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By: Tom Hopkins

The story of Jamal Malik, an 18 year-old orphan from the slums of Mumbai, who is about to  experience the biggest day of his life. With the whole nation watching, he is just one  question away from winning a staggering 20 million rupees on India’s “Who Wants To Be A  Millionaire?” But when the show breaks for the night, police arrest him on suspicion of  cheating; how could a street kid know so much? Desperate to prove his innocence, Jamal  tells the story of his life in the slum where he and his brother grew up, of their adventures  together on the road, of vicious encounters with local gangs, and of Latika, the girl he loved  and lost. Each chapter of his story reveals the key to the answer to one of the game show’s questions. Intrigued by Jamal’s story, the jaded Police Inspector begins to wonder what a young man with no apparent desire for riches is really doing on this game show? When the new day dawns and Jamal returns to answer the final question, the Inspector and sixty million viewers are about to find out…

This sort of headlong melodrama has long since dropped out of fashion in our irony-drenched age, and some audiences, I’m sure, will turn up their noses. There have been grumblings that the film’s just too pretty, and that a movie about India directed by an Englishman can’t be taken seriously. Allow me to float the idea that it’s possible to talk yourself out of intense moviegoing pleasure.

And “Slumdog Millionaire” is a pleasure, as Jamal negotiates every obstacle before him (including, in one nerve-wracking turn of events, a psychological showdown with Kapoor’s preening host), and teeters between intelligence, luck, and a destiny that he has in large part made for himself. In his story, the movie implies, is that of an entire modern nation. After the dust has settled, the Bollywood dance scene that explodes under the closing credits feels both incongruous and earned: Young India kicking up its heels.

All through the hills and valleys of chance, Jamal’s fellow orphan and eternal soul mate Latika (played as a young adult by Freida Pinto) shines as goodness incarnate, even when she’s under the thumb of a local gangster. The predestined young lovers are more archetypes than people, though that won’t matter to most viewers just along for the ride. Boyle and his cinematographer go for the pictorial dazzle every chance they get. Boyle’s one hell of a craftsman, but his attack has its suffocating side.

Adapted very freely from the Vikas Swarup novel “Q&A,” the screen version changes everything from character relationships to most of the major dramatic incidents, while tripling the crisis quotient. Most of the political and religious strife in the novel is replaced by a generic riot (“They’re Muslims! Get them!”), and the movie is content to stick with the apolitical, non-religious and controversy-free message that Destiny is Destiny, and a walloping crowd-pleaser is a walloping crowd-pleaser.

Boyle knows how to package and sell all kinds of tall tales, from “Trainspotting” to “28 Days Later” to “Millions” to the flawed but beautiful science fiction drama “Sunshine.” I had the same reaction to “Slumdog Millionaire” both times I saw it: admiration, plus resistance to the most manipulative bits, followed by resistance to my own resistance. After last year’s black-hearted “No Country for Old Men,” the Oscars may well be in the mood to embrace a fairy tale sampling every imaginable genre, with a note of triumph accompanying even the worst suffering, capped by the snazziest ending money can buy.