Archive for March, 2012

If you have been a regular follower of this blog, you surely know about Subrat. If not, you can read some of his old posts here, here, here and here. So as we all discussed Kahaani, we realised there’s more to it. And who better than our favourite Prof. Saab to do the dissection. Was it just “if you can’t convince them, confuse them”? Or was there more?

Read on, scratch your head and do put your comments. And read only if you have seen the film. Otherwise it wouldn’t make sense. SPOILER ALERTDON’T GO AHEAD if you haven’t seen it yet. Go and watch the film and do come back. It will be fun!

It is a rare film that receives both critical acclaim and box office success. Kahaani seems to have managed that. The central cast and the editing have earned well deserved praise. Kolkata has been lovingly shot and, as many reviews have noted, is almost a character in the film. A lot of people have called it a taut thriller. This is where our paths diverge. For me, Kahaani is as much a taut thriller as Golmaal – 2 is a cerebral comedy. I admit it was nicely paced but a taut thriller has to satisfy a more fundamental criteria – the plot should make sense. It didn’t make the cut for me. I have watched it only once and I am ready to admit I might be wrong on this. I guess the best course of action is to put my reservations on the plot here and seek your responses. I have left out a couple of issues that have been discussed on other blogs which bothered me as well; namely, Vidya’s recollections of her husband had Milan Damji and the fact that Vidya was introduced as Vidya Venkatesan Bagchi at the start of the film. I can live with these as I did with such chicanery in that other ‘taut thriller’ A Wednesday.

 1. Please help me explain the motive of Bhaskaran (Dhritimaan), the IB Chief. He was complicit with Milan Damji or may have even been the kingpin. Why did he then send Khan (Nawaz) immediately to Kolkata the moment he heard someone enquiring about Milan Damji? Nawaz is portrayed as a competent officer and wasn’t complicit. So, why was he digging his own grave by sending him over there? Instead, he should have been trying to provide as little help to anyone trying to enquire about Milan Damji.

2. Why did Bhaskaran approach Darshan Zariwala (the retired IB officer who had trained Milan) and ask him to come back to IB to nab Milan? Not satisfied with #1, he wants another of his good officers back to get hold of Milan Damji. Don’t tell me he was keeping up the appearances so that no one suspects him. This man seems to be suicidal.

3. What kind of investigation had Nawaz done the first time around? He hadn’t even spoken to Agnes (the HR lady of National Data Centre). Had he done so, he would have found the dusty file of Milan in that old, abandoned office and his address long ago. Didn’t Darshan Zariwala know anything about Milan while training him to help Nawaz in his investigations? I mean before Milan turned against the system, the IB should have had a good idea of where in Kolkata was he staying etc.  Also, why was Milan Damji working in National Data Centre under his real name?

4. After hacking Shridhar’s computer and copying all the files, the only file that seemed odd was the file that Bhaskaran’s number stored (ha ha) cryptically. This file had Bhaskaran’s number in an alphabet code. Shridhar could have stored Bhaskaran’s number in his own phone and named it ‘chimpu’ for all I care. And, what’s wrong with Shridhar having Bhaskaran’s number. After all, the IB seemed to have been sending their officers to NDC quite frequently and it’s normal for Shridhar to have known Bhaskaran. So, how did Nawaz conclude only the basis of that stupid cryptic code that his boss is the brains behind it all? And, that moment when Nawaz dials that number and find ‘Bhaskaran Old’ flashing on the mobile screen was classic. It was that ‘Sirjee’ moment of Kaho Na Pyaar Hai (another ‘taut thriller’?)

5. Didn’t Nawaz keep his boss in the loop during his stay in Kolkata? Then, Bhaskaran would have known that Nawaz is now using a pregnant woman to get to Milan Damji and eventually to him.

6. Why was that HR lady who replaced Agnes so happy to help Vidya and Rana in sneaking into Shridhar’s cabin? She knew the previous incumbent (Agnes) was shot dead after trying to help Vidya. Another suicidal character? And, what kind of a IB haunt is the NDC where there is a lone guard at the entrance while there’s a rear exit unguarded?

7. Why did Vidya kill Shridhar? It was made to appear she did it deliberately so that he wouldn’t be interrogated by the IB directly. But, Vidya and Rana were originally planning to hack into the computer, steal the data and scoot. In which case Shridhar would have lived and Rana (who was working for Nawaz) who would have asked Nawaz to pick him up for interrogation. It was Shridhar who had made sure he would get a message in case someone hacked into his system. This led him back to his office and then to chase Vidya and Rana. It was a convenient thing to show that Vidya planned on killing him when she had no control on Shridhar chasing them after they had hacked into the system.

8. How was Bhaskaran convinced that Vidya had gotten some files from Shridhar’s computer that would lead her to Milan and eventually to him? Why would then Milan come for collecting those files?

9. Why did Bob Biswas kill Agnes? She knew nothing and all she would have gotten is an old file of Milan Damji that would have shown to Vidya that Milan looked like Arnab Bagchi (which she knew) or Milan’s address in Kolkata. In any case, if Bhaskaran was the one ordering the hit (through Shridhar) they should have known there’s hardly anything more Agnes would know about Milan (after all, Shridhar worked in NDC) so what was the point in shooting her. Also, didn’t Shridhar know that there were old employee records that might have Milan’s document in them? It seemed silly not to get hold of it when they were covering Milan’s tracks

I can go on with a few more. May be you have the answers. May be we should all make leaps of imagination to bring credibility to the plot. May be I should watch Kahaani again. May be, one day, we will make a genuine taut thriller.

The theatrical trailer of Habib Faisal’s new film Ishaqzaade is out. It stars debutant Arjun Kapoor (Boney and Mona Kapoor’s son) and Parineeti Chopra. The credits include Hemant Chaturvedi (DoP), Amit Trivedi (Music), Kausar Munir (lyrics) and Aarti Bajaj (editor).

Aha, who would have thought that one day even Yashraj Films would step into such dusty terrain. And not chiffon-ed too like they did with Bunty Aur Babli. That’s a refreshing change. Plus the distinct sights and sounds of the land. The guy looks confident and the girl scored big in a small role in Ladies Vs Ricky Bahl. Now bring it on!

There’s no official synopsis yet but here’s what the official release says…

Rising from the ashes of hooliganism and small town clan wars, comes the love story of a passion ignited by hatred.

Of two people. Born to hate. Destined to love.

One kingdom. One throne. Two wild animals… unpredictable Parma… ferocious Zoya. A battle… deafened by sounds of hate, revenge, bullets and deceit.

A story… about two fiery bloods played by Arjun Kapoor and Parineeti Chopra, and their fight for power and supremacy.

A story about love brewing in a small town burning with hatred.

A story called ISHAQZAADE.

In today’s VOTD we have not one, but three videos. First is the promo of The Ghanta Awards which is happening on this Saturday (17th March) at Comedy Store, Phoenix Mills at 6pm. Sung by Kumar Sanu and made in Allahabad.

 

The Ghanta Nomination list is here. And you can buy the tickets here and here.

If Ghanta is here, can Samir Karnik be far behind? His latest release is Char Din Ki Chandni which has been rated zero by Rajeev Masand. That’s a rare feat. So here’s Karnik in angry-young-man-who-makes-terrible-films avatar.

A better and longer version of the video is here.

And the last one – a nice little interview of Imtiaz Ali done by his daughter Ida Ali.

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Last time when we met Imtiaz Ali to discuss Rockstar, there were many conspiracies and accusations. But since some of you appreciated our effort, we thought let’s try it again. This time it was done in a bit formal way. Film was Paan Singh Tomar, guests were Tigmanshu Dhulia (Director) and Sanjay Chouhan (Writer). Location – PVR, Juhu.

To get more time for Q & A, PVR helped us by cutting down the time for commercials, making the interval much shorter and delaying the next show by few minutes. But even then we could hardly manage some 20minutes of interaction. Because even the next show was housefull and people were getting desperate to get in. So we quickly wrapped it up and went outside. Aha, back to the stairs. And a filmmaker really needs a cigarette in his hand to open up. Watch the two videos and you will get what i am saying.

I saw the film on friday morning with just 15 people in the theater. And then i saw it again on wednesday night. This time it was a housefull show. A good film finding its audience is a great feeling.

And many thanks to Anurag Kashyap, Shiladitya Bora and PVR Cinemas for making it possible.

Pics – Priyanka Jain

Videos – Sumit Purohit and Manu Warrier. Edit – Sumit Purohit.

And here are pointers to some priceless gems –

00:47 – I needed an actor who could give me more than just his dates.

03:33 – Hum log ab mombatti na uthayein, bandook utha le.

04:25 – Koi research fund karne ke liye tayyar hi nahi tha.

04:40 – Actually yeh picture Vikas Behl ke wajah se huyee hai………..aaj us aadmi ko (credit) nikal diya hai unhone.

05:45 – Mad woman in the mayhem – Boss, yeh main karoonga. (Jo Shekhar Kapoor ke film se kat gaya tha.)

07:03 – Irrfan ne apne paise aadhe kar diye. Maine apne paise aadhe kar diye.

08:22 – Meri kisi picture me itne zyada darshak nahi aaye hain.

11:20 – Hum sabse galtiyaan ho jaati hai.

13:20 – Aapke sanskaar bolte hain yaar.

18:16 – Is society me hero kahan hai yaar?

20:13 – Aaj bhi duno cheeks me ched hai uske, woh zinda hai.

And if you enjoyed the first part of the video, you must watch the second part of the video.

It started with Rockstar. We went to see the film and then came out, sat on the stairs of Cinemax, Versova and discussed the film with its director Imtiaz Ali for next three hours. If you haven’t read the post, it’s here. The idea is to create space and platform for discussion with filmmakers after we have seen the film. Pre-release buzz is all fine but we rarely get to hear them post-release.

Last time it was completely informal. This time we are trying to do it in a bit formal way and as always, with the help of filmmaker Anurag Kashyap who will also be there. The film is Paan SIngh Tomar, one of the best reviewed films in recent times. So here are the details…

Film : Paan Singh Tomar

Venue : PVR, Juhu

Date : Today (7th March, Wednesday)

Time : 8pm show. We are hoping it will get over by 10pm and we will have 1hour time for discussion as the next show is at 11pm.

Entry : Since it’s a normal screening and discussion will be inside the auditorium, do book your tickets.

Tickets : Rs 150. You can either get it from the counter or book it at www.pvrcinemas.com

And thanks to PVR Cinemas and Shiladitya Bora for all the help.

See you there!

Govind Nihalani and animation film? Why not? And so there’s a film called Kamlu. We had read about it but had no clue that it’s already complete. It’s about a baby camel called Kamlu who wants to fly. The first theatrical trailer is out.

This looks like any other desi animation film – as good or bad. Will our animation films ever look like theirs? And at a time when we are used to Pixar, is there a space for anything substandard? I doubt. What do you think?

Tip – Gazal Dhaliwal

We are desperate for comebacks. And we are quick to dismiss too. All it takes is just a status update or 140 characters.

When Tigamanshu Dhulia’s last film, Sahib Biwi Aur Gangster released, it was the usual hype on the social networking platforms. As if friends, family and colleagues were dying to put that “comeback” tag on him. The film had it’s charm but it was nowhere close to what it was made out to be. The usual suspects tried the same with Ramu and his Not A Love Story. To put it mildly, that was unadulterated garbage in every way.

But, this is what a comeback looks like – Paan Singh Tomar. Ironic that the producers (UTV) had to sell the film as “from the director of Sahib Biwi Aur Gangster”. May be it wouldn’t have got a theatrical release even if it wasn’t for SBAG’s success. The film has been ready for quite sometime (about two years). They sent it to few desi festivals in USA where the general feedback was “Irrfan is good, film is bad”. News started doing the rounds that UTV was planning to dump it on tv along with some half a dozen other films. Then SBAG happened. Some strings were pulled, a release date was quickly announced and without much pubilcity or promotions, the film was released.

Those who have seen both the versions of the film, they said that music has surely been changed. But how much can just the “background music” change the film? No clue, not sure.

I went to see the film FDFS. Just because of that actor called Irrfan Khan. Or just Irrfan. Seems he has dropped his surname. Good, we have too many of them in this industry anyway. When i entered the auditorium, it felt like it was going to be a private screening only for me – the luxury that makers provide to few critics to give a bloated sense of being important and score some brownie points. Slowly some dozen people turned up including a director whose film has recently released.

The film opens with Brijendra Kala, an actor who is a delight to watch – the desi Bill Murray who knows his deadpan too well. As Irrfan narrates his story to Kala, it goes into flashback and we get to see the story of Paan Singh Tomar. I have been often told that narrating a story to a character to get into flashback is the worst device in a film. But with two terrific actors in the frame, they make everything mundane look so interesting. There are just counted few scenes between the two, but that thing called chemistry, well, it’s found in strange places between stranger people.

I have always felt that the mark of a good director is in the casting of those actors who have just one or two lines to deliver. You go to watch a film because of the lead actors but you come back home with those “character actors” who steal the show. This is where Paan Singh Tomar scores again. Even Zakir Hussain and Mahie Gill are so impressive in such small roles. Though it seems Nawazuddin had more to do in the film and it was edited out later on.

Paan Singh Tomar is the Tigamanshu we knew, the one we wanted to see again after Haasil. The director who could take us to a new place, away from bollywood where he knows the terrain, its politics and dialect well. Written by Sanjay Chouhan with dialogues by Dhulia, it captures the sound and soul of that barren land with a dose of black humour – a rarity in this industry. So when i saw his other film Shagird, i could not believe it was the same director. From one extreme to other – how could one go so far? As a screenwriter who saw the film with us  said, this is Race for intellectuals.

Welcome back, Tigmanshu. It’s been long.

And Irrfan? Well, he can do anything. Just anything. No wonder he is the only Khan they know in the west. It’s our bad luck that he is born in a country and at a time when we are obsessed with the weekend numbers and 100-crore mark, and we don’t make films that can’t justify his talent. Forget films, we don’t even dare to put him on magazine covers. I hope and pray that in your next birth you get a better place which knows how to respect talent.

The actor doesn’t need lines, his glances pack a punch. In the scene where he comes to meet his son and asks him not to touch him, when his son leaves and he looks around, that glance stays with you long after you have left the theater. Much like that awkward hug with his son’s girlfriend in one of my favourite films of all time, Namesake. He is about to hug her, she is about to kiss, and then that slight bend, slow movement and a strange look on his face. He can play young, can play old and even a father of a young man in the same film. He can run and romance with equal ease.

Only weird thing about the film is that it leaves you with a strange vacuous feeling – Not sure how you react to the character in the end. It keeps you engaged through the film but doesn’t hit the spot in the end which you desperately want it to.The emotional hook? Or may be just a bit of empathy.

As for Paan Singh Tomar, in other part of the world the most famous runner’s mom told him that life was like a box of chocolates, you never know what you’re gonna get. This side, we are sure about one thing – there’s no box, there are no chocolates and life is just a race which you must complete.