Archive for July, 2011

Katha Centre for Film Studies and the India Foundation for the Arts in association with the Chhatrapati Shivaji Maharaj Vastu Sangrahlaya (formerly Prince of Wales Museum) invites young cinephiles, film scholars, artists and students for its second Workshop on Film Curatorial Practices.

FILM CURATING is concerned with a more evolved understanding of the moving image. Film and video are artistic mediums – much like what canvas and brush are to a painter. Today, both filmmakers and visual artists work increasingly with the medium of the moving image to make their art works. In addition, museums and galleries are increasingly exhibiting moving image work – experimental film and installation; and video art and video installation. It is this artistic and aesthetic understanding of the moving image that the Katha Centre for Film Studies is looking to develop through its workshop on Film Curatorial Practice

The WORKSHOP aims to equip young film enthusiasts with specialized knowledge about and around the idea of Film Curation. It will also give them an opportunity to interact with established practioners and academicians, and engage with them in a cinematic discourse centered on film curation.

WORKSHOP : This workshop series is a part of a four-year Curatorship Programme conceptualized by India Foundation for the Arts (IFA) in collaboration with select institutions from across the country. This Curatorship Programme is funded by the Jamsetji Tata Trust.

The workshop will create a platform to represent, think and debate the following:
· Curatorial research methods
· Curatorial writing
· Practical aspects of curation
· Context specific curation
· Different ways of engaging with audiences
· Critical understandings on the history of film criticism and curation

– For the second workshop, Katha Centre for Film Studies has engaged distinguished practioners, filmmakers, curators and academicians – Madhusree Dutta, Gargi Sen, Bina Paul, Amar Kanwar, Shai Heredia and Moinak Biswas.

DATES : Last date for receiving Applications: 10th August, 2011.  Workshop: 22nd-26th August, 2011

VENUE : Chhatrapati Shivaji Maharaj Vastu Sangrahlaya, Mumbai

HOW TO APPLY:  You can send : 1) A copy of your latest Resume 2) The application form to

EMAIL: katha.film@gmail.com with “WFCP 2011” in the subject line

or By POST:  Katha Centre for Film Studies, A102, Sumeru, MHADA. SVP Nagar, Andheri West. Mumbai 400 053

FEES : For the 5-day workshop, there is NO registration fee. During the workshop,  breakfast and lunch shall be provided. Travel expenses and stay of participants coming from cities other than Mumbai would be taken care of by Katha Centre for Film Studies.

– Write to katha.film@gmail.com for the application form.

– To know more about Katha Centre of Film Studies, click here. And to know more about IFA’s Curatorship Programme, click here.

– For any queries, you can contact them here on FB or contact Svetlana on Twitter.

Like in Hollywood, this is the year of 2,3,4 in Bollywood too.  Murder 2 is still going strong at the box office, and now the first trailer of Don 2 is out. And it seems D2 is going to be exactly like the earlier Don. The film is directed by Farhan Akhtar and stars Shah Rukh Khan, Priyanka Chopra, Lara Dutta, Kunal Kapoor and Boman Irani.

Tigmanshu Dhulia is back, again. And we are again hoping that this time he will be back as the good ol’ Dhulia. Not the one who directed Shaagird. Even as his last film Paan Singh Tomar is yet to get a theatrical release, trailer of his new film Saheb Biwi Aur Gangster is out. It stars Jimmy Shergill, Randeep Hooda and Mahie Gill.

Remember Parvin Dabas? Yes, the actor is now director. And remember Preeti Jhangiani? She is now producer, and they are married. Here’s the trailer of directorial debut of Dabas, Sahi Dhandhe Galat Bande.

Sometimes it’s quite a difficult task to find the right word to describe a person. And when i can’t rely on cusstionary any more, i take the easy way out. Coin a new term. So we have dodos, then we have ch#@ths, and when someone is beyong all these, I have coined a new term for them – Dodooth (D+C). If you click here and read this column called Reflections, am sure you will agree with my idea of Dodoothness.

Nothing is original, this logic is as old as Adam & Eve. And that doesn’t that mean there is nothing called copyright and IP. Strange that we have so much news space in this country that all kind of garbage is dumped in the name of journalism. And even in this weird dodoothness,  it’s hard to believe that Ram Sampath managed to win a copyright case against Rakesh Roshan. Thank God, the Tutejas are not in the judiciary system of this country.

And here is @diaporesis‘ reply to Mr Tuteja’s Reflections.

Mr Tuteja, your article is entertaining. Can I sell it as mine?

Sometime yesterday, Bollywood Hungama, the trade-portal masquerading as review site, happened to accidentally publish a page from Joginder Tuteja’s personal diary. In it, Mr Tuteja, coming to terms with what is, presumably, a speech disorder, explains at length how he has difficulty pronouncing words such as चुग्येओग्जा(please leave eyjafjallajokull for greater gods) . Even though the piece appears to be a legitimate article meant for the general public’s consumption, do not be fooled. It is quite clear that the man is writing to himself.

Here’s an example of his pitiable rant to his Dear Diary:

“Ok, now think of a film called The Chaser, the literal English translation (I guess) for the Korean word on which you just gave up. Yeah, The Chaser; not Chase, Chastity or Chatur. It is plain and simple – The Chaser. Can’t think of any, right? Well, why don’t you try hard.”

As you can clearly see, our delusional diary-writer is addressing himself. He has never heard of The Chaser and conveniently presumes that the rest of the world is as ignorant as he is.

Without going into the details of why such rants (because the entire piece is, overall, a rant and not argument) make no sense, I pose a simple piece of logic before you: if nobody has heard of the movie (extending his logic), how did the comparisons arise in the first place?

At a slight tangent, my gripe with Mr Tuteja’s argumentation is the way in which he cannot produce reasonable arguments to even convince himself. Through most of the piece, Mr Tuteja’s words flail like a broken pieces of a raft on a stormy ocean, alternately despairing and alternately cursing the sea for being so watery. For example, in his piece he says that he’s still trying to locate a certain DVD therefore others couldn’t have seen that movie either. In the next few lines he mentions how piracy is rampant. Um, Mr Tuteja suffers from a joining-the-dots disability as well?

He does not stop at his pitiable laments about his inability to pronounce a certain word. He goes on to prove that he’s unable to employ the faculties of logic and reason as well.

I need not go about arguing against Mr Tuteja’s endorsement of plagiarism. But I do have three serious charges against him: 1) He seems to think it’s fine to copy works of art as long as it’s done entertainingly. I’d love to see his reply to the title of this piece as far this point is concerned. 2) He totally discounts the fact that original creations, however raw, are always more rewarding for the masses and the makers. Ask Anurag Kashyap or Dibakar Banerjee and their fans for evidence. 3) He claims that because he isn’t the thief, he’ll gladly visit a thief’s home and admire the valuable pieces or art etc he has stolen. I, for one, do not even want to provide further arguments about why this is such an asinine argument. Moreover, he goes on to say 99% of us think like him. Really, 99%? Where does he get such fantastic numbers from?

In his rather dreamy rant, he also claims that QT said Kaante was better than Reservoir Dogs. I will save my breath and point you to this piece that Mr Tuteja presumably refers to and challenge you to prove his claim correct.

Dear Mr Tuteja, your arguments are bullshit anyway. You get paid to write about movies that earn lots of money. Not movies per se. There’s a huge difference. Understand that. Appreciate the work of other knowledgeable, hard-working critics who, in India, undergo unfair trials by fire when they praise cinema that is meaningful, honest and well-made rather than crass entertainers that you promote. We can agree to disagree about what cinema should be. But at least, please, get your facts right. Especially when you’re addressing yourself, learn to be honest.

The last point I wish to make is about movies that deserve to be seen but perhaps aren’t seen because viewers assume that since the remakes were shitty, so were the originals. This is far from the truth. Take Oldboy as an example. Zinda was, at times, a frame by frame copy of the movie. But it was an exceedingly passable piece of cinema. Oldboy, on the other hand, is a rivetting and nerve-wracking film that shakes you by the guts and stuns you into shocked silence: an accepted masterpiece of modern Asian cinema. I don’t mind our filmmakers looking for “inspiration”; my problem is that they don’t accept that they looked for inspiration. And, Mr Tuteja, there’s a reason why “inspiration” and “plagiarism” are two different words. Let me point you to dictionary.com if you lack the usual Oxford at home.

As for you, dear reader, spare yourselves the pain of anger. Be kind to him. He knows not what he writes.

And Mr Tuteja, henceforth, please keep your diary private. We cannot be bothered by you being dishonest to even yourself.

Shubhodeep Pal

(I really shouldn’t add a disclaimer to this piece, but here goes: My own views, my impressions, my right to express them. Not intended to slander etc etc.)

( PS – Shubhodeep blogs here. )

(PS1 – Dear Mr Tuteja, you don’t need a dvd to watch Miracle Worker. There is popular site called youtube.com. Little googling and youtubing doesn’t harm anyone. So click on the play button and enjoy.

(PS2 – This is not the first time that Mr Tuteja has made it to our blog. Click here to read about his other credential. As they say, honhaar birwaan ke hoth cheeknay paat.)

The first trailer of Pankaj Kapur’s director debut Mausam is out. The film stars Shahid Kapoor and Sonam Kapoor in the lead and promises to be a “timeless journey of love”.

Yashraj Films is ready with a new film – Mere Brother Ki Dulhan. The film stars Imran Khan, Katrina Kaif, Ali Zafar and is directed by Ali Abbas Zafar. Strangely similar stories have been explored in Dan In Real Life and Onir’s Sorry Bhai.

Experimental, obscure, tangential, inaccessible and over indulgent. These are just some of the adjectives commonly used to define the cinema of Mani Kaul. If you ever tried watching (or watched) any of Kaul’s film, you will understand what these adjectives mean. And if you haven’t, then you must give it a try. Because if artists don’t indulge, experiment and  go off tangent, then who will? The result might be inaccessible for the majority but when has the majority ever voted for anything that’s cult.

And the bigger problem is to find the resources to figure out what Kaul tried to say through his cinema. Thanks to our lack of interest in any kind of artistic documentation, we have access to best of cinema from across the world, but we don’t know where to look for the desi ones. So, in this post we are putting all the links related to Mani Kaul. If you have any, do comment or let us know.

Kaul’s essay – Beneath the surface: Cinematography and Time

The Films of Mani Kaul by Just Another Film Buff. Quite elaborate post that covers Uski Roti, Duvidha, Satah Se Uthata Aadmi, Dhrupad, Siddheshwari, Nazar, Naukar Ki Kameez and Een Aaps Regenjas (A Monkey’s Raincoat).

Filmmaker Sudipto Chattopadhyay’s tribute –  The Magic Of Mani Kaul.

Kaul’s documentary Dhrupad in seven parts.

His short film The Cloud Door.

MUBI’s page on Mani Kaul and his films.

Mani Kaul’s interview in Tehelka and another interview.

Short film Arrival – Part 1 and Part 2.

Profile of Mani Kaul and his movies on Upperstall.

Excerpts from Satah Se Uthta Aadmi which was screened in Cannes’ Un Certain Regard section – click here, here and here.

Understanding Mani Kaul and his films by Devdutt Trivedi on DearCinema.com

Shubhra Gupta’s column His Visuals Talked.

Girish Shahane on Kaul and his cinema on his blog  Shoot First, Mumble Later

Ode To A Guru by Bina Paul, Artistic Director of the IFFK.

An Interview with Mani Kaul by Tushar.

To Mani With Love by Neville Tulli.

RIP.

Starring Mahie Gill and Deepak Dobriyal, the film is inspired by the Maria Susairah-Neeraj Grover case. Directed by Ram Gopal Varma, the film is “cinematographed and edited by FX School”. Can someone please explain this to us?

 

There was Ashutosh Gowariker’s dud Khelein Hum Jee Jaan Sey, and now there’s Chhitagong by Bedabrata Pain. Both the films are based on the same incident. Written by Bedabrata Pain & Shonali Bose, it  stars Manoj Bajpayee, Raj Kumar Yadav, Nawazuddin Siddiqui, Barry John and Dibyendu Bhattacharya.

Here’s the first look. It doesn’t look like official trailer though. Too long to be a trailer, must be showreel for distributors or something like that.

And here’s the official synopsis…

Set against the backdrop of a little known saga in 1930s British-occupied India – where a group of schoolboys and young women, led by a schoolteacher, Masterda Surya Sen (Manoj Bajpai) dared to take on the Empire – CHITTAGONG is the story of a diffident 14 year old boy, Jhunku (Delzad Hiwale). Swept up into this seemingly impossible mission, the reluctant teenager battles with his own self-doubts to achieve an improbable triumph.

The film is a riveting action-drama, made more so by the fact that it is true.

If Rangan can, why can’t we? So, here it is. All in bullet points.

  • Dil Chahta Hai released in 2001 and this year marks the 10th anniversary of the film. My friend Kartik Krishnan is among those counted few who doesn’t like the film. First grudge – three guys who don’t even say bhainchod. Not even once. While the rest of us claimed it to be new bollywood’s coming of age film, KK still believes DCH is NOT us. Delhi Belly scores there at least. It took 10 years for three friends to come together and say bhainchod. Oops, three came for Rock On and three more are coming soon for ZNMD too. But that’s trilogy from Farhan Akhtar brand of cool and confused characters’ coming of age without the cuss words .
  • In order of their appearance – Fucking, fucker, balls, dick, chooth, bainchod, bastard, fuck, chootiye, gaand, asshole, dumbfuck, teri maa ki, bhosdike, gaand marane.  I hope these words are not new in your cusstionary and you don’t giggle every time someone says balls. Because in Delhi Belly, it’s all there. Seems I missed “thevidiya” – tamil word for whore.
  • So what’s your mother tongue? And is it the same as the language you speak everyday? No, right? Well, that’s the case with most of us. English is not a phunny language any more, desi characters talking in English is phunny. Or at least bollywood made it phunny. Add Rahul Bose and it’s super funny. Remember Before The Rains? Delhi Belly scores here too. The film is in Hinglish, which seems natural for a film like this, and the actors are comfortable in it. No accent too. Like us, they walk, talk and sleep in Hinglish without any kind of baggage.
  • No interval. This is about 96mins long. But since we contribute to the revenue more via cold drinks and popcorn, am sure the theater will keep on reminding you about this. Buy, buy, buy. Not every producer can demand a no-interval screening. And even if they demand, nobody will care to listen. With Aamir, it’s a different game. You Don’t Mess With Aamir. Nobody will say it but that’s the truth. Even for Dhobi Ghaat he managed to screen the film without interval. A refreshing change, hopefully others will follow soon, and hopefully we will still keep on contributing to coke, samosa and popcorn so that the theater revenue doesn’t go down.
  • And the movie? 3 guys, 2 girlfriends, 1 husband, his ex-wife and 1 Don along with some really good character actors in small roles. Stool sample and diamond pack gets mixed up, lots of confusion and farts of every possible kind, some cuss words, few kisses and bhag D K Bose. It’s nothing that you haven’t seen before but in a country where it’s difficult to think of one good film which released in the last six months and has repeat value, even a timepass entertainer scores high.
  • Shehnaz Treasurywala has lost her “wala” but her treasury is very much intact. She is still selling “peek-a-boo-b”. Remember MTV’s Most Wanted where she would come close to camera, bend a little and you could feast your eyes? Well, she does the same in at least 2 scenes.
  • For a person with a weak tummy, the farting sounds were really uncomfortable that kept on reminding me that I might need a loo break soon. Luckily i survived.
  • If you are looking for layers, I would suggest you go for Buddah Hoga Terra Baap which should be having layers and layers of make-up.
  • Dear Aditya Roy Kapoor, Y U NO GO TO KUNAL ROY KAPOOR SCHOOL OF ACTING?
  • Is it the same Abhinay Deo who directed Game? Again Aamir Khan will walk away with the credit.
  • Dear Cunnilingus, welcome to Bollywood. No, knowing you doesn’t make us look cool but it just validates your existence. Good luck on the debut. Hope you survive.
  • Dear Akshat Verma, hopefully you get to direct your next one. I know you wanted to direct this one.
  • Shock value? That’s just the marketing pitch, there is nothing shocking if you have been to Chan-Wook Park’s school of incestous studies. or even if you know Lars Von Trier.
  • 90minutes. No songs (Ok, almost no songs). No interval. Adults only.  It works. Watch it.

(PS – Was there more to Vir Das’ love story? Chop-chop at Khan’s editing table?)