Review of Slumdog Millionaire (2008) by Matt W — 16 May 2016

Updated style and tenor don't really do much to save Slumdog in the end. Boyle's emphasis on the colors and sounds of Mumbai, use of frantic camera work, and pop music forays work well at first in conveying the energy of the slums, and in depicting a believable childhood gaze. However, the sugar rush eventually subsides and we're then forced to suffer through some Hollywood pitfalls that are primarily the fault of the script. The uber updated style and tenor of Slumdog also poses a problem when considering the social critique involved. Should the slums of Mumbai look like as if the characters are all about to slide off the screen because of it being too slick? Giving it the old Hollywood gloss sure will please the masses, but I'm sure if the citizens of Mumbai were to watch Slumdog they may have a problem with their homes being made to look like a centerfold shot of a magazine. In no way did I ever get the feeling of true filth and grit within these slums. Going back to the pitfalls. To be honest, I had a real problem with the use Who Wants to Be a Millionaire all together. The strength of this film lies within the sequences that take place within the slums. Although the style may pose problems at times, there are some genuine moments of social insight and clarity. One such instance involves the two brothers first seeing the palace and the camera taking us on a tour via swoops, close-ups, and pans to depict the wonder and excitement of a child being enveloped in an upper-class social environment. These kind of subtlety's are sadly few and far between. I guess the only way an American audience can relate to Mumbai is through a game show! and some crappy love story.

When the film transitions into present day it suffers from cliched characters,(One note villains and dirty cops) bad dialogue, and an underdeveloped love interest. In the end, nothing feels earned. The moments on the game show lack suspense due to the fact that the audience is given the knowledge of our protagonist's accomplishments when the film first begins. Boyle knows this, and by the end, tries to make up for it by creating forced suspense involving the smarmy game show host feeding Jamal a wrong answer. Gee, maybe Jamal won't succeed after all! Oh Boyle, what a trickster.The film is trying to establish a destiny/meant-to-be type of story telling, and I get that, but the film strings the audience along the entire time with no sense of anticipation, and expects us to be rewarded by two individuals finally sharing a kiss that isn't earned. "The money doesn't matter." All that matters is that he finally found that girl who he kind of knows, and if he kisses her scar it may make it seem as if they actually share a deep love. As the credits roll, there is the sweet sound of some kind of Bollywood dance igniting the screen seconds after the death of a MAJOR character. "The dirty hoodlum did his good deed now light his ass up! It will be a great way to tack on some last second sympathy." Talk about one of the most overrated films in some time.