Comparative Narrative Analysis of "Life of Pi," "Slumdog Millionaire," and Nithilan Saminathan's "Majaraja."

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I am Kavita Chauhan, a student of sem 3 M.A. department of English m.k.b.u.

Comparative Narrative Analysis of "Life of Pi," "Slumdog Millionaire," and Nithilan Saminathan's "Majaraja."

This blog is part of a studio activity for the unit "An Introduction to Film Studies" by Dilip Sir. It will feature a comparative analysis of the narrative frames in "Life of Pi," "Slumdog Millionaire," and Nithilan Saminathan's "Majaraja."

Before delving into the analysis of these movies, let’s take a moment to understand what a frame narrative is.

Frame narrative

A frame narrative, also known as a sandwich narrative or intercalation, is a story that contains another story within it. The Oxford Dictionary defines it as "a story in which another story is enclosed or embedded as a ‘tale within the tale’, or which contains several such tales."

Famous examples of frame narratives include Boccaccio's Decameron (1353) and Chaucer's Canterbury Tales (c.1390), which both include multiple stories within a larger framework. Some novels, like Mary Shelley's Frankenstein (1818) and Emily Brontë's Wuthering Heights (1847), use a structure where the main action is told through an outer frame story.

Slumdog Millionaire

*Slumdog Millionaire* uses a frame narrative structure, combining the present-day game show with flashbacks of Jamal's life. The quick question-and-answer format creates suspense and drives the story. The main plot follows Jamal Malik on "Who Wants to Be a Millionaire?" As he answers each question, the movie flashes back to key moments in his life that explain how he knows the answers.

For example, the first question’s answer shows his love for actor Bachchan. Other questions like "Who is on the dollar note?" and "Who invented the revolver?" reveal more of his past. The story, told from Jamal’s perspective, gives a close look at his tough upbringing. The game show serves as the primary frame, while the flashbacks explore themes of love, loss, friendship, and resilience.

Motifs like the slums, the train, and his separation from Latika add emotional depth. The narrative is divided into three parts: the present at the police station, the TV show, and Jamal’s life story. These parts connect through the TV show, linking different events and providing continuity.

Life of Pi:

*Life of Pi* uses a non-linear narrative, meaning the story doesn’t follow a straight path from beginning to end. Instead, it jumps back and forth in time, showing events from the past and present. This makes it challenging to distinguish between what's real and what's imagined. The story is mostly seen through Pi's eyes, but there are moments where his account is questioned, adding to the uncertainty.

For example, in the present, Pi narrates his survival story involving Richard Parker. However, he doesn't start there. He begins by sharing his parents' story. After about 15 minutes, the focus shifts to his childhood, starting in chronological order. The adventure story truly begins at 22:32, where Pi, as an unreliable narrator, recounts his experiences. The main part of the narrative, from 35:48 to 01:48:30, is filled with flashbacks, montages, zooms, and wide-angle shots, making the past feel complex. Essentially, the film operates on two timelines: Pi's life and the present, where an author is asking him questions.

Additionally, the film uses symbolism, religious themes, and philosophical questions like "Is there a God?" to engage the audience on multiple levels. The use of animals as symbols and the debate over different religions add depth to the story.

Maharaja : 

*Maharaja*, a 2024 Indian Tamil-language action thriller directed by Nithilan Swaminathan, is known for its unique editing style. The film centers on a barber seeking revenge after his home is burglarized. He cryptically refers to the stolen item as "lakshmi," leaving the police unsure whether it's a person or an object. The film unfolds with a focus on "the art of editing," creating suspense through a non-linear narrative.

Bhuvanesh notes that the film uses timeline shifts and a specific object, a trash can, as a motif to question its value. Flashbacks are used to piece together the story, with setups and payoffs adding depth. The film's structure keeps the audience guessing and builds tension through well-timed reveals, including a critical scene at 01:12:58 that intensifies the plot.

Though the film’s disjointed timeline might seem like an imitation of Christopher Nolan's style, it serves a unique purpose. The obsession with the trash can, introduced at 22:08 in the police station, adds to the film's complexity. 

The final scene, where Selvam’s blood stains Jothi’s footsteps, symbolizes the lasting impact of the violence. The editing by Philomin Raj effectively clarifies the non-linear story, especially in the last 20 minutes, helping viewers connect earlier disjointed shots. The meetings in 2009 and 2023 are pivotal, representing the beginning and culmination of Jamal’s quest for revenge.

Ultimately, the film's non-linearity answers lingering questions, such as why the trash can ended up at Shelva's home and why Maharaja stayed at the police station. These details reveal that the trash can, "lakshmi," belonged to Shelva, and Maharaja's actions were part of his plan to find it.

Conclusion: 

In conclusion, *Life of Pi*, *Slumdog Millionaire*, and *Maharaja* each use time in innovative ways. *Life of Pi* alternates between present and past, creating a sense of uncertainty about what’s real. *Slumdog Millionaire* moves through different time periods to reveal how the protagonist’s past experiences have shaped his current life, showing the link between his history and who he is now.

*Maharaja*, on the other hand, also shifts through time but does so with multiple overlapping storylines, making it more complex and challenging to follow. While all three films creatively use time to enhance their storytelling, *Maharaja* is the most intricate and difficult to piece together.

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