Filmed in 1938, less than a decade before Indian independence, Delhi has a curious tale to tell. ‘Delhi’, the viewer is informed, ‘is the cockpit of the Indian Empire’, it provides the ‘gateway to the riches of the south’. The opening sections of the film focus upon those who have tried and failed to establish a lasting power in the capital. ‘At Delhi’, the commentator states, ‘successive cities have been built by conquering invaders – each has fallen into disuse and decay’. The camerawork focuses on the ‘impressive ruins’ of these earlier invaders. Although the film also depicts the enduring architecture of Muslim rulers, such as Akbar and Shahjahan, it is stressed that their power has been superseded. Legend has it that it will be the ninth city of Delhi that ‘will endure and will rule forever’. Shahjahan had built the eighth.
Ultimately the problem with The Bubble is that it plays everything for laughs to get around the audience’s defenses. But it comes off like a privileged white male thinking that ridiculing everyone else equally is the road to equality. And it’s not. And it's definitely not funny to pretend that it is.
If a movie about a strange and crazy day is commercially successful, why not recycle it and double the kookiness quotient? That seems to be the logic behind this followup to Freaky Friday.
Despite being an over-talked-about piece of media, 'Euphoria' has some interesting articles about it with personal angles that oppose the average tendency to be generic.
It doesn’t offer an absolute answer for the dialectical ethical questions that emerged in search of justice but portrays the characters as living people beyond the identities of victims.
