Tag Archives: Ramin Bahrani

Bulletproof

2nd Chance

by Tori Hanes

Impurity, hate, forgiveness, rebirth. The repeated image of a man shooting himself in the gut may not seem like the ideal piece of media to use to examine these heavy themes, but 2nd Chance by Ramin Bahrani proves time and again that face value has no place in its 90 minutes.

2nd Chance delves into brazen shock value. At first, this feels cheap and unwarranted. The image of a man repeatedly shooting himself in his bulletproof vest, grimacing, then firing at undeserving coke bottles leaves a bitter taste on the tongue. 

It becomes apparent, however, that this is not shock for shock value. Instead, this is the jaw-dropping life that Richard Davis has led for the past 70 or so years. If anything, Bahrani’s mission is to make Davis’s massive eccentricity somewhat digestible and justifiable.

It doesn’t take much to revel in Davis’s contradictions: his passionate drive toward realizing the American dream makes him familiar, yet his twisted morals pose him as alien.

The structure we’ve come to know and expect with modern-day documentaries is, in a word, boring. 2nd Chance does little to stray from the usual twists and calculated catharsis of others in its genre. Where it differs and excels is in the conscious effort to avoid making the filmmaker an important character. While many documentarians crave that command, inserting themselves into the narrative, Bahrani takes a diligent backseat. He acts as a firekeeper, poking the embers to evoke flames while distancing himself from the heat. 

The film portrays Davis’s flip from eccentric business mogul to undoubtedly narcissistic sociopath. However, Bahrani gracefully captures Davis authentically in his moments of shortcoming. This light touch becomes especially gratifying as the largely unredeemable Davis himself twists that sympathy toward hatred. 

Among the twists and turns, Bahrani brings forth some of the most genuine moments of human catharsis perhaps ever shown on screen. The contradiction these moments deliver takes the film from intriguing to masterful.

You may not expect the inventor of bulletproof vests to deepen your connection to humanity. 2nd Chance delights in flipping your expectations and pulling the trigger, whether you’re protected or not.

Burning Bright

The White Tiger

by Hope Madden

Rarely do we root for the social climber. Certainly not the social climber who intentionally harms others of his station, unabashedly sucks up to his masters, and disregards the family he left in poverty. But Ramin Bahrani’s sly thriller The White Tiger does a lot of things you might not expect.

His own adaptation of Aravind Agida’s prized novel, the film shadows a cunning young Indian man as he fights to rise from the abject poverty of his caste.

A deeply impressive Adarsh Gourav is Balram, entrepreneur. Bahrani opens the film as a mustachioed, suave-looking Bahrani tells us his “glorious tale” of overcoming poverty and becoming his own master. And as much as that story takes some unexpected turns, it’s the tone Bahrani develops that is especially audacious.

The White Tiger offers a blistering class consciousness that makes the filmmaker’s 2014 film 99 Homes feel positively cozy with the effects of capitalism.

Bahrani eviscerates India’s caste system along with a cinematic history of romanticizing the adoration and martyrdom of the Indian servant. He takes a not-so-subtle jab as well at dreamy redemption tales like Slumdog Millionaire.

Balram worms his way into the service of his master’s youngest son Ashok (Rajkummar Rao) and his wife Pinky (Priyanka Chopra), both back after years in America. Rao and Chopra represent a different and altogether more insidious look at class warfare—insidious because of its self-righteous and superficial beliefs in equality. Their performances are stellar and altogether slap-worthy.

Balram’s social climbing gets him only so far, and a sudden and violent shift in perspective leaves him fully aware of his own vulnerability.

Bahrani’s masterful direction makes the most of background to establish and reestablish Balram’s position and his thinking. And as utterly contemptuous as this film is concerning the wealthy and powerful, director and lead make you feel the depth and history involved in a servant’s culture of devotion.