Best Production Design
2017 might already
have seen its Production Design award winner for the next year, with the
release of the trailer of the much anticipated Rangoon, Vishal Bhardwaj's film
looks dazzling and despite ropey vfx at this point; seems to bring an
aesthetical authenticity to a dazzling Bombay as well as the World War II.
As for this year,
it's a tough race with some films already picking up steam and other here
seeking their next award or even first. So let's go...
Amardeep Behl for Parched
From the carnival
like tent bar dance club to the dusk and congesting interiors of the huts, to
the tight collective village. Parched embodies a space that very much answers
why it becomes easier in a world like this to be seen by everyone and obviously
be judged.
It's society and its
close minded notions that are the very centre of issues for these women and the
production design rarely allows a space of privacy. As Rani recoils at the
emptiness of her bedside, a wall away; her innocent daughter in law is stuck between
an unwanted violent husband and an unfair lonely rejection.
It is thus ironic
then, that the design crafts liberation in an interesting dichotomy between
lone bus stops and buses as well as the distant exteriors of forts and
interiors of a warm dark cave.
Setting is vital in
Parched, in enveloping the themes of the film into the world we are immersed in
and this job is pulled of with aplomb.
Laxmi Keluskar for Nil Battey Sanata
It becomes stark
within the first few minutes that space is a vital factor in generating
conflict between Chanda and her daughter Apeksha. They sleep close together on
the floor, share a one room house with practically every amenity tightly knit.
More so it highlights the financial constraints Chanda has and why it means so
much to her that Apeksha get a better life she deserves [or not].
The school is where
time however is most spent and the dreary atmosphere does give way to the
natural looking public school, a sign of why Apeksha's boredom as is;
especially when contrasted against the open roads where she has her freedom.
It helps that other
spaces are equally well applied in terms of character, Chanda's meeting Sanjay
Suri's IAS officer and the wonder in her eyes in his place is an engaging
understanding of her dreams. It is both the small space that confines her and
the big that enchants her that makes Chanda so endearing.
Satyen Chowdhury for Phobia
Much of Phobia takes
place within one house, important for the sake of the plot and Mehek's
character. For that reason and the shenanigans that take place, it's important
that the design of the film not only be memorable and haunting but for the sake
of the twist be a surprising stark danger.
One of Phobia's
memorable plot stretches is the scares first elicited by the shared wall
between Mehek and her nutty neighbour, it wonderfully works with a room that's
especially rotting. More so it seems the whole house is rotting, with pastel
like colours washing away and a stuffed room.
It plays a nice
contrast to the sheen of the whole society building outside the room, glimpses
of the society around show a sane world, however like in life; it's in the
insides where the secrets come flying open and the horror takes over.
Laxmi Keluskar and Sandeep Meher for Dangal
The rustic world
around Dangal is very much enhanced by the little detailing in the films
overall look.
For example the
wrestling scenes, after the film has had its fill of authentically recreating
the dune-esque local wrestling arenas-the akkhadas-the film then moves to
official level competitions and in a nice scene the professional wrestling mats
are recreated with multiple mattresses at home by the Phogat family.
It's not only that
the wrestling arenas are recreated with astute observations, but also the
contrast between the softness and genuineness of small town India and Mahavir's
small training grounds to the enchanting big city and its shining allowing for
a character evolution of Geeta Phogat.
Everything works
wonders in embodying the reality of the situation and making the wrestling
absolutely a delight to see.
Anna Ipe and Aparna
Sud for Neerja
What is with this
year and confined spaces?
Much of Neerja's
runtime is taken up by the intense plane hijacking where in the constrained
environment, Neerja comes face to face with her greatest fears, torrid past and
finds her inner heroism.
In one of the
highlights of the films making, Neerja's makers were smart to showcase how they
recreated the whole Pan Am Flight. The interiors and exteriors are so
wonderfully made, they highlight the absolute importance of the painstaking
research done for the film.
It's also vital to
note, how smartly the production design is crafted in not only working out the
right details of the plane but also making sure it works in such a way that the
authenticity does not come in the way of letting the camera and actors have the
space to navigate perfectly to create a genuine cinematic experience.
This is production
design that supports its film while being genuine as it should.
And the Winner is...
Anna Ipe and Aparna Sud for Neerja!!!
Neerja scores its second win and is slowly becoming a strong honorable best picture in the dramatic category. Definitely a top ten film this year.
Up Next: The final technical award, the big one...Best Cinematography!
'Nuff Said,
Aneesh Raikundalia
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