as the music of the film is easy listening for both world cinema and music-loving audiences. The subsequent entry of the film into the Academy Awards in the category of Best Foreign Language Film perhaps points to the music director’s particular creative choices.
Watch Aashiayaan and Ala Barfi, and decide for yourself, you could also let me know what you think.

References:

Gopal, S. and Moorti, S. (2008) Introduction: Global Bollywood, pp.1-68. Uiversoty of Minnesota Press.

Kamath, S. (2012). “Barfi: Let There Be Light.” The Hindu, September 15. (online) Accessed: 13/2/2015. <http://www.thehindu.com/features/cinema/barfi-let-there-be-light/article3900862.ece>.

 Mohapatra, A. (2012) “Portrayal of Disability in Hindi Cinema: A Study of Emerging Trends of Differently- Abled” Asian Journal of Multidimensional Research Vol.1 Issue 7, December 2012, ISSN 2278-4853. (online) Accessed: 13/2/2015. <http://www.tarj.in/images/download/ajmr/AJMR%20DEC.%202012%20PAPERS%20PDF/12.12,%20Dr.%20Atanu%20Mohapatra.pdf>

Panodhar, J. (2012) ‘Pritam Chakraborty Barfi! Review’ (online) Accessed: 13/2/2015. http://www.bbc.co.uk/music/reviews/3r5c

Robinson, D. (1989) ‘City Lights’ in Re-recording of City Lights Orchestra by Carl Davis. (online) Accessed: 13/2/2015. <http://cdn3.orastream.com/pdf/845458000154.pdf>

Rolf I G., & Marc L., (2010) ‘Gestural Affordances of Musical Sound’ In Musical Gestures: Sound, Movement, and Meaning. Routeldge.

Image Sources:
1. http://www.moviesharbor.com/wp-content/uploads/2014/07/Barfi-2012.jpg
2. http://media2.intoday.in/indiatoday/images/stories//2012september/barfi-2-660_092712115327.jpg