"I Am Kalam"

87 minutes, India, 2010
Director: Nila Madhab Panda
Produced by: NGO Smile Foundation
Cast: Harsh Mayar, Hussan Saad, Gulshan Grover, Beatrice Ordeix

The NGO Smile Foundation production puts an Indian spin on the classic tale of “The Prince and the Pauper” with its film “I am Kalam.” Inspired by India’s former president Abdul J. Kalam, “I am Kalam” is a heart-warming story about a poverty-stricken boy who befriends a well-to-do Prince. The boys’ camaraderie defies their societal pattern, but their charming age of innocence keeps from seeing the importance of wealth and class that reigns so highly in their culture. The film provides a powerful and inspirational message for the audience through this unlikely duo’s dreams than span beyond their cultural normalcy.

Set in modern day, the film begins by showing the differences amongst the two boys’ lives. The rich, shy Prince Ranvijay is seen in his elaborate mansion. His room is filled with countless toys and is immaculate. Although he was born into immense privilege, he never comes across smug or self-centered like his family. As he peers out of his window, his only way of viewing the outside world he is sheltered from, he makes a noise directed toward a boy who is about his age.
This boy is unkempt, riding through town on top of a camel delivering tea from his Uncle’s road-side restaurant. He is the young boy seen at the start of the film who was washing dishes and sleeping outside. He is commonly called Chhotu, which is a name given to a servant who does not merit an actual name.

This boy’s poor appearance seems to not affect the young prince who is amazed by the boy’s freedom from high society. This first encounter marks the beginning of the two boy’s friendship, which they try to keep secret from their disapproving elders.
Chhotu is inspired by the Indian President named Kalam that he sees on tv who pushes for education, and insists on being called Kalam instead of the demeaning Chhotu. The hopeful Kalam wishes to go to school, but his ranking in society does not allow him such education. Throughout the film, his love for knowledge and his wish for equal education make him stand out against other boys in his societal class. For instance, when the Prince shares his books with Kalam, you would think those books were laced with gold. But most memorable is the affect that the pauper has on the Prince— an unconditional friendship.

Other relationships explored as those between Kalam and his home life. He lives with his Uncle and Godfather, and his mother is seen in a different town. Kalam gains respect from his Uncle by remembering how to make his famous tea, whereas his Godfather is an excuse of an adult. His Godfather plays a “big brother” type who is always picking on the young boy. In turn, Kalam enjoys playing tricks on the gullible young adult complete with fake ghost sounds. The scenes between the two are one of the most amusing parts of the film. The Godfather’s over-the-top reactions toward the young boy are humorous considering how much more mature and wise Kalam is in retrospect.

The film reflects heavily upon the difference of classes, most importantly between the servants and those who receive the service. Once the boys’ friendship becomes public toward their family, they are constantly being torn apart for no other reason but ignorance. In their case, the young boys can look past trivial traits such as class and realize that they actually can learn a lot from each other. The film’s apparent reflection of this translates over to the adults in the film who only see one another for their rank in society as opposed to who they are as equals.

Certain framing in the film enhances such classification. The young Prince is framed between the two ropes that hold up a swing in his front yard. This type of framing is just one of the film’s examples that shows the Prince’s necessary isolation because of his status, but obviously by his friendship with Kalam, he wants something different.

The film used traditional Indian music that connects well with the narrative. Many lush colors help establish wealth and power as well. The inside of Kalam and his Godfather’s room was very drab, whereas the Prince’s room was colorful. The city where the palace is located has colorful banners and trees that line the streets, whereas Kalam’s side of town only has hints of color that are shown in the traditional Indian garb. The set design and the costume design works in congruence with the film’s contrasting protagonists and social rankings.

Beyond social aspects, the film delves into other relationship issues for the audience members seeking a romance. A former visitor to the town, Madame Lucy, returns and Kalam’s Uncle’s infatuation with her is made obvious. She supports Kalam’s love of learning and even helps the young prince with his French studies. The Uncle learns of Madame Lucy’s current marital status and turns to rage toward Kalam instead of dealing with his feelings, once again showing the older generation’s ignorance of dealing with their trivial issues.

Like Kalam’s misfortune of not being able to attend school because of his social standing, his Uncle lacks the chances with the beautiful Lucy because of her marital standing. These two parallel stories show that the characters have many bouts of wanting what they cannot have, whether it involves education or love.

The film’s story instills an emotional message onto viewers through its angelic and fresh approach of dealing with generational problems and society issues. Its’ refreshing delivery left the audience with a feeling of pride for the boys and a feeling of encouragement because of their friendship.