Three movies which spell out childhood joys like nothing else

The finest of directors have understood the importance of children in movies. Whether it be Bruno in Bicycle Thieves or Apu in Pather Panchali, children introduce a unique perspective into predominantly adult worlds. Bereft of the complexity and social conventions of grownups, the many ‘little men and women’ of this world end up giving significant life lessons through their plain, though not uncomplicated, worldview and propensity to act in a straightforward fashion.

This is somewhere based on the novelty of our formative years. They are informed by the naivete of the age, thirst for knowledge, and a quest for adventure, giving rise to emotions that are particular to childhood.

The innocent happiness of these years, based on feelings experienced for the first time, remains special. On the occasion of India’s Children’s Day, we’d look at three films that explore joys unique to childhood for different reasons.

Kids are born with an innate sense of imagination, those “little sparks of madness” which most gradually lose even before they’ve touched adulthood. Children seek to build fantasies unrestricted by any boundaries, which take them far away from the troubles of the past or worries about the future, building a more comfortable present.

This joy of free will is explored in Albert Lamorisse’s academy-award winning short The Red Balloon (1956). The movie is about young Pascal who develops a close bonding with a very special friend, a red balloon he had picked up on the street. The duo then embarks on several adventures across the urban spaces of Paris. Barring interventions from the figures of authority at his home and school, Pascal’s freedom is unfettered. Even in the former case, he is able to navigate and have his way.

The balloon comes to represent the unencumbered free will of a child’s imagination. It remains beyond the reach or understanding of adults, while also mimicking Pascal’s habits: from his irreverence for the world of grownups to his playful and mischievous nature. Unfortunately, Pascal runs into trouble with a group of ruffian kids towards the end. The red balloon ends up sacrificing itself for the sake of Pascal, and one feels as if they are witnessing the agonizing death of a child’s aspirations. However, this is followed by a subversion. The spirit of the red balloon never goes away and instead it is Pascal who is flown away from the land of adults. In its way, The Red Balloon ensures that a child’s imagination lives on.

“I never had any friends later on like the ones I had when I was twelve. Jesus, does anyone?”

The above line from Rob Reiner’s Stand by me (1986) pretty much summarises the joy of a true friend. While one develops relationships throughout their lives, there is something about childhood friendships. As one ‘matures’ we learn to develop a filter around different groups of people for our own sake. However, one does yearn for an unfiltered relationship wherein one can be truly honest with the other.

Many of us had that special friend in childhood with whom we could share our hopes and desires, guilts and secrets, fears and troubles with complete trust. Stand by me is an example of one such special friendship. The movie starts as a story about four outcasts, who seek to add meaning to their lives by hunting for the body of a missing boy in 1950s Oregon. This journey, however, ends up revealing their inner personas, unmasking the boys who act like they are men: from their troubled backgrounds to hidden aspirations.

The most special relationship in this group is between Chris, the rough-and-tough group leader who runs into trouble with the authorities, and Gordie, the talented yet meek writer who is depressed after losing his brother. They have each other’s back. Chris trusts Gordie’s talent when no one else does, encouraging him to continue writing. Gordie believes in Chris after being told how the latter was framed even after doing the right thing. They push for their friend to be more than what ‘fate’ has supposedly in store. In the end, their selfless love for each other sees them through a tricky confrontation.

One of our first instincts in childhood is to become possessive of things around us. It could be a toy, a pet or even our friends: one finds it easy to develop a close attachment with things that provide them with a sense of peace and calmness. However, as we grow old the act of giving up becomes the sign of emotional growth. It helps in nurturing relationships and is indicative of a person’s maturity.

This joy of giving is well-explored in Santosh Sivan’s Halo (1996). The film is about a girl named Sasha, who lost her mother at a young age. Lonely and depressed, she prays to God for a friend. And incidentally, she finds this joy in a puppy that magically lands in her home. She names him Halo.

Unfortunately, the dog goes missing almost as soon as he has brought happiness into her life. After that Sasha looks for him through thick and thin, braving the city weather and riots, and confronting an eccentric bunch of characters on the way.

Eventually, she does find her friend only to let him go for the betterment of a stranger. Till the very end, Halo meant everything in the world to her. But she chooses otherwise after realizing that her joy would come at the cost of giving pain to another. Sasha’s great sacrifice signifies her growth as a person. In the end, she smiles after letting go of Halo and we realize that the kind act has provided her with inner peace.

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