In this weekly column, Reel Retake, we compare the original film and its remake. Beyond highlighting the similarities, differences and measuring them on the success scale, we aim to discover the potential in the storyline that spurred the thought for a newer version and the ways in which a remake could possibly offer a different viewing experience. And if that is the case, analyse the film.
In focus this week is French original series Dix Pour Cent (Call my Agent) and its Hindi adaptation for Netflix Call My Agent: Bollywood.
What is Call My Agent?
A French comedy-drama television series that ran for four seasons from 2015 and 2020, Call My Agent gives an inside view of the workings of the film industry through talent agency professionals who shape up the careers of actors. It is set in the office of talent agency Agence Samuel Kerr (ASK) in Paris, where four agents Andrea, Mathias, Gabriel and Arlette juggle between their private and professional lives and try and deliver best for their clients in an industry which is cut-throat and has no place for slackers.
On one hand, the agents are struggling to keep their company from dissolution after the owner dies, and on the other, they try to get their actor clients the best opportunities to shape their careers. In between, the show is layered with everyday challenges one faces during their jobs, how to overcome work difficulties as they traverse situations with emotional maturity, humour, acumen and deftness.
Situations keep developing at the backdrop of ASK facing a crisis. First, the owner dies of an accident on vacation which leads to the chances that the company may have to be closed down. The four agents offer to keep the company to themselves but don’t have enough resources for the shares. Then the agency is subjected to a tax audit. Between all this, the agents have to deal with the fragile egos of the film stars they are meant to manage so that their respective shoots are not derailed.
Wherein lies the potential?
Call My Agent, through humour, gives a bird’s eye view of how the entertainment industry functions. It is a funny, quirky, heartwarming take on the world of showbiz, one that is not usually kept out of people’s eyes and scrutiny. Since the world it is traversing in itself is less-witnessed, the premise makes for a good recipe. Tempered with situational humour and emotional depth, not only does Call My Agent evoke empathy for working professionals in the entertainment industry, but also makes a humane and accessible line of work that functions mostly in the arch lights, away from any recognition or criticism.
Through the series, we see ASK’s senior agents- Andrea (Camille Cottin), Arlette (Liliane Rovere), Gabriel (Gregory Montel) and Mathias (Thibault de Montalembert)- act as managers and babysitters for their high-profile showbiz clients. They’re on call at all hours to keep actors, producers and directors happy, and to ensure that they work in the best conditions possible to deliver the best possible results. Sometimes, they find themselves in bizarre situations, like a family conflict or an on-set tantrum, which makes us wonder why they are going along with it in the first place. But as they say, the show must go on and as star-makers, the agents have to be there for their clients at all possible times. Certainly the job is not easy in the first place and to deal with personal conflicts on top of that makes us sympathise with the agents.
However, the most creative and even the best portion of the storyline is when real actors appear as an over-exaggerated versions of themselves. In this, the clumsy equation between art and fame is always running parallel to the premise even as we see the stakes tilting between the masters (the star) and the servant (the agent). The show has relevant themes of showbiz and is universally adaptable even as it has appealing humour and satire.
What’s with the Bollywood version of Call My Agent?
Call My Agent: Bollywood is an Indian twist that does attempt quirky writing, but lets us down. The biggest mistake it makes is going for a literal translation of its counterpart without even attempting to look through the cultural lens so that it turns out to be an enjoyable adaptation. Furthermore, the series is marred with stereotypes. In attempting to bring on board four agents from different walks of life, the makers simply choose to bracket them into various religions. The biggest example is the character of Amal (Ahana Kumra), who by virtue of her muslim background, continues to use words like ‘mohtarma’, ‘janaab’ trying as if to remind us of her social roots, which has no implications on her work life.
There are production woes as well. Saad Ali’s direction lacks vision and doesn’t inspire. There is a lack of a visual rhythm that does not do well to the dialogue and situations at play. Steadicam and camera slides are two most often used camera techniques but the jump from one to another is not seamless. Adding to the visual noise is the setting of the ART agency, which is the world of Call My Agent: Bollywood. There are bright and textured walls as if the office space is really trying to live up to its name ‘ART’. What simply happens is that it becomes too one-tone and flat and contrasting emotions do not come out well enough. For a place that functions as a forefront for the ‘jungle’ that is Bollywood, the ART agency appears too polished. Even the costumes and styling of every character within the agency is too fashionable and only stands out because it has to, not because there is a need for it. Their tacky looks make them appear caricature-like.
The self-aware celebrity cameos, which are the lifeline in the original show, are bland here and not well written in the sense they don’t hit the right humorous tone. Moreover, they do not do justice to the world of showbiz the series reflects. All in all, the remake is a very half-hearted attempt at making something meaningful.
Success meter
Dix Pour Cent is a funny and original look at a world hitherto unseen. It’s success spawned various remakes, most notably a British version, which does justice to the original’s writing and show treatment. It is still shooting. The Bollywood version, however, has not been able to live up to the great reception the French show received. The wit seems totally lost in translation and instead of pushing the boundaries with a concept that could offer a deprecating look at the industry workings, it misses the mark by a mile.
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