A Revelation of Danny Boyle’s Worldview on Slumdog Millionaire
A Thesis
Submitted to Letters and Humanities Faculty
in Partial Fulfillment of the Requirement for
the Degree of Strata One
HELMI FAHMI
No. 105026000976
ENGLISH LETTERS DEPARTMENT
LETTERS AND HUMANITIES FACULTY
STATE ISLAMIC UNIVERSITY “SYARIF HIDAYATULLAH”
JAKARTA
ABSTRACT
Helmi Fahmi, A Revelation of Danny Boyel’s Worldview on Slumdog Millionaire. Thesis. Jakarta: English Letters Department, Letters and Humanities Faculty, State Islamic University Syarif Hidayatullah Jakarta, November 2009.
The research is aimed at finding out Boyle’s worldview in the main character of Slumdog Millionaire. The writer uses qualitative descriptive analysis as the method to analyze Slumdog Millionaire and its external elements, which reflected social life in India through main character from the world view of director. By using genetic structuralism theory of Lucien Goldmann, the writer can reveal Boyle’s worldview. The data obtained through watching the film, reading the script of the film and making some note from it.
In this analysis, the writer find out the final result that shows how Boyle’s worldview appears in Jamal Malik as the main character in Slumdog Millionaire. It appears through some points that is used as the research orientation. Jamal who came from lower caste was treated unequally by the people who came from higher caste. Through following the quiz Who Wants to be A Millionaire, he hoped it would be the way for him to escape from his poverty.
APPROVEMENT
A Revelation of Danny Boyle’s Worldview on Slumdog Millionaire
A Thesis
Submitted to Letters and Humanities Faculty In Partial Fulfillment of the Requirements for
The Degree of Strata One
HELMI FAHMI 10502600976
Approved by:
INAYATUL CHUSNA, M.Hum NIP. 150 331 233
ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY
STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA
LEGALIZATION
The thesis entitled ” A Revelation of Danny Boyle’s Worldview on Slumdog Millionaire” has been defined before the Letters and Humanities Faculty’s Examination Committee on November 20, 2006. The thesis has already been accepted as a partial fulfillment of the requirement for the degree of Strata One.
Jakarta, November 20, 2009
Examination Committee
Chair Person, Secretary,
Dr. Muhammad farhan, M.Pd Drs. Asep Saefudin, M.Pd
NIP. 150299480 NIP. 150261905
Members:
Dr. Muhammad farhan, M.Pd Elve Oktaviani, M.Hum NIP.
DECLARATION
I hereby declare that this submission is my own work and that, to the best of my
knowledge and belief, it contains no material previously published or written by another
person nor material which to a substantial extend has been accepted for the award of any
other degree or diploma of the university or other institute of higher learning, except
where due acknowledgment has been made in the text.
Jakarta, November 20, 2009
ACKNOWLEDGMENT
First of all, the writer would like to give the most appreciation and many thanks to
Allah SWT, the lord of the universe and the thereafter. He believes that he can not do
anything without his mercy. Then, peace and blessing is upon to our beloved prophet
Muhammad SAW and all of his followers.
The writer had been supported by a number of people whose contribution in
assorted ways to the research and the making of the thesis deserved special mention. It is
a pleasure to convey the writer’s gratitude to them all in his humble acknowledgment.
The writer wishes to deliver his gratitude to the following persons:
1. Dr. H. Abdul Chair, the Dean of Faculty of Letters and Humanities State Islamic
University Syarif Hidayatullah Jakarta.
2. Dr. M. Farkhan, M.Pd, the Head of English Letters Department.
3. Drs. Asep Saefuddin, M. Pd, the secretary of English Letters Department.
4. Mrs. Inayatul Chusna, M.Hum, the thesis adviser. The writer gratefully
acknowledge for her supervision, and guidance from the very early stage of this
research as well as giving her extraordinary experiences throughout the work. He
thanks for all of her advices that have been delivered to him. May Allah SWT
bless her and her family.
5. The writer would like to express his gratitude to his family; his mother, Asminah,
and his father, Jamhuri, are the parents who sincerely raised him with their caring
in law, Teh Lusi, thank you so much for the financial support. His sister, Heni,
and his brother in law, Vaka, who supported him in doing this paper. In addition
to my younger sister, Endah, thanks for caring sibling and my lovely little angels;
Feeza and Naya thanks for being good nieces.
6. All his friends at English Letters Department especially My classmate and the
people who I used to play a game: Wahyu, Amar, Ardhi, Rohim, Mamduh,
Mulya, Galih, Ali and Jani.
7. All his friends at CCNR and ROD; Hafiz, Supray, Tri, Herry, Agung, Ardi,
Joseph, Ade, Tier, and Ferdi, thanks for the adventure. The writer also would like
to thank to Sari for giving knowledge in making the thesis.
Last but not least, the writer would like to thank to everybody who was important
to the successful realization of the thesis, as well as expressing his apology that he could
not mention personally one by one. Finally, may Allah gives his blesses to us. Amien
Jakarta, November 20, 2009
TABLE OF CONTENTS
ABSTRACT………... i
APPROVEMENT……….. ii
LEGALIZATION….. ………... iii
DECLARATION………... iv
ACKNOWLEDGMENT………..………..v
TABLE OF CONTENTS…..………. vii
CHAPTER I. INTRODUCTION………... 1
A. Background of the Study ……….. 1
B.
Focus of the Study………. 4C.
Research Question………. 4D.
Objective of the Research……….. 4E.
Significance of the Research……….. 5F.
Research Methodology……….. 51. Method of the Research………. 5
2. Data Analysis………... 5
3. Research Instruments………. 5
4.Analysis Unit……….. 6
CHAPTER II. THEORETICAL FRAMEWORK………. 7
A. Genetic Structuralism………..….. 7
1. Human Facts……… 8
2. Collective Subject……… 9
3. Worldview………10
B. Intrinsic Elements……… 12
2. Varieties of Character……… 14
3. Description of Characterization……… 15
C. Extrinsic Elements ………..17
1. Socio-historical Background……….. 17
2. The Biography of Danny Boyle………. 19
CHAPTER III. RESEARCH FINDINGS……….. 22
A. Data Description of the Main Character……… 22
B. Character Analysis………. 25
C. Extrinsic Analysis……….. 32
1. Socio-historical Analysis………... 32
2. Biographical Analysis……… 34
D. Worldview……….. 36
CHAPTER IV CONCLUSION AND SUGGESTION………. 42
A. Conclusion……….. 42
B. Suggestion………... 44
CHAPTER I
INTRODUCTION
A. Background of the study
Literature, as one kind of art, has more advanced in the meaning. Literature
,which is used to be defined by the text that is only words, can be described as something
that happened in our life either text or not. According to Melani Budianta, the meaning of
the text can be included into two. First, the text is something has been written in books or
any value as works of art. Second, text is expression and phenomena that happen in
human’s life which can be read as the text, by paying attention to the elements, such as:
discursive, narrative and incident1.
It seems clear, that literary forms, such as: novel, poetry, drama, short story and
others, use the text to convey its aesthetic to the reader. Budianta breakthrough this
tradition. In her opinion, everything that happen in human’s life, expression and
phenomena, can be read as the text. As long as there are elements, such as: discursive,
narrative, and incident.
Through the explanation above, the writer may conclude that something which is
not only in text but also in expression and phenomena that happen in human’s life can be
considered as literature. So that, film , narrative form, concerns with story telling similar
to literature because it is also the mimesis or the reflection of the society which is
presented in motion picture.
Moreover, film , an audio visual communication, is part of media literacy.
According to Rubin as quoted by Baran “ media literacy, then, is about understanding the
1
sources and technologies of communication, the codes that are used, the message that are
produced, and the selection, interpretation, and impact of those messages”.2 Its medium,
which is made by images and sound, has made film as an art form which can be so easily
transferred by people. Since the film is commonly associated with the telling of a story
and since the talking picture depends largely on human speech that is similar to theatrical
dialogue, and since, furthermore, films are presented in an auditorium that resembles a
playhouse. It is natural enough that film and theatre should be regarded as similar modes
of expression.3
Since film had been found in the early 20th century and then developed very fast
until today, it amazed many people with its aesthetic. People are being hypnotized to
watch the film, they would like to spend their time and money just for watching the film
in the cinema, or they also can enjoy it at home through DVD or other material that can
be used to watch the film. They often watch the film to discover themselves in their
world to assess their special roles in their life, to learn the meaning of the personal
struggles in which they are engaged.
There are interrelationship between film and social life. In one side to give impact
the society, in another side to reflect social life. Films are cultural artifacts created by
specific cultures, which reflect those cultures, and, in turn, affect them4. Having been
watched film, people often imitate or identify the characters in the film. They often
imitate how the actor wear clothes, hair fashion and many others. Movies or films have
served as an initiator of certain styles of cultural expression such as clothes, hair fashion
2
Stanley J. Baran. Introduction to mass communication ( New York: McGraw Hill. 2004), p. 45. 3
John Howard Lawson, Film the creative process ( New York: Merican Book-Stratford Press, Inc, 1964), p. 175.
4
and even manners of speech; but they have also served as conduit for the spreading of
less well-known ideas or forms of expression.5
One of the films which reflected social life was Slumdog Millionaire. It was a film about social life in India that was reflected through the main characters. The story of
Jamal Malik was started when he followed a quiz "Who Wants To Be A Millionaire”
Indian version. When the show broke for the night, police arrested him on suspicion of
cheating; how could a street kid know so much? Desperate to prove his innocence, Jamal
told the story of his life in the slum where he and his brother grow up, their adventures
together on the road vicious encounters with local gangs, and Latika, the girl he loved
and lost. Each chapter of his story revealed the key to the answer to one of the game
show's questions. Each chapter of Jamal's increasingly layered story revealed where he
had learned the answers to the show's seemingly impossible quizzes.
This film explicitly depicted about the life of lower class in India through the
main character, Jamal. By analyzing the main character, it will be revealed how the world
view of the director depicts social life in India. Genetic structuralism theory, as theory
that connects intrinsic and extrinsic elements in the text, is the most appropriate theory to
analyze this movie, in order to find out the world view of the director.
B. Focus of the Study
The research is focused on how the main character reflected social life in India in
the film Slumdog Millionaire directed by Danny Boyle through genetic structuralism.
5
C. Research Question
According to the Background of the Study, the writer formulates the statement of the
questions:
1. How is the main character, Jamal, described in the film Slumdog Millionaire?
2. How is the world view of the director?
D. Objective of the Research
Based on the statements of the problems above, the writer has several objective of the
research as following:
1. To know how the main character, Jamal, described in the film Slumdog Millionaire
2. To know how the world view of the director
E. Significance of the research
The writer hopes this research would beneficial in terms of it is information and
knowledge. It is also hoped that the result of this research can be used for English
Department, the Faculty of Letters and Humanities, State Islamic University Syarif
Hidayatullah, Jakarta, as one of the references in studying character in the film and its
social life.
F. Research Methodology
The writer uses qualitative method in doing this research, this method describes
and analyzes film Slumdog Millionaire and its external elements, which reflected social
life in India through main character from the world view of director.
2. Data Analysis
In this research, the writer used dialectic analytic technique based on critical study
and deep analysis to the qualitative data that was collected from variety of sources based
on the study of historical literature that was used internal and external structure of literary
work.
3. Research Instruments
The writer uses himself as a major instrument to get qualitative data from the
dialogues of the film, about social life in India that is reflected in the film using some
ways, such as: reads the books about genetic structuralism and correlates the dialog of the
film with the theory of genetic structuralism.
4. Analysis Unit
Analysis unit that is used in this research is DVD Film Slumdog Millionaire
CHAPTER II
THEORETICAL FRAMEWORK
A. Genetic Structuralism
The intellectual life of Europe during the 1960s was dominated by structuralism.
Structuralism examines the underlying structures in a text, the linguistic units in a text
and how the author conveys meaning through any structures.6 Structuralists consider that
individual actions and utterances have no meaning apart from the signifying systems
which generate them. However, Structuralists tend to regard these underlying structures
as timeless and self regulating systems.7
Lucien Goldmann, a Romanian theorist based in France, considers structuralism
theory is not relevant to analyze literature works. He rejects the idea that texts are
creations of individual genius and argues that they are based upon ‘trans-individual
mental structures’ belong to particular groups (classes).8
The immediate philosophical precursors of Goldmann's structuralist method are
the Marxism of the early George Lukacs and tile genetic psychology and epistemology of
Jean Piaget. However, the intellectual roots of the model extend deep into 19th century
German idealism, especially that of Kant and Hegel. In fact, the methodological and
epistemological presuppositions of genetic structuralism can be explicated most clearly in
terms of Lukacs' and Goldmann's revision of Hegel's interrelated notions of totality and
6
http://www.wikipedia.org/wiki/Literary_theory (accessed on February 27,2009) 7
Peter Widdowson and Peter Brooker. A reader’s guide to contemporary literary theory, 4th edition .( Edinburgh: Prentice Hall, 1997) p. 105.
identity. By synthesizing the Marxism of George Lukacs and the Structuralism of Jean
Piaget, he called his theory Genetic Structuralism.
Through the explanation above that Genetic Structuralism is criticism that using
intrinsic elements and extrinsic elements. So that, Genetic Structuralism is one of the
Sociological criticisms. And yet, there are many differences with any others Sociological
approach. Firstly, genetic structuralism still holds in the value of structure in literary
works. Secondly, an author, as an individual, tries to emerge world view to his or her
collective subject.9
There are three foundations of Genetic Structuralism:
1. Human Facts
Human facts is the way human to express his or her life verbally or physically that
may be understood from scientific study10. Hypothesis that all human behavior is an
attempt to give a meaningful response to a particular situation and tends, therefore, to
create a balance between the subject of action and the object on which it bears, the
environment. Human behavior transforms the world and in which this transformation
renders the old equilibrium inadequate and engenders the tendency to a new equilibrium
that will in turn be superseded11.
Thus, human realities are presented as two-sided processes: destructuration of old
structurations and structuration of new totalities capable of creating equilibria capable of
satisfying the new demands of the social groups that are elaborating them12. Human facts,
whether economic, social, political, or cultural, involves an effort to explain those
9
Jabrohim. Metodologi Penelitian Sastra. ( Yogyakarta: Hanindita Graha Widya, 2002) p. 59 10
Faruk. Pengantar Sosiologi Sastra. ( yogyakarta: Pustaka Pelajar, 1994) p. 12
11
Trans. Alan Sheridan. “Lucienn Goldmann” the Genetic Structuralist Method in the History of Literature. (2000), April 10, 2009. p. 156. www.rlwclarke.net
processes by uncovering both the equilibria which they are destroying and those towards
which they are moving.
2. Collective Subject
Complexity of the psychology of individuals derives from the fact that each of
them belongs to a fairly large number of different groups (familial, occupational,
national, friends and acquaintances, social classes, etc.) and that each of these groups acts
upon his consciousness thus helping to form a unique, complex, and relatively incoherent
structure, whereas conversely, it can be said large number of individuals belonging to one
and the same social group, the action of other different social groups to which each of
them belongs and psychological elements due to this membership cancel themselves out,
and they have confronted with a much simpler, more coherent structure13.
Goldmann does not make an issue of the discoveries of Freud: individual psychic
life certainly has components of the libido, and a libidinal dimension is present in every
individual human behavior. However, the meaning and origination of historical acts, the
control over nature, and the creation of culture can only be explained on the basis of a
collective, or rather trans-individual subject. This in turn should not be confused with
"collective subject" (a collective consciousness that would situate itself outside of or
beside individual consciousness); rather, it designates human groups, collectivities in
which human beings think and act together14.
13
ibid
14
Suzanne Vromen. “Theory and methods -- The Wager of Lucien Goldmann: Tragedy, Dialectics and a Hidden God by Mitchell Cohen”, Contemporary Sociology. Vol. 24. April 10, 2009, p. 417.
This dialectical conception of the historical subject is as much opposed to
individualist visions of the world as it is to those which, like structuralism, eliminate the
subject from theory.
3. World View
Goldmann Summarizes there is homology between structure of literary work and
structure of society. Because both of these structures are products of the same of
structure activity. However, the relationship is not direct relation. Due to an author as an
element of structure of literary work has total freedom to the reality of the structure of the
society, this relation is called worldview. According to Lucien Goldmann as quoted by
Elizabeth and Tom Burns.
If a creative worker can create significant, coherent and unified world in his work, it is because his starting point is this collective working out of rough categories and of the connection between. What he does is to take them much farther than the other members of the group have, but only within the world he has created, I must add also that this tendency to transcendence-which is part of human action, and which has been the subject of classical philosophy15.
Through the explanation above, The great writer is precisely the exceptional
individual who succeeds in creating a given domain, that of the literary work, an
imaginary, coherent, or almost strictly coherent world, whose structure corresponds to
that towards which the whole of the group is tending; as for the work, it is, in relation to
other works, more or less important as its structure moves away from or close to rigorous
coherence.
A great writer is able to crystallize worldview in a lucid and coherent form. This
is why genetic structuralism theory more effective in dealing with the masterpieces of
world literature. Such work represent the expression of world views, that is to say, slices
15
of imaginary or conceptual reality, structured in such a way that, without it being
necessary to complete their structure in essence, one can develop them into overall
worlds.
Worldview is an abstraction; it will reach the concrete shape in literary work.
Worldview is no a fact, it has no objective existence; it is only as theoretical expression
of condition and real importance of certain social literature. Goldmann calls this
worldview as a shape of collective group’s consciousness that unite single individual to
be a group that has collective identity.
Worldview is an appropriate term for the complex of mind and aspiration. World
views are perpetually being constructed and dissolved by social groups, as they adjust
their mental image of the world in response to the changing reality before them16. So that,
it can be said that the meaning of worldview as a united of aspiration, mind that are
developed in the collective subject that has been created social reflection in the certain
community.
Genetic structuralism will find the meaning of literary work by investigating the
internal and external structure, and seeing the literary work as implication of the real
social life. For more details, it can be seen from the picture below.
Intrinsic elements
Extrinsic elements 16
Peter Widdowson and Peter Brooker. (1997), loc. cit. Collective subject
B. Intrinsic Elements
Intrinsic Elements are elements that build the structure of literature without
analyzing extrinsic elements that creates literature works. There are 5 elements in
intrinsic elements: plot, theme, character, setting and point of view.
The presence of the characters in a story is crucial, it is one of the elements which
can not be eliminated from a fiction work literature, even in the film. Film speaks in a
language of the senses. Its flowing and sparkling stream of images, its compelling and
natural rhythms , and its pictorial style are all part of this non verbal language. So it
follows naturally that the aesthetics quality and dramatic power of the images are
extremely important to the overall quality of a film17.
Through the explanation above, the writer may conclude that a film can not be
separated from the images. Because Like the drama, film communicate visually and
verbally. It can be said visual is through action and gestures of the characters, and it can
be said verbal is through dialogs of the characters. To make it easier in analyzing
Slumdog Millionaire, the writer will only analyze the main character through the dialog that is written on the script.
1. Characters
Characters are the fictional people who are part of the action of a literary work18.
To stay interested in a film, a novel, a short story, or a play, the viewers/the readers must
find the characters interesting some way. Some characters fascinate people by being very
17
Joseph M. Boggs and Dennis W. Petrie. The Art of Watching Films (California: Mayfield Publishing Company, 2000) p. 111
18
different-by living in a distant place or a time long past or by being wildly glamorous or
consummately evil. Sometimes characters may capture people minds and hearts whom
they can relate to. The characters may face circumstances similar to people’s act in ways
that make their feel as though they are looking in the mirror.
2. Varieties of Character
Joseph M Boggs and Dennis W. Petrie divide the types of characters as follows:
a. Stock Characters and Stereotypes
Stock characters are minor characters whose actions are completely predictable or
typical of their job or profession. They are in the film simply because the situation
demands their presence. Stereotypes, however, are characters of some what greater
importance to the film. They fit into preconceived patterns of behavior common to or
representative of a large number of people, at least a large number of fictional people.19
b. Static Versus Developing Characters
Static characters remains essentially the same throughout the film, the action does
not have an important effect on their lives (as might generally be the case with the hero of
an action/adventure film). Or they are insensitive to the meaning of the action and thus
are not capable of growth or change. Developing characters are deeply affected by the
action of the plot internal, external, or both) and undergo some important change in
personality, attitude, or outlook on life as a result of the action of the story. The change
they undergo is an important, permanent one, not just a whimsical shift in attitude that
19
will change back again tomorrow. The character will somehow never be the same person
he or she was when the action of the film began.20
c. Flat Versus Round Characters
Flat characters are two-dimensional, predictable characters who lack the
complexity and unique qualities associated with psychological depth. They often tend to
be representative characters types rather than real flesh-and-blood human being. Unique,
individualistic characters who have some degree of complexity and ambiguity and who
cannot easily be categorized are called round characters or
three-dimensional-characters.21
3. Description of Characterization
As explanation above that a character is a person in literary work, meanwhile
characterization is the way in which a character is created. Characters are all the products
of characterization, that is to say, they have been made in a particular way. It can be said
that characterization is a method and character is a product of the method. It can not be
denied in analyzing a character in a story, characterization is the essential part of
character, because it is how the author describes and develops the disposition of a
character in the story. There are six methods to understand the characterization:
a. Characterization Through Appearance.
20Ibid
. p. 59. 21Ibid
A director usually gives the first impression to the characters through their
appearance. It can be revealed the character either good or bad, poor or rich protagonist
and antagonist and others, by looking at the characters’ appearance.
b. Characterization Through Dialogue.
Character in a fictional film naturally reveal a great deal about themselves by
what they said, but a great deal is also revealed by how they say it, their true thoughts,
attitudes, and emotions can be revealed in subtle ways through word choice and through
the stress pitch, and pause patterns of their speech. Actors’ use of grammar, sentence
structure, vocabulary, and particular dialects reveal a great deal about their characters’
social and economic level, educational background and mental process.
c. Characterization Through External Action.
Although appearance is an important measure of a character’s personality,
appearances are often misleading. Perhaps the best reflecting of characters are person’s
actions. It must be assumed of course, that real characters are more than just instruments
of the plot, that they do what they do for a purpose, out of motive that are consistent with
their personality. Thus, there should be a relationship between a character and his or her
actions; the action should grow naturally out of the character’s personality.
d. Characterization Through Internal Action.
Inner action occurs within characters’ minds and emotions and consists of secret,
unspoken thoughts, day dreams, aspirations, memories, fears, and fantasies. People’s
as any real achievement, and their fears and in securities can be more terrible to them
than any real catastrophic failure.
e. Characterization Through Reactions of Other Characters.
The way other characters view a person often serves as an excellent means of
characterization. Sometimes a great deal of information about a character is already
provided through such means before the character first appear on the screen.
f. Characterization Through Choice of Name
One important method of characterization is the use of names possessing
appropriate qualities of sound, meaning or connotation, this technique is known as name
typing.
C. Extrinsic Elements
1. Socio-historical background
The economy of India is the twelfth largest economy in the world by market
exchange ratesand the fourth largest by purchasing power parity basis. India was under
social democratic based policies from 1947 to 199122. The economy was characterized by
extensive regulation, protectionism, and public ownership, leading to pervasive
corruption and slow growth. Since 1991, continuing economic liberalization has moved
the economy towards a market-based system. A revival of economic reforms and better
economic policy in 2000s accelerated India's economic growth rate.
India's economic history can be broadly divided into three eras, beginning with
the advent of British colonization started the colonial period in the 17th century, which
22
ended with independence in 1947. The second period stretches from independence in
1947 until 1991 and the third period stretches from 1991 until now23.
The economic policies of the British effectively bankrupted India's large
handicrafts industry and caused a massive drain of India's resources. Indian Nationalists
employed the successful Swadeshi movement in the year 1906, as strategy to diminish
British economic superiority by boycotting British products and the reviving the market
for domestic made products and production techniques24.
After India got its independence in the year 1947, India inherited an economy that
was one of the poorest in the developing world, with industrial development stalled,
agriculture unable to feed a rapidly growing population, India had one of the world's
lowest life expectancies, and low rates for literacy. This is because the government
attempted to close the Indian economy to the outside world. India also operated a system
of central planning for the economy, in which firms required licenses to invest and to
develop.
In the year 1991, Prime Minister Narasimha Rao along with his finance minister
Manmohan Singh initiated the economic liberalization of 1991. The reforms did away
with investment, industrial and import licensing and ended many public monopolies,
allowing automatic approval of foreign direct investment in many sectors
Despite robust economic growth, India continues to face many major problems.
The recent economic development has widened the economic inequality across the
country. Despite sustained high economic growth rate, there were many people lived in
23Ibid.
24
poverty. It is because economic liberalization creates the gap between rich and poor are
farther than before. Moreover, there is a caste system that does not give permission to
someone who come from lower caste to get higher caste. The government of India tried
to renew regulation about caste system to mobilize Indian society through the constitution
in the year 195025. However, caste system had already rooted in Indian society. It can be
seen from the fact that the villagers still persist this tradition, and yet caste system almost
vanish in the city.
2. The Biography of Danny Boyle
Boyle was Born on Oct. 20, 1956 in working-class Manchester, England, he was
raised by his working-class, Irish Catholic parents who immigrated to England from
County Galway, Ireland. Despite their blue collar background, his parents encouraged the
young Boyle to indulge in his imagination, which he did through watching films26.
Meanwhile, until the age of 13, Boyle believed that he would become a priest, but
a local clergyman convinced his parents to make him wait until was he was 18 for a
decision. By the time he reached that age, Boyle had moved on to wanting to direct. After
completing secondary school at Thornleigh Salesian College, Boyle attend the University
of Wales, where he studied English and eventually left without his degree to direct at the
Joint Stock Theatre Company, a politically-themed company known in Britain for being
controversial as well as for producing cutting-edge plays27.
He was known as a director who adapted the film from the novel, in the year
1996, he directed Trainspotting, which adapted from the novel by Irvine Welsh, a tragic
comic look at the drug infested underworld of contemporary Scotland. Boyle established
25
Tony S. Rachmadie, Negara dan Bangsa edisi 7 jilid 2. ( Jakarta: Grolier International, 2003) p.113 26
a unique visual style that matched a hard to define film about a group of heroin addicts in
an economically depressed Edinburgh.
In the year 2000, Boyle directed The Beach, the adaptation of Alex Garland’s novel, that described about the exploits of an American traveler in Thailand looking for a
secret island inhabited by marijuana farmers. And in the year 2008, once again Boyle
directed Slumdog Millionaire, a film that was adapted from the novel Q & A that was written by Vikas Swarup.
Even though the novel talked about the social life in India, Boyle succeeded in
adapting this novel to the film. As a British, he became the outsider in seeing India,
meanwhile, as an Irish who inherited blood from his parents, he tried to become an
insider in seeing India. It can not be denied that between Ireland and India had been
colonized by Britain. Irish nationalism contested British/ English cultural hegemony in
the nineteenth century just as much as Indian nationalism was later to contest the
dominance of those same forces in India28.
In addition, the condition between them are not so much difference after got their
independence. In Ireland it can be found the riot between Catholic and Protestant were
commonly happened in there. Boyle’s childhood ever got this bitter experience so that
was why he believed to become a priest when he was teenager. This condition is similar
to India, the riot between Moslems and Hindus is often happened in there. In the
consequences of that, Boyle was the right man for directing this film because India is
likely to be another Ireland.
28
CHAPTER III
RESEARCH FINDINGS
The presence of the character is the most essential in literary works, Because the
author often brings his or her idea through the characters. They can be flat or round
character and static or developing character. These varieties are depending on the role of
the characters in the story.
In the film Slumdog Millionaire, Boyle, the director, created the main character, Jamal, who played important role in developing of the story. Because the whole of the
story talked about Jamal’s life along with his brother, Salim, and his friend, Latika.
A. Data Description of the Main Character
No Characteristic Corpus Page/scene
1 A tough guy Mother: Run! Jamal, Salim, run! (Everybody stares at her. A train speeds through as she continues to shout, her words lost beneath the thundering train) Mother: Go! Run! (The train goes through, the last carriage flying past suddenly opening up the sight of a wall of rioting men wielding clubs, scythes, metal
Krishna: No way! You're a bloody Muslim. Get away from me!(The rioters leap the tracks and are upon
Salim: what’s up little brother, you’ve got problem Salim: here, take her, she is yours today(to latika) Latika: I don’t want her
Jamal: she said she doesn’t want her
Salim: take her or I’ll drop her, keep her crying
you’ll earn triple.
Salim: Come on get out to work(the children scatter to the cars trapped at the lights, tapping plaintively on the windows and making the universal begging gesture)
Constable Srinivas: a part from his name, I can’t get a word out of the runt.
Inspector: you’ve been here all bloody night, Srinivas. What have you been doing?
Constable Srinivas: he is a tough guy( to Jamal) Inspector: a little electricity will loosen his tongue.
3/10
Jamal: honestly, I swear on my mother soul Arvind: what on this note? whose picture is it?
Jamal: there is an old man, he is bald on top with long hair on the sides like a girl
Arvind: Benjamin Franklin. Thank you , you were generous the first time. But this without even song.(Arvind keeps hold of Jamal’s arm)
Arvind: so you are now big guy Jamal, I’m happy for you. “Cornmarket”, gets to a male trainee hand him a tea. Dave glances around to check nobody’s looking and slips off his head-set.
Dave: two minutes, Jamal. I’m on millionaire duty. Jamal: Rajneesh……
Dave: it’s my turn Jamal. I’ve had my pee breaks. Please. If he comes just keep your head down and pretend you are doing an upgrade on the-
Jamal: friends and family, I know …two minutes.
63/118
Latika: Jamal, Jamal, look at you...! (Their heads are close, they might kiss.
Jamal: I found you (Jamal smiles hopefully at her. But there is sadness in her now. There is a bruise her eye)
Jamal: You've hurt your eye. Latika: Why are you here? Jamal: To see you.
Latika: well. You see me(while they were talking, there was TV program that was quiz “who want to be a millionaire)
Jamal: why does everyone love this program?(to the TV)
Latika: it’s the chance to escape, isn’t it?
3. A dreamer Salim: piss off ( to the girl), she will have the security guard onto us
Jamal: let her in, she could be the third musketeers Salim: I am the elder in this family now, and I say she is not coming in, okay? (Salim huddles down in the pipe. After a while, Jamal follows suit)
Salim: in any case, we don’t even know the name of the third bloody musketeers (the girl drawing shapes in the mud with her finger)
Jamal: Come over here (Jamal calls to the girl who is in the outside)
Jamal: where is your mother? (silence)
Jamal: your father?(the girl shakes her head slightly) Jamal: I am Jamal. This is my brother Salim
Latika: I am Latika
19/34
Jamal: I just need Maman to like my singing, and we are in the money, big money Latika
Latika: can we stop begging Jamal: begging? Are you kidding?
Jamal: we’ll live in a big house on harbor road? You , me and Salim. The 3 musketeers
Latika: harbor road, really
Jamal: yes, in the moonlight you and me
Jamal: (Jamal dance badly) you’ll dance with me, wont you?
Latika: I hope you sing better than you dance.
32/62 Ricky Ponting, C)Michael Slater, D) Jack Hobbs. (Prem allows the question to sink in.)
Prem: You've got a cheque for five million rupees in your hands. You've still got two life-lines, Phone A Friend and 50/50. For ten million rupees: pay, play,
or bail out. It's still an option. Remember, if you get the answer wrong, you will lose everything like that.(He clicks his fingers.)
Prem: Are you sure you want to do this?
Jamal: I'll play.(Tense laughter from the audience. Prem holds up the cheque. Jamal nods. Prem tears it up slowly. Allows the pieces to fall to the floor) Prem: The dreams of so many. On the floor.
B. Character Analysis
Characters are the imaginative creation of the authors. Therefore, the authors are
the lords of their own characters in the case that they are in charge in shaping them. The
writer will analyze the characteristic of the main character, Jamal Malik, by using the
clues that can be found from the character in the novel.
Jamal’s Characteristic
Jamal is a complex and interesting lead character and provides a unique behavior
with any ordinary sudra caste. Though he came from Sudra caste, he dreamed to be a
successful man. He was born in Moslem family where most of the people were Hindus.
He was 18 years old man who worked as a Chaiwalla in XL 5 mobile center. While he
worked in there, he found the way to get escape to better life. That was through following
the quiz Who Wants to be A Millionaire that was suggested by Latika. To understand the
character of Jamal in reaching his dream, it can be seen from his characteristics:
1. A tough guy
Jamal was a tough guy. Jamal who had bad experience along his life made him a
tough guy. It can be seen when he had to face the fact that he lost his beloved mother.
Mother: Go! Run! (The train goes through, the last carriage flying past suddenly opening up the sight of a wall of rioting men wielding clubs, scythes, metal bars. They come screaming across the railway tracks.)
Salim: Krishna, quick! (Salim holds out his hand to Krishna who is wading with difficulty through the water.)
happened between Hindus and Moslem. Jamal who was a Moslem became the minority
where most of the people were Hindus. When Salim, Jamal’s brother, asked his friend,
Krisna, to go with them, he refused it. In fact, he blamed them by saying they were
bloody Moslem to the rioters. From then on, Jamal should continue the life with Salim,
lived in the street. Jamal had to find meal to live or he would die because of starvation.
In addition, being abused by the gangster and lived in the train was the worst
experience for him. And yet, he never sorrowed what happened to him. He just let the life
flow, he kept going on the life cheerfully. Such terrible condition in the slum made Jamal
a tough guy.
Jamal: hello, brother Salim
Salim: what’s up little brother, you’ve got problem Salim: here, take her, she is yours today(to latika) Latika: I don’t want her
Jamal: she said she doesn’t want her
Salim: take her or I’ll drop her, keep her crying you’ll earn triple.
Salim: Come on get out to work(the children scatter to the cars trapped at the lights, tapping plaintively on the windows and making the universal begging gesture) (Slumdog Millionaire 2007, 30)
Salim, who should protect Jamal, forced him to beg in the street of India, money
Jamal, a child who should get education, had been used by the gangster to beg in the
street of India.
In one occasion, when he was being investigated by the police who accused him
for being cheated in the show, Jamal was treated like a thief who did bad things to other
people.
Constable Srinivas: a part from his name, I can’t get a word out of the runt. Inspector: you’ve been here all bloody night, Srinivas. What have you been doing? Constable Srinivas: he is a tough guy( to Jamal)
Inspector: a little electricity will loosen his tongue.(Slumdog Millionaire 2007, 3)
From the explanation above, it was clear that Jamal, who used to get the pain
either mentally or physically from the police, was a tough guy. The police, who asked
him to confess that something he never did, was being cruelly to him.
2. A kind heart
Jamal was not only a tough guy, but also a kind heart. He was the man who came
from sudra caste and often being oppressed by the people surround him. And yet, it did
not make him as a bad person. It can be seen from the choice of the name. The origins of
the name is Arabic and it means beauty, it can also mean inner beauty from the heart.
When he was a kid, Jamal and Salim were the object of human trafficking. They
should work for the gangster, such condition did not make him as a bad guy. It was
different with Salim, his brother, he decided to join the gangster when he was adult.
Meanwhile, Jamal, who was adult as well, decided to work as a chaiwalla in XL5 mobile
phone. He did this because he did not want to hurt anyone.
Furthermore, he was a kind heart when he gave money to Arvind, his friend in
Arvind: (Greeted Jamal) blessing unto those who do good for others Arvind: (smelling and touching the money) a dollar, how much? Jamal: 100
Arvind: so, you take me a fool
Jamal: honestly, I swear on my mother soul Arvind: what on this note? whose picture is it?
Jamal: there is an old man, he is bald on top with long hair on the sides like a girl
Arvind: Benjamin Franklin. Thank you , you were generous the first time. But this without even song.(Arvind keeps hold of Jamal’s arm)
Arvind: so you are now big guy Jamal, I’m happy for you. Jamal: I’m so sorry Arvind
Arvind: you’ve got save Jamal, that’s only the difference.(Slumdog Millionaire 2007, 48)
Jamal gave this money because he was pity on Arvind condition. He was so sad
looking at Arvind, due to Arvind had already blind. Besides, Jamal was a kind heart
when he was replacing Dave, an operator in XL5.
Jamal hurries down the aisle signposted “Cornmarket”, gets to a male trainee hand him a tea. Dave glances around to check nobody’s looking and slips off his head-set.
Dave: two minutes, Jamal. I’m on millionaire duty. Jamal: Rajneesh……
Dave: it’s my turn Jamal. I’ve had my pee breaks. Please. If he comes just keep your head down and pretend you are doing an upgrade on the-
Jamal: friends and family, I know …two minutes. .(Slumdog Millionaire 2007, 63)
Though Jamal was busy with his work he had willingness to help Dave. By
helping him Jamal also risking his job because it was not his duty to serve the customers.
Last but not least, Jamal was a kind heart, it can be seen from his action in trying
to release Latika from Javed, the chief of the gangster.
Latika: Jamal, Jamal, look at you...! (Their heads are close, they might kiss.)
Jamal: why does everyone love this program?(to the TV)
Latika: it’s the chance to escape, isn’t it? (Slumdog Millionaire 2007, 74)
From the statement above, Jamal was worried about Latika. He asked what
happened with Latika’s eyes that probably had been hurt by Javed. He did not care what
happened to him even though it should get into Javed’s house in which harmed him. It
was clear that Jamal was a kind heart.
3. A dreamer
Jamal was characterized as a dreamer. Even though he came from sudra caste, he
had a big dream. This tendency can be seen from three occasions. First of all, Jamal’s
actions had been influenced by the story three musketeers that had been written by
Alexander Dumas. He imagined himself to be Athos, Salim as Porthos, and Latika as the
third musketeers, although he did not know the name of the third musketeers.
Salim: piss off ( to the girl), she will have the security guard onto us Jamal: let her in, she could be the third musketeers
Salim: I am the elder in this family now, and I say she is not coming in, okay? (Salim huddles down in the pipe. After a while, Jamal follows suit) Salim: in any case, we don’t even know the name of the third bloody musketeers
(the girl drawing shapes in the mud with her finger) Jamal: Come over here (Jamal calls to the girl who is in the outside) Jamal: where is your mother? (silence)
Jamal: your father?(the girl shakes her head slightly) Jamal: I am Jamal. This is my brother Salim
Latika: I am Latika(Slumdog Millionaire 2007, 19)
Secondly, when Jamal lived in Maman’s camp, the gangster who collected the
money from a kid like Jamal, he dreamed of becoming a successful man.
Jamal: I just need Maman to like my singing, and we are in the money, big money Latika Latika: can we stop begging
Jamal: begging? Are you kidding?
Jamal: yes, in the moonlight you and me
Jamal: (Jamal dance badly) you’ll dance with me, wont you?
Latika: I hope you sing better than you dance(Slumdog Millionaire 2007, 32)
From the dialog above, it can be seen that Jamal dreamed one day he would live
in a big house on harbor road. Though he came from sudra caste it did not stop him to
have a dream. Last but not least, it can bee seen when Jamal followed the quiz, Prem
asked him to stop, by offering him a large amount of money.
Prem: What sports do you play? Jamal: None.
Prem: None. Oh, dear, oh dear, oh dear. Not to worry, there's only ten million rupees at stake... Which cricketer has scored the most first class centuries in history. Was it A) Sachin Tendulkar, B) Ricky Ponting, C)Michael Slater, D) Jack Hobbs.
(Prem allows the question to sink in.)
Prem: You've got a cheque for five million rupees in your hands. You've still got two life-lines, Phone A Friend and 50/50. For ten million rupees: pay, play, or bail out. It's still an option. Remember, if you get the answer wrong, you will lose everything like that.(He clicks his fingers.)
Prem: Are you sure you want to do this?
Jamal: I'll play.(Tense laughter from the audience. Prem holds up the cheque. Jamal nods. Prem tears it up slowly. Allows the pieces to fall to the floor)
Prem: The dreams of so many. On the floor (Slumdog Millionaire 2007, 70).
This occasion implied that Jamal refused to stop playing the quiz though he did
not know the correct answer. He continued his dream to be a successful man by getting
the biggest prize, Prem who tried to stop his dream said that Jamal had many dream
through this quiz.
B. Extrinsic Analysis
1. Socio-historical Analysis
there were many changes had been made by this country. A lot of building were built in
the cities of India, there were also many top industries were standing there.
Between 1947 and the early 1990s the Indian economy transformed, India, at past
time was colonized by Britain, was using Swadheshi movement. The Swadeshi
movement, part of the Indian independence movement, was a successful economic
strategy to remove the British Empire from power and improve economic conditions in
India through following principles of swadeshi (self-sufficiency). Strategies of the swadeshi movement involved boycotting British products and the revival of domestic
made products and production techniques29.
This economy policy had been used after India got its independence in 1947. The
government attempted to close the Indian economy to the outside world. The Indian
currency, the rupee, was inconvertible and high tariffs and import licensing prevented
foreign goods reaching the market. India also operated a system of central planning for
the economy, in which firms required licenses to invest and develop30. India was under
socialist-based policies for an entire generation from the 1947 until the 1991. The
economy was characterized by extensive regulation, protectionism, and public ownership,
leading to pervasive corruption and slow growth.
When India closed its economy to the outside world, there were many people
lived in poverty, this was because it closed people to encourage themselves in
entrepreneurship. Due to the fact that the government of India had nationalized the
economic system. In the year 1991, the Prime Minister, Narasimha Rao, and the Minister
29
Richard Allen and Harish Triverdi. (2000) op. cit. 273. 30
of Finance, Manmohan Singh, reformed the economic system31. The reforms progressed
furthest in the areas of opening up to foreign investment, reforming capital markets,
deregulating domestic business, and reforming the trade regime.
This policy was made in loosening government regulations, especially in the area
of foreign trade. Through this policy, hopefully it could change the life of Indian society.
Because it could encourage the people of India to get a better life by having opportunity
to be an entrepreneurship and to create new workers. Moreover, there was also
considerable concerned that liberalization would reinforce class and regional economic
disparities.
Even though, the fact that economic liberalization made most of the people of
India were not getting better, due to there were still many people who lived in poverty. It
was because economic liberalization made people who had more capital to grow faster
than people who did not have enough capital. Poor people were being oppressed by rich
people because they were not respected from rich people In the consequences of that, it
could be said that there was no correlation between economic growth that happened in
India and the quality of life of the society, especially poor people.
2. Biographical Analysis
Danny Boyle was a British Director who directed the film Slumdog millionaire
film. He was born in Radcliff, Lancashire, England. He came from labor family. His
father used to be a British soldier in India along the second world war, meanwhile his
mother wan an Irish who came from Ballinasloe Co Galway. When he was a boy he
31
dreamed to be a priest, despairing to be a priest he continued his study at Thornleigh
Salesian College in Bolton and University of Wales, Bangor32.
There were many good films that he had been made such as: Trainspotting, Beach
and Slumdog Millionaire. In Trainspotting Boyle talked about someone who became a
drug abuse, in Beach he explored the beautiful island in Thailand. And in Slumdog
Millionaire he talked about the struggle of a kid who came from slum to reach his dream.
For the last one, he got a best director in Academy Awards. Actually in making Slumdog
Millionaire, Boyle must made observation in the slum area of Mumbai city, India, he did
this to make sure that he did not any big mistakes.
Moreover his father who ever lived in India told him everything about India.
From the culture, society, religion and poverty. In addition, he got an assistant from a
co-director, Loveleen Tandan. She is an Indian woman who helped Boyle in describing India
at present day.
Furthermore, Boyle whose mother came from Ireland, also gave influence to him
in making this film. The fact that at the past Ireland and India had been colonized by
Britain. The younger generation of India, at the past, are growing up full of what may be
called Irish bitterness, and the situation must fill all who believe in the peaceful progress
of the country under British rule with anxious apprehensions33. Nowadays, the situation
between Ireland and India is not so much difference. Both of the countries often happen
riot because of faith. In Ireland, the riot between Catholic and Protestant happen in there,
and in India the riot between Hindu and Moslem almost Happen in there as well. Overall,
it can be said that India is likely to be another Ireland.
32
www.yahoo.com/movie/Danny Boyle (Accessed on June 3, 2009) 33
Slumdog Millionaire was an effort at crossover, and like all crossovers it can be criticized from either side. And it invited accusations of imperialism. Boyle, A British
director, tried to be embraced the script in a complete way. He wanted to tell the story as
an insider. As in interviewed by Kevin Kelly in Toronto Film festival 2008, he stated:
Kevin Kelly: Did you learn anything about yourself making this film? I mean, being in India the whole time. What did you learn?
Danny Boyle: Yes. I think, that’s the most important thing you do learn. Is that you go there and you think you’re going to learn about Indian culture and all those kinds of things. And you do obviously because you do research to make sure it’s accurate and all that kind of stuff.34
The condition of the people lived in the poverty line that Boyle was described in
the Slumdog Millionaire lived in suffering and sadness. Along the film it could be seen how a contrast between rich and poor. It was usual to see a luxurious car were passing
through in the slum street of India and it was not strange to see a celebrity lived in a big
house on the other hand there were many houses that were living in the slum. Slum area
grown up around the airports and this airports have been used by celebrity.
Boyle created beautifully in imagining this condition through Jamal’s character,
he described Jamal as the one who watched the economic growth. When Amitabh
Bachan, a top celebrity in India, came to the slum area using a helicopter, Jamal did
anything to see his celebrity even though he had to sink in the dirt.
C. Worldview
After analyzing the intrinsic elements and the external elements of the film, the
writer found that there was relation between the society and the film. Boyle as the
34
director had certain worldview. Worldview which is taken by the director can not be seen
without the investigation of the historical background when the director is creating his
work.
In this film Jamal acted as a man who was being oppressed by other people who
came from higher caste than him. Jamal, the one who lived in the slum area along his life,
had many bitter experiences. When he was a child he should see his mother died because
of riot. This riot happened when Hindus people attacked Moslem region, since that time
he lived in the street along with his brother.
Jamal did not get good education as any ordinary child, he should spent his
childhood lived in the street of India. In addition, he also encountered with the gangster
world where he met with other children who did not get any protection from the
government like him. The government of India that should guarantee the children to have
education were not paying attention to this problem. Instead of study at school and
enjoyed their childhood, The children were forced to beg in the street of India. That was
why Indian people who came from lower caste were being humiliated in the society.
However, Jamal who had many bitter experiences did not stop to dream to
become a wealth man. During he stayed with the gangster, he dreamed to live in a big
house along with his brother, Salim and his friend, Latika.
Jamal: I just need Maman to like my singing, and we are in the money, big money Latika Latika: can we stop begging
Jamal: begging? Are you kidding?
Jamal: we’ll live in a big house on harbor road? You , me and Salim. The 3 musketeers Latika: harbor road, really
Jamal: yes, in the moonlight you and me
Jamal: (Jamal dance badly) you’ll dance with me, wont you?
Having been adult, Jamal who wanted to be admitted in the society followed the
quiz who wants to be a millionaire, it was the quiz from Britain, having aired more than
100 countries all over the world, where people could be a new millionaire35. The use of
the quiz emphasizes that this quiz give a big opportunity to be a wealth man similar to
the purpose of economic liberalization that happened in India in the early 1990s.
Because this quiz does not require certain ability, everybody can join the quiz.
Jamal decided to follow this quiz after he had met with Latika, She suggested him
to follow this quiz because it was a chance to get a better life.
Latika: Jamal, Jamal, look at you...! (Their heads are close, they might kiss).
Jamal: I found you (Jamal smiles hopefully at her. But there is sadness in her now. There is a bruise her eye)
Jamal: why does everyone love this program?(to the TV)
Latika: it’s the chance to escape, isn’t it? (Slumdog Millionaire 2007, 74)
However, Jamal got obstacle in reaching his dream, Prem, the host of the quiz,
acted as a man who oppressed lower caste. He considered himself more intellectual than
Jamal. He ridiculed Jamal in front of the audiences and being a cruel man by saying that a
Chaiwalla is mean job. He showed his arrogance by saying that he did not accept
someone to win the quiz, particularly the one who came from lower caste like Jamal.
Jamal steps outside the backstage door. Prem called him. Immediately, a blanket is thrown over his head and two police men bundle him into the back of a police van. The director joins Prem at the backstage as the van pulls away, sirens screaming.
Director: what’s going on? Prem: he’s cheat.
Director: this was you? You called them? (Prem shrugs) Director: how do you know he is cheating?
35
Prem: oh, come on! Of course he is. He is a bloody village boy. Even when I fed him the wrong answer, he got it right.(director stare at him)
Director: you gave him an answer?
Prem: well, I didn’t exactly (he walks away, shaking his head and hit the wall) Prem: this is my quiz ,this is my fucking quiz (Slumdog Millionaire 2007, 84)
The dialog above implied that Prem did not accepted Sudra caste to win the quiz,
he tried anything to made Jamal lose in the game. He gave wrong answer to Jamal and
reported him to the police due to cheating in the game. Prem thought that how a kid from
slum knew all the answers.
Moreover, The police, who should protect and serve society, hurt Jamal. The
police also being not fair to Jamal, they prefer to believing Prem than Jamal.
Constable Srinivas: Maybe he did know the answers.
Inspector: Have you gone soft, Srinivas? Professors, lawyers, doctors, General Knowledge never get beyond sixteen thousand rupees. And he's on ten million? What the hell can a slumdog possibly know? (Slumdog Millionaire 2007, 5)
The police underestimated the one who came from lower caste like Jamal. It
proved that the police being injustice to the people who lived in slum area. Jamal also
realized that becoming Sudra caste was often get inequality in the society. People from
Sudra caste were often being looked negatively by others people who came from higher
caste.
Inspector: it is all bizarrely plausible. And yet….(Jamal is drinking a cup of coffee) Jamal: because I am Slumdog, a chaiwallah, I am liar, right?
Inspector: most of you are, but you are not liar, that is for sure, you are too truthful….well done(Slumdog Millionaire 2007, 85)
From those description above, the writer may conclude that the main character,
Jamal, represented Indian people who came from humble background. When the
government of India was trying to prosperous their citizen by transforming its economic
