Highway celebrates the concept of 'discovering life when there is nothing'. It is minimalistic and it reveals more as the ignored aspects of life are brought to the foreground.
The films of Imtiaz Alia often portray characters who discover or reveal their inner hidden self. Heer and Jordan in Rockstar went together to watch Junglee Jawani and drink cheap beer. In Highway, Alia says that she should be "tensed" and doesn't understand what is happening to her. The confused remark announces her departure from the make-believe world where mechanical responses are the norms. The energetic folk songs pave the way for a new journey by expressing a pristine 'joie de vivre' while the humming flows like a breeze and offers an innocent child-like dimension to it. Randeep is also on a voyage of discovery but it is more rustic and less explicit than that of Alia. For instance, the use of the gun shows the angry kidnapper but it also demonstrates a sense of vulnerability. Alia and Randeep have different personalities and they have different aims. However, there is an unexplored essence in their life and that realisation makes both of them complimentary to each other.
There is a humorous scene which highlights the paradox in the relationship of the two characters. Randeep is seen embracing Alia while sleeping. He suddenly wakes up to see whether she has not fled and then smiles. In another scene, Alia wonders if she has gone mad as she could have escaped. It's humorous as Randeep has kidnapped Alia but the insecurity shifts to a more romantic level. It's an interesting love story as it develops spontaneously and there is no preconceived notions or artificiality as the characters have already shown their true colours. To condense the mystery, here is a quote of Anaïs Nin which could define the story of the two lovers: "It is a sign of great inner insecurity to be hostile to the unfamiliar." Will the thematic of the movie relate to insecurity? Alia was kidnapped from the world where people try to feel secure by feeding on materialism. Randeep is insecure as a kidnapper and then the insecurity shifts to that of a lover. Alia is again insecure as the journey on the Highway is transient and a parallel can be brought between it and the universe of Peter Pan. The bruising of Alia and the beard of Randeep dispel the mirth. A lot of questions arise ... Should the characters shelter in a formal relationship or should they respect the ephemeral aspect of the journey as well as that of the relationships which it contains?
In a sequence, Alia is joyfully playing with the flowing water. The element of water has been present in many Indian movies and A.R. Rahman himself has composed songs such as 'Barso Re' and 'Nadhiye Nadhiye' on it. The spontaneity and the joy in the scene highlights Alia's journey of discovery. If contextualised over time, Highway appears to deal with the psychological 'malaise' in an era where technology is playing an intrusive role. There is no need to be alarmist as existentialism was a much debated topic even in 1900. After the end of the age of Romanticism, Thomas Hardy contemplated on the hubbub of the Industrial Revolution in his poems such as 'The Darkling Thrush'. Highway is a similar endeavour which inspires us to live life!
The phrase "Dhoop Pani Pe" is an interesting metaphor. 'Dhoop' is an element of destruction and it meets with a rather benign element. Was the kidnapping important for the characters to discover their inner self? Interestingly, 'Pani' and 'Dhoop' are free-flowing and the synthesis symbolises change which can be both serendipitous and never-ending. In fact, the last scene of the trailer appears to be a visual metaphor. Both of the characters are on top of a mountain and they appear to be in a contemplative mood. Have they reached a higher purpose in life and have they become one in that journey? In certain scenes, the clothing of Alia appear to be incongruent with the environment and the prevailing mood. For instance, Alia wears a purple 'dupatta' and performs a cliche gesture of a typical romantic heroine. The incongruency and the element of surprise lightens the dark and sinister core of the plot. In another scene, she laughs at the pseudo-villains by saying: "Teri shakal dekh ke, koi ghanta serious ho sakta hai." They also have to discover their truer selves and perhaps Alia will help them in another synthesis of 'Dhoop Pani Pe'.
The cinematography does not give a picturesque dimension to the environment even if it is that factor which propels the emotional growth of the characters. In fact, it offers a genuine introversion through the words and the actions of the characters. The environment is not an external factor but it is in symbiosis with them. In one scene, a dichotomy is brought as Randeep is driving the lorry while Alia is relaxfully chewing something and walking. On a symbolic level, it is a bit ironic as Randeep is being represented as part of the mechanical world from which Alia has escaped. However, Randeep and Alia are moving at the same pace and a sense of equilibrium is being evoked as the characters have different sensibilities but the routes of discovery are similar for both of them. Anil Mehta brings a cinematography where the story of Highway sprouts through naturalism and spontaneity.
Highway is releasing on February 21 and the hypothetical post is based on the trailer. When I started writing the rough ideas for it, the songs were not yet released. Highway is a journey for the audience just like it is a journey for the characters and the persons behind it. It is an abstract movie and its language is simple and the philosophical dimension given by the post is just part of some musings. For now, let us enjoy the music and wait for its release!
