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Intoxication and Modernity in Hindi Cinema

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Indian cinema since, especially the 60s to 80s through the varied narratives of the fuedal romance, the nehruvian family narratives, new-wave cinema and till the 90s and into the 21st century has not only constantly negotiated the varied faces of modernity, but also negotiated the allencompassing forces of globalization and the effort to retain an indigenous style yet while also encapsulating several character tropes and genres of western film-making traditions. One of the pressing issues for indian film-making, especially through the 60s and 70s especially through the films of certain star personas like Amitabh Bachhan has not only been that of narratives of the well known 'angry young man' presence fighting on the one-hand modern capitalist forces in defence of the 'proletariat' but also symbolized for the very first time through his star persona as a character capable of transgressing the very patriarchal vehicle of the law, to achieve a higher purpose that is on some levels to restore maternal justice, that realizes its potential through his ability in being able to be illegal while still within the law. (Here im essentially paraphrasing and taking off from Madhavprasad's argument of the 'Ideology of formal subsumption' and his discussion of the narratives in the amitabh bachhan films in the chapter 'The Aesthetic of Mobilization' from his book 'Ideology of the Hindi Film: A Historical Construction) However the star persona of one such as Amitabh Bachhan has most often atleast in films such as 'Deewaar' etc.

embodied a character who while is on the side of illegality as far as his very activities are concerned i.e. of smuggling and robbery, been also the locus of a persona whose morality at several injunctions is not only questionable but his very lifestyle that much much before the 90s and 21st century hindi film noir narratives, embodies a character that while recieves our empathy; hes also a character who defines a new kind of protagonist who while still bound by his oedipal desires occupies a space of the very villains who have only recently accepted him as an accomplice in their illicit and illegal activities. However it is not my aim here to understand this ambiguous character who is torn between and negotiating the law and illegality; rather one of my interests here within this paper is to understand this character within a broader landscape of modernity and the desire to inhabit a space that is at many points not only not regionally locatable and quite 'generally modern'(which here im trying to understand as a desire to replicate a space of characters of questionable or atleast ambiguos moralities, especially the kind of spaces that dominate the James Bond films of the 60s and 70s, like pubs, resorts and lounges); an imagination which is not completed merely by the mise-en-scene and thematic spatial tropes, but rather through the active and 'comfortable'(an effort which is directed towards making a fantastic imagination of spaces which while are western modern but the negotiation of that fanstasy and its taming) participation of the characters, heroes/heroines and villains/villainesses included. [Here im thinking of the spaces in a gangster film such as don, or deewaar where an interesting imagination of modernity emerges, a part of the mise-en-scene of that 'modern' space itself which was comprised of for example, of

foreigners of different ethnicities (hare rama hare krishna. the redemption of the hero through his initiation back into the feudal landscape or the emancipation of the estranged youth through political activation etc. while a structure is achieved in order to realize a story and the emancipation or tragedy of the characters and the entire narrative as a whole(the relative fact which here im trying to understand here ofcourse in terms of moral imperatives). is not only by the virtue of making a comparision with the imagination of some 'proper western modern' outlining the terms of such a discourse but rather my attempt is also to see where the imagination of this modern space not only assumes a character of its own. Rather i will concentrate on the global modern imagination in hindi films from the 2000s onwards. the representative strategies used in the domestication of the woman protagonist. although which actually was negotiating tradition against moderntiy as the invading element. which infact is not there and does not slip comfortably into a so-called all encompassing post-modern condition. however while this tryst with modernity.] Ofcourse the 'comfortable' participation in the spaces which im trying to discuss. through an interpretation of modernity[modernity with a capital M] that is never truly reached but one which entails a rethinking of the very teleology of modernity. and so on and on. the film(and its . while it is a very interesting area is not the focus of my paper. Through these many different narratives the representation of the different landscapes. however this being a theme across large number of such films through the period). While we are familiar with the various representative strategies in hindi films dictated by the feudal patriarchal family structures and later in the more 'political' films of the new-wave.

the consumption of legally available alcohol been increasing tremendously. While this was unarguably one of the reasons for the anxiety that was suddenly created around the representation of drugs. but for the fact that it is admitedly one of the highest sources of revenues for the state. came to be represented and the way it plays a role in the narrative itself.characters)with its many layered binary formulations(of hero and villain. there is(very speculatively) an interesting correlation between the representation not in terms of the copiousness of representation or not. one of the primary justifications given by the government was the fact that more than 20 million people in the country went daily to watch films and this ban which quite obviously was meant as a moral imperative to keep a check on the the 'social depravity' which might be incensed through a medium as popular as films. Since the early 90s and again in seperate instances the law and censor has come down heavily on the representation of both alcohol and cigarettes both in alcohol and cigarettes in television. In a short study titled 'Tobbaco in movies and Impact on Youth' the authors from the organisation 'Brain Burning . but also the very way that the object of alcohol especially. When the government laid the ban on the endorsing and advertising of alcohol since 1995. While this is not only partly due to the reason that since the past 30 years not only has on an overall level. advertisments and films. alcohol and cigarettes in films. but also the characters and their vulnerablity to objects of desire and intoxication.) is always under the threat of falling apart(especially in the rather enclosed spaces of the joint family domestic space) owing not only to the lure of the outside space and its potentially corrupting forces. no doubt other drugs and cigarettes also. of domestic space and non-domestic space etc.

that one realizes is even today through large segments of the middle and lower middle-class reflected not only in the contemporary hindi films but in a very similiar way as in the 70s and 80s. This complex modernity which i feel is not only present in the hindi films from certain periods. here ofcourse im trying to understand this very aspect but in terms of the representation of alcohol in films from the 70s onwards but one which i stress.Society' make an initial quantitative analysis. especially in films dealing with urban upper middle-class and upper class family drama narratives). mostly to do with the percentage of times that tobbaco has been shown in hindi films from the period of 2003 to 2005. confronts itself only since the mid-90s immediately after the banning laws and also amidst a whole new more explicit global imagination in hindi films. but rather the very manner in which survey based studies such as the above are carried. but on a larger level. A very complex notion of modernity emerges which has not yet come to terms with itself(here also im specifically thinking of Madhavprasad's formulation of 'The Ideology of formal subsumption' and the very underlying conflict between tradition and modernity that translates itself into the very tendency and form of the hindi film. and it is not only the direct consumers of these films which serve as a reflective basis. While one of the very straightforward inferences from their study is that the representation of tobbaco has been on a steep rise. but a morality and the transformation of which is deeply located in a notion of a 'modern' and aspiration of which. the very conclusions and prescriptive suggestions arising from such studies as the one above reflecting the essential problem of modernity both in terms of a larger conceptual sphere and the forms that hindi films choose to represent this as one of the very central problems . their judgements on this rise and suggested measures are very bluntly not only moral.

The above study takes up some very specific categories of smoking in films. but the very tendency which is apparently being mimicked by hindi films.of the hindi film. One of the other liminal concerns that was also apparent within this study . This is where the research suggests that it becomes so crucial that stars like Vivek Oberoi or Amir Khan do not endorse advertisements of any kind for the sale of alcohol or cigarettes. and one the indian youth are very susceptible to be victims of. they mention in not few words the double effect of hollywood films(films which are easily available thanks to technology and theatres) in not only copiously showing the characters smoking and drinking. one of the subtexts running through the entire study is that of cigarettes as a signifier of modern western society. by endorsing substances which medically are considered to be hazardous to health. as it may potentially induce the act itself in young adolescents. One of the general inferences that they come up with is the fact(even though the study itself only focuses on the time span from 2003 to 2005) that compared to the 60s(even though the tighter bans were imposed only from the 90s onwards) not only were there more people smoking on screen. but the fact that the use of alcohol and cigarettes were not merely now the markers of gangster culture or villainy but that it was now as much within the image of the protagonist star. While the representation of tobbaco itself in films is seen as harmful. in short it locates the danger of not just any representation but the character of the influential star persona on young influential minds. the highly self-conscious effort at grappling this of which becomes evident to a certain extent when it comes to the representation of drugs and alcohols in films after the mid-1990s and the 2000s onwards when new bans are imposed and subsequently lifted regarding the representation of cigarettes and alcohol in hindi films.

in other words the fantastic imagination of the woman beyond the disciplining apparatus of patriarchal law and order. extra-legality and the very dramatic transformation of the character(the protagonist mostly) who must necessarily at times go beyond the common sense into a another register to realize the fight against injustice and crime. what im interested in is ofcourse not just the results of this statistical study but rather the the very fact of this torn and ambiguous modernity is evident on many levels in the films from the 2000s onwards. but the very from in which alcohol is represented. and the way it forms the narrative around morality and at so many junctures the discourse of 'truth'. its possible roots in western cinema and ultimately the strategies that not only films but advertisements employed in order to create the image of a strong. drugs. confident etc. cigarettes etc. One of the particular scenes which i wish to start here is in 'Guru' from 1989 starring Mithun Chakraborty(Guru) as the . as far as it is concerned with the representation of alcohol. what emerges(which i will discuss shortly in its correlation to the censorship laws) rather what i would like to call a very skewed medium of representation and political ground that is stuck in an incomplete modernity(modernity with a capital M) the cause and the effect of which is a very confused form within and including the narrative of the film. While this conclusion which they arrive at is not false. However with respect to the laws against advertising and representation of alcohol in television and films i wish to propose that it has a correlation with not only the frequency of depiction. woman.was the very cautious tone with which it dealt with the issue of women smoking on screen. while the effect which is trying to be achieved is one of casualness and the unproblematic subsumption of a global modernity.

the lie as we see. resisting his mother's efforts at disciplining him back. the lie of the system and the very lie of his own being and while he claims to speak the truth now. in any case he enacts his belief in his supposed conviction which he had in the very false system which he realizes now.son of a deceased ex-police officer. now Mithun living with his sister. on that particular night he comes back home quite drunk and is encountered by his mother demanding to know if he has been drinking. shouting. as far as the police and the system was concerned and in him being a part of it and having had conviction in its mechanisms. now looks forward to be arrested. vowing to kill him if he should come back. as the redemption for his own person who was also a part of that very lie. he himself is as far from the truth as the state. is operating at three registers at the same time. In his short but intense speech he says of how everything he ever believed in. Subsequently his mother slaps him and banishes him from home. In the scene itself he never explains what he has exactly done(having beaten up a few people on the street and vandalized shops). confesses to his mother that he has lied and to atone for his sins. Rejected by officer manchanda repeatedly. it is at the cost of his mother's breakdown. Mithun who yearns to fulfill his promise vows to join the police force. in addition to ofcourse. he goes into a short monlogue where he explains to the three of how alcohol helps him in saying the truth. girlfriend(Sridevi whose character is Uma) and mother in a tiny shack. Mithun replies in the affirmative and goes onto say of how alcohol is not necessarily a bad thing. him going to great lengths through the film to convince the mother that he has become a police officer when infact as we know shortly into the film that he has not(while in due time we realize the double lie since he is actually an undercover police officer sworn to secrecy). Having left .

He joins shakti kapoor's gang subsequently where he also encounter's sri-devi's alter-ego 'bad girl'(who he later realizes is Uma's long lost twin sister). but rather questioning the very reality or falsity of any of his statements]. by the second-half while we do realize that Guru is actually a police-officer working as an under-cover agent under the guise of Guru the gangster. but rather the very breakdown in the autonomy and sovereignity of the state as is concieved of the state. he again confronts officer manchanda. corrupt state. not in terms of complicating the story.home. symbolized here through the outrageous son who reveals to his mother(more than anyone else) the falsity of her enterprise to with-hold the father's law[while the complexity of the situation as becomes apparent later in the film when we realize that he is infact a police officer and hence while the character of Guru has a clear conscience the drunken scene introduces a complexity. in its criticism of the false. Mithun pretends to disavow the system and vows to take revenge against it. the film . the very man who again and again rejects his application. is the fact that it is also the very threatning foreign object that leads to realization of truth. the rowdy company with whom he drinks at the semi-rural is at odds with the mansion landscape of the gangster's hideout. what is troubling. at the same time it employs the very intervention of alcohol into this otherwise sanitised and pure domestic space as not only a threat to the family order. the ability for transformation and which constantly traverses the otherwise stable binaries of truth and lie. while the general tendency of 70s and 80s vanguard film is clear. The landscape of the gangster's headquarter's whcih is ofcourse in complete contrast to the general cityscape and the semi-rural setting of guru's own home. While the immorality within which alcohol itself as this foreign object is located is clear from such a narrative. owing to a personal grudge.

Despite his many hesitations. these being especially explicit in 'Sharaabi'(1984). Aarti's father finally agrees to her proposal on the condition that Raja come to mumbai after the marriage and that he incoroporate within himself certain bourgeiosie values which will help . and the varied connotations that it may carry in its subtexts and interpretations. the crux of which is located in mithun's inebriated state when he apparently . While i do not in any sense want to exxagerate the element of alcohol itself. but rather it. However before i discuss Sharaabi. values and choices.confesses to his mother. i wish to cite one instance first from 'Raja Hindustani'(1996) which i believe is crucial to the representation of alcohol and the conception of drunk scenes in hindi films. not only through the above scene but even through few of the songs(explicitly about alcohol) where if read into. the encounter and the resolution that it offers is ultimately the very space which offers guru the space between the binaries. it not being merely a medium of expression. The complexity in the narrative is not merely in the level of appearnces and plot but rather introduces a sub-liminal space where in the character of mithun is invested both the acceptance and reverence for the system and at the same time a parody of it. which is the object of unspoken moralities. The story which is essentially about a cab driver whos name is Raja Hindustani(Amir Khan) who falls in love with a Rich girl(karishma kapoor) and the trials and tribulations that they must go through. owing to class differnces and their cultural roots situated in completely different worlds. There is as i see. that of Raja being a lower class family in a rural setting and that of Aarti(Karishma Kapoor) being in an higher economic class in an urban setting.constantly plays with true and false identities. marks out a peculiar trend in the cinema from the period where the protagonist interacts with alcohol.

it holds within the narrative the . Aarti is finally convinces Raja to come with her. which he locates in his lack of understanding of english and his ignorance of these high cultural norms. also again signifying difference in social status. What is being articulated in this scene is not only a class disparity but more so the articulation of this very fact and the various cultural binaries around this through the variously different gestures that are articulated. while it does not lead to resolution. In an almost apologetic mode he explicates on the charade of the bourgeiosie crowd which refuses his presence because of his lack of 'culture'. At the behest of her step-mother's request for her to come to Mumbai to celebrate her birthday. At the end of it. and her efforts at having made him worn a suit for the party. however at different registers through the intervention of the object of alcohol(the alcohol itself which is the agent responsible in reinforcing the high-culture stereotypes of the bourgeiosie. ofcourse all of these articulations which only exponentialize on account of his drunken state and the uncouthness which accompanies him in his person. he delivers a 5 minute long monologue shattered at the thought of Aarti having been ashamed of him. After repeated incidents which aarti's mother orchestrates during the party to belittle raja. he breaks down and drinks heavily through the song sequence.'culture' him and acclamatize himself to this superior economic and cultural mise-en-scene. it is the very agent which owing to its very intoxicating reinforces on the other hand in raja the stereotype of the animal whos been let loose by alcohol). howmuchsoever he is hesitant. After several reconciliations Raja and Aarti continue to stay at ranikhet. alcohol which again plays a part in the narrative of not only offering the truth and the horrid realization of class differences in an uncomfortable mis-en-scene but the very climactic breakdown in the characters and their constitution.

who is also a drunkard millionaire playboy. but of his inability at having been able to prove himself a loving father figure. i would not want to merely simplify the significations of alcohol in films from the 80s or 90s as only articulating class differences. Vicky is potrayed as an obsessive and depressed drunkard but also who in contrast to his industrialist father and the other capitalist class potrayed in the film. Other than the charade of a category of intellectual aristocracy. the film in its very explication of the object of alcohol also moves the characters through the film to varying degrees of split-subjectivity.] 'Sharaabi'(1984) as the title itself suggests is largely focused around the central protagonist(Amitabh) who is the son of an industrialist(Pran). but rather for example a film such as Govind Nihalani's new-wave 'Party'(1984) which is located within a upper middle-class left leaning aristocracy setting. The character is emotionally close only to munshiji(played by Om Prakash) who has been his care-taker since his mother died. following the Amitabh Bachhan narrative of the protagonist who exposes his highly violent other. [However at the same time.immense power of the unbridled articulation of desire and introduces externally into the stable montage an explosion. of him having given him material pleasures. which is constantly transgressing their typages. one which also marks. The conflict largely through the film is the confrontation of the father by the son. which is both an object of sympathy and one which is always on the edge of going beyond a rational and wellsequenced narrative. is very generous and . Amitabh's character(Vicky) is based on Dudley Moore in 'Arthur'. conflicting desires and the breakdown and the threat of anhillation of cultured normatives is one of the very crucial points in the film.

What is noticeable also in the film. the characters very trauma and self-reflexivity through the film signifies a fundamental shift in the way the anti-hero would be defined or would elide it.sensitive to the troubles of the poor and in general his friends. the character which he plays. Amitabh arrives very drunk and overhears some of the board-members who sarcastically remark of how half the revenues for the new venture are going to be earned solely due to amitabh himself. While the drunk character till then could have been defined more or less within definite binaries of moral and immoral. however the irony of the situation that they are setting up more breweries which only going to make more drunkards out of society on the whole. One of the scenes in the first-half of the film where Vicky is called by his father for a board meeting(which is apparenlty organised to discuss the setting up of new breweries). However he criticizes through his speech not only the capitalist system and the mechanization of humans(which he says of his father too) but he goes onto explain his own reasons for drinking. is the several landscapes through which the character of Vicky travels in search of or . he as a figure and his relation with alcohol and the conflict within his own person that is posed elicits sympathy and empathy at the same time. rather as a condition of his own rejection by his father and his troubled emotional life. The drunkard figure of Vicky is significant not just in terms of the narrative of the film itself but rather. due to the very reasons that even though there have been drunk protagonists earlier. like other drunken scenes from films that i mentioned above. Vicky delivers a long monologue. i believe is truly a paradigm shift in the way the protagonist would be defined in hindi cinema on the whole. Here too. however not in an apologetic or justificatory manner. He also goes onto criticize the very way the businessmen sitting jeer at him for being a drunkard.

but also does so not in a way or celebrating or admonishing alcoholism. espcially in the course of his conflict with his father. He may fight the villains and the goons but ultimately they go to drink at the same street pub. While he does recognize them. but rather discussing the very act of consumption and the meanings it occupies in a film. a temple. Throughout the conversation.while consuming alcohol whether it be his home. however pretending like he is talking about someone else. however till the very end referring to them as respectable(even if it is meant to be ironic). while the ones(they themselves as they mugged him) as rowdy. Not only is there an array of differently placed characters coming into almost constant interaction with the character of Vicky(such as the first scene where he stops at a bus-stop. offers alcohol to the by-standers and they sing). He constantly refers to those with him as respectable. where will searching for jayaprada he gets mugged by a few goons. but rather as the very split-identity of the protagonist who does not anymore neatly subscribe within any moral or ethical categories. In the course of his charade describing how he will beat the ones who mugged him. Akbar and Anthony' Amitabh must fight the law in order to keep his bar. or a street bar etc. While coming back he stops by at the pub and encounters the same goons. however not within moralities and immoralities. While this is not a very significant portion in the film itself. is himself responsible for the nurturing of a child into a policeman who is also his . One of the scenes in the film. it is in stark contrast to a Dev Anand loacting the opium den as the signifier of illicit activity and immorality. While in 'Amar. he proceeds to tharsh them. The film takes us through ofcourse deliberately through the various mise-en-scenes of the object of alcohol. he asks to sit with them in a jovial manner as if he did not. here as he later realizes. he describes in detail to them of the mugging incident.

Kismat Connection. The first type which are more explicit and involved narratives such as possibly 'Dev-D' and 'No Smoking'.). Mere Brother ki Dulhan. While one thing that must be considered that is that many of these narratives are also largely placed in urban landscapes centering around upper middle-class youth involved in stories around love and friendship. unlike what people might think contrarily. The relation of the law with the protagonist figure of the drunkard here is explicit and interesting since the ambiguous anti-hero figure of amitabh. However the short scene-based examples which i have tried to provide is only an effort to understand the above films (as one among many other examples which i have not dealt with here) as instances negotiating in anecdotal manner with the presence of alcohol in films from the 80s and mid 90s. Chup Chup Ke etc. The other type which are instances of drunken scenes mostly from romantic or comedy films where they might be a scene or two involving a silly drunken incident among friends(HumTum. The policeman friend in passing comments through the film of how the police is a legitimate and very sensitive hand of the law. which is ofcourse also largely affected by the performance of the actors themselves. Of a few that i did come across such as the bar scene from 'Zindagi Na Milegi Dobara' and 'Mere Yaar ki Dulhan'. this . there not only pervades a modern urban upper-class imagination of contemporary life. is increasingly through the film recognized as a source of sympathy. rather than being disciplined and normalized into society. the very from in which alcohol is dealt with seems external. empathy and then respect. The difference as i see from the 90s and 2000s onwards is not only an under-stated fetishism associated with drugs and alcohol. not merely in the way the substances are dealt with but also in the very narratives within which they are situated.friend.

but which subliminally undertones the form itself. which has a correlation with censorship laws not only in terms of content. however unsuccesfully(I say this not assuming a specific milestone for the succesful enterprise of modernity itself.imagination which unlike instances from the films of the 70s(Namak Haram especially) and 80s(Sharaabi). After 1995. a strategy was devised that is now called 'surrogate advertising'. Even if i exclusively take drunkscenes in isolation(and not contextualize them within the entire narrative of the film). this which essentially means that alcoholic beverage brands and cigarette brands may advertise themselves on television retaining the brand name but endorsing music-CDs and possibly bottled water rather than the alcohol itself(bacardi. as i only briefly mentioned in the beginning. while one could account for the effect of these instances of the performer itself(how genuine or realistic or fantastic it maybe) there is a performativity which. when media events are sponsored by these brand corporations. since the ban on direct advertising of alcohol and cigarettes on television and films. which defines the form in terms of both a commodity-fetishization and a subsequent kind of lifestyle. but i mean a yearning for specific kind of western modernity which is being located through a very specific class imagination appealing to not only to resident populations but a diaspora audience too). However ofcourse surrogate advertising itself which is by no means limited to television but is the very strategy that is operating on another level. kingfisher etc.). While the mise-en-scene of the drunken scene from the films from the 60s to the late 80s(or even mid-90s) is varied . are trying to locate themselves within a larger very global imagination. What i wish to propose is the fact that it is this very logic of surrogate advertising which has been operating on hindi films since the 2000s onwards including the films i mentioned above.

sub-urban gang. Hence though one of the correlations which im seeking to establish is one of 'surrogate advertising' and the contemporary alcohol aesthetic. the outcome of a incomplete modernity seeping into a pre-mature modernity. jay-walkers. there are in films such as 'DevD' and also possibly 'No Smoking' a different register at which this very object of alcohol and drugs has been represented in a manner much more inclusive of both 'tradition' and 'modernity'(while ofcourse im deliberately assuming such a binary for the sake of elucidation) whether it be in the very characters and the narratives through which they traverse the filmic landscape. this which is an interesting mix of both indigenous and global slang) normatives through a very specific mise-en-scene and montage.across many social thematics(urban family. their language which is more of a globallinguistic and their hopes and dreams which are also global in a sense. addressing and at the same time inducing an imagination of contemporary youth culture and its cultural and linguistic(here im thinking of the way the characters as shown talkin among themselves in state of drunkeness. the object of alcohol which has largely(not completely) become focused around the imagination of a metro urban pub-space inhabited by higherclass youth. their interaction with the object of alcohol itself which is largely unproblematic and non self-reflexive and situated largely in instances of revelry and comedic anecdotes. While this global modern offers hollywood . most films still are attempting to fall into the genres of hollywood films such as 'The Hangover'. village. working class etc) and their corresponding landscapes. is as i have attempted to show. While the imagination of the global modern present in contemporary hindi films especially with its handling of the representation of alcohol and drugs. it is as we see bound by a larger narrative of the global modern.

but at the same time negotiate the modernity of a large diaspora population. which must not only keep up and offer the viewer's that global landscape. it is(the global modern and post-modern) also at the same time demanding(as is characteristic of the term and its homogenizing conquest) the very same of the hindi film.films to be relatable beyond national and linguistic boundaries. that demands linguistic and cultural affinity through these films. BIBLIOGRAPHY AND REFERENCES: .

Madhava Prasad .www.pdf .com/inde x.adclubbombay. ninth impression 2011 2.1.php? option=com_content&view=article&id =3224:surrogate-advertising-inindia&catid=144:editorial&Itemid=175 4.M.ascionline. Oxford India Paperback.org 3.http://apapaonline.org/data/National _Data/India/Country_Profile_Alcohol_In dia.Ideology of the Hindi Film: A Historical Construction .ucsf.ed u/pdf/BurningBraintobaccoinmovies.pdf 5.http://www.smokefreemovies.http://www.