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VOTD : 70mins of Charlie Kaufman

Posted: March 4, 2011 by moifightclub in Hollywood, VOTD
Tags: ,

what else do you want ? And it has some priceless gems too. Like this one about Being John Malkovich – I described the tunnel in the script as vaginal and Spike made it Anal, not exactly what i wanted but now it’s all water under the bridge. Click on the play button and enjoy!

And if you don’t have time to watch the entire video, here are some excerpts from the interview…

Formula – ….It doesnt appeal to me to have a kind of formula for writing anything. Some people like it and it helps them. So i am not going to tell people to no to do it…..am not interested in going in with any kind of framework because it inhibits the possibilities for me.

Adaptation – The main character in the movie is the screenplay itself….from its initial evolution  of the screenplay to its ultimate corruption….that is the tragedy of this creature that is the screenplay….he never was able to make a movie about flowers….Donald represents a corrupting influence..he is a nice enough guy….probably much nicer than Charlie but i don’t think he is helping matter.

Hollywood Romances – It has been damaging to my relationship at least..i can talk about myself.. it sorts of set up unreal expectations and which you then project onto your partners and it just destroys the possibility of any kind of actual conversation.

Taking Risks – I think if what you are doing doesn’t have the possibility of failing, then by definition , you are not doing anything new. That’s  really the way it is. And if you know how to do what you are doing and/or you have seen it done before, then you are not doing anything. So, the only way you can do anything new or interesting is to open up yourself to the risk of failing. And in that sense, I try to look at success and failure both as neutral thing. It’s hard and am not always successful in accepting failure but I feel that I need to keep reminding myself of that…this is the only way it will be worth anything at all…..May be, won’t be….But it definitely won’t be if i don’t do that.

Characters taking themselves seriously – People take themselves very seriously and their struggles are very serious. Life is hard and everyone’s got a struggle. May be, that’s sort of who  I am too…I am not a carefree person….May be so I don’t write carefree people because of that…I don’t know….wish i were.

Synecdoche, New York – I made that movie and I also didn’t understand what was going on there.

Stories – I am not really interested in stories because stories are things that are kind of  have polished end…and seen from a distance….and i want to do things which feels like I am immersed in it when i am working in it….and the audience will experience that immersion and that chaos  and confusion of actual existence as opposed to a story with beginning, middle and end….And a kind of distance, perspective and life lessons that doesn’t really seem to be part of moment to moment  of life that i have….Does that make any sense ?

Direction – I think I have opinions about visual things, about aesthetic things, have lot of interest in paintings and compositions….am novice when it comes to technical stuff of cinematography…..i think all you really have is your opinions.  That’s what your value is….as a director you hope you have good opinions…people will show you stuff and you hope that you like the good stuff.

Money – ….there is lot of “trying to get money” in my life.

Writing – I just add more ideas…when I am writing I generally don’t have an outline that I have to get from this point to this point….I find that kind of constricting..So I like the thing to develop the way it develops. If I have a new idea that excites me, I will include it if i can.

Why John Malkovich ? – It’s funny to me. That’s really the only reason. I can tell you why it is funny but i don’t know if that will matter….when i was writing this script i wasn’t planning on this movie ever getting made, so i could make it whoever i wanted. When Spike came on board, we thought we could get it made and we didn’t have John Malkovich yet, we had to think of other people and possibilities and my instincts were confirmed because we could not come up with anybody who worked as well as John Malkovich.

Struggle – It’s harder when you are trying to do your own thing and then they don’t see a precedent for it…Its harder to get in….It took me over 11 years from the time i left college to my first writing job. It just wouldn’t happened…..what happens is that more people see you are stuff, you get to talk to people, the greater the chance that you will hook up with somebody who gets it and wants to do it…..so perseverance, and if you believe in your stuff then you should do it and continue to push for it.

Writers/Directors/Hollywood – …there is the auteur theory that confused everyone for a long time…..writing in Hollywood is not really important….It’s proven again and again….those who market movies and make movies, they don’t need writers….the worst movies with the most problematic scripts become the most successful movies….then you see that  writers aren’t important.  But directors have a visual language and some of them are celebrities and big names too.

Q. Inception – My friend said that Inception was like a James Bond film written by Charlie Kaufman. what do you say ?

A. …..i have to be very careful about it……(silence)…..i don’t know…(long silence)….You know the weird thing is you cannot say anything anymore anywhere without it appearing online. So i am not going to say anything anywhere anymore.

Q. What is your reason for making/writing films ?

A…..I think its something that i always wanted to do as a kid..it always excited me..the make believe world….its my job….am trying to pay a mortgage and i like this particular kind of job, and i guess it defines me or it helps me feel defined..may be i have something to prove..terrible reasons ? …..i don’t know…why i do it..i don’t know what else  i will do…it sounds bad, right ? I mean, i kind of like it sometimes but sometimes it’s really hard, it’s a struggle and i get depressed. But i will probably get depressed being a homicide detective.

End note – But i do want one more question because there is absolutely no more way that i am going to end on that question…that was like yeeeawwkkkh. Make it something nice, i don’t want to end on that question.

Tip – Jahan Bakshi

Goga Kapoor RIP

Posted: March 3, 2011 by moifightclub in bollywood, RIP
Tags: ,

And here is a video from Kabhi Haan Kabhi Na in which he had one of the prominent roles, the lovable Don who even had to fake the mark sheets of the hero.

If your answer to the question in the header is NO, then Gyandeep Pattnayak feels awful about it. He really does.  And so, here is a recco post by him, why you should watch it and make Gyandeep feel better when he asks the same question next time. Read on…..

Every time, I used to hear someone say, “You should see this murder mystery. It’s damn bleak, man.” – I was reminded of 36 China Town. I don’t know why. No, it doesn’t mean that I considered 36 China Town to be CINEMA at all. It doesn’t even qualify to be a tele-serial which Ekta Kapoor can produce in order to re-invent herself. Anyway, I digress.

What is a good murder mystery, in your opinion? Something which is plausible, something which makes you go, ‘Whoa’ and something which ties up all the loose ends neatly. But most importantly, a better murder mystery is one which lures you all along and just when you think you’ve figured it all out, it pulls the rug from beneath your feet and makes you think, “Christ, only if there were more movies like this.”

Guillame Canet’s Ne le dis à personne or Tell No One is exactly that kind of a film. And more than just that, if you will.

Let me try to be as brief and as careful as possible while I try to give you an idea of what this film is all about. The film opens with a terrific scene in which our protagonist Alexandre, a doctor by profession, drives along with his wife Margot to a lake. They swim, have fun, make love, bicker and eventually get into a heated argument. Margot, hurt and angry, jumps into the lake and swims to the other side. Alexandre waits for a while longer and senses something is wrong. As he gets ready to take a jump into the lake, somebody knocks him unconscious. He wakes up to find his wife brutally murdered.

The story cuts forward to eight years later. Alexandre carries on with his mundane life, still haunted by the memories of that fateful night. One day, suddenly, too many things happen at once. Alexandre is implicated in a double homicide. All evidence pins him down as the one and only suspect. Simultaneously, he gets a mail from his “wife” Margot – the very same Margot who has been dead for eight years. The mail has a video link in which “Margot” can be seen, hale and hearty – although, it isn’t very clear enough to determine whether or not she is his dead wife. The mail also contains a note which is chillingly mysterious and reads – “Tell no one. They’re watching.” Before Alexandre can piece together what’s happening, he finds himself running – from the law and from someone who doesn’t want him to find the truth.

So much for being as brief as possible.

Adapted from author Harlan Coben’s bestselling novel of the same name, this movie remains largely unseen by audiences. It would not be unfair if I said this is the rare case in which the film excels the novelization of the same story. The climax has been tweaked or rather, has been made more reasonable. Why Hollywood wasn’t first in the queue to adapt this book beats me. That a French guy named Guillaume Canet (actor, husband of the very gorgeous Marion Cottilard) has gone ahead and done it is not only laudable but also a befitting reminder, if we needed any, of the fact that the very finer aspects of cinema lie in the writing. Canet , along with Philipe Lefebvre, has written the screenplay which could serve as a tutorial for budding writers. He also enacts a small but integral character in the movie. If the word multitasking were to be used in this context, it suits him to the T. Multitasking and efficient.

Murder mysteries like these not only tend to be formulaic and ordinary, 99 times out of 100, they actually ARE formulaic and ordinary. Red herrings, cheating climaxes, a random murderer (here’s where the butler and housekeeper in 36 China Town come into the frame) – you name it.

So, how different is Tell No One? Different isn’t the word you would normally like to associate with a movie as restrained and as suspenseful as Tell No One. Trust me, I want to tell you every bit of the film but that would not make a whole lot of sense. As I sit here, typing out this recommendation, my fingers want to point out why this film is more recommendable than others in this done-to-death genre. And that would be a sacrilege. That would mean giving the movie away.

Let’s just say, Things are not as simple as they seem to be in the movie. Everything happens for a reason and everything is deeply rooted in the family, its past, its actions and the reverberations of those actions. The suspense in this movie is not crafted; it ties its own knots and weaves the fabric of an intricately laid out tale of love, lies and deceit.

I hate talking about movie climaxes but Tell No One compels me to write something about it. I will give you one piece of advice. Don’t try thinking too much about what is happening. There are people, who, while seeing the movie along with me, were trying to second-guess the whole time. Please. Don’t. Do. That. Relax, watch the movie and let the twists catch you off-guard. That way, the impact will be brutal. And yes, don’t let any douchebag tell you the ending. That will stink.

Francois Cluzet beautifully underplays his part but really it would be a crime to say so little about the man who makes melancholia his own. When we see him eight years later, his eyes are saggy, drooping and we forget that it is Cluzet. We forget that he is an actor. Such is the hypnotic power of his performance. Marie-Josee Croze, as Margot, is hauntingly beautiful and she brings certain believability to her part, which is entirely to her own credit. What is it about these French actors? Why are they always so good even if they are in an equally bad film?

To make a film half as good as this one is an achievement. I hope you can figure what it would be like to make a fuller such film. This film stands right there – amongst the great, modern murder mysteries such as Mystic River, The Secret in Their Eyes and Gone Baby Gone. Now, when people recommend me a good murder mystery, I promptly ask them, “Have you seen Tell No One?” It feels awful when they say no. It really does.

VOTD : If only this was the real Oscar

Posted: February 28, 2011 by moifightclub in video, VOTD
Tags: , ,

…it would have been so much fun. Like us, if you also woke up at 6am, stared at the tv screen for 4 hours, got bored and felt like killing someone by the end of it, then just click on the play button. Enjoy!

And dear Academy Members, go chew those marbles of Hooper & Harvey.

Tip – Jahan Bakshi

This is not going to end so soon. We started with this post, Varun wrote this one, and Subrat took the Mir route with this post.

And in this post we are putting out some of the interesting links that we read recently…VB, Ranjan Palit, 7KM, Ismat Chugtai, prosthetics and more.

 

Time Out’s Nandini Ramnath did an interview with 7 Khoon Maaf’s cinematographer Ranjan Palit. To quote…

In an interview with Time Out in 2009, Palit declared, “I wouldn’t do a Bollywood song and dance film even if I were paid a crore.” Famous last words, it seems.

Click here to read the interview.

Pratim Das Gupta of The Telegraph also interviewed Palit after the release, much longer and a better interview….what he shot, how he shot and why he shot it that way….To quote…

I had to try and make sure that the prosthetics couldn’t be seen. I think there were around seven-eight prosthetic parts stuck on her face in the aged avatar. She would be made up for four hours every day. So, I was asked to shoot in such a way that those parts were not seen. But you can do that in an interior night scene, what do you do during the daytime? We had decided that we would correct that with computer graphics but it’s hugely expensive and tough to spend so much money after the shooting is done….

…..You know what, I first saw a two-hour-45-minute version. It was then cut by 25 minutes for the final theatrical version. In that cutting, some of the finesse, some of the moments got lost. Maybe the rhythm has also slightly suffered. That director’s cut was beautifully paced….

….People in Mumbai have shown interest in working with me right from the time the 7 Khoon Maaf trailer came out. Boley na, jaatey uthey gechhi! But there’s no existing filmmaker apart from Vishal with whom I want to work. I am a snob that way. I appreciate what (Anurag) Kashyap does. bolley, hoyto korbo. I am not dying to work with anybody. I am dying to work with Vishal again.

Click here to read the full interview.

And if you are bored of the long and meandering reviews, then Nisha Susan of Tehelka has packed the Seven Course Meal in short  and sassy new way. To quote…

+7 FOR THE ISMAT CHUGHTAI moment when PC and Irrfan make an elephant under their lihaaf. 10 for naming the Russian Vronsky and Susanna reading Anna Karenina.

+8 TO NEIL NITIN MUKESH
for waving a phallic stump at Priyanka
. Minus 9 points to Neil for setting our teeth on edge a la Kangana whenever he speaks English.

The film scores 98 invaluable points and the point system follows no convention. Bring it on! Click here to read her piece, point-by-point.

If Tehelka is here, can Open be far behind ? Ajit Duara of Open has thrashed the film completely and rated it just 1 star. To quote…

What substitutes for motive is a dark lighting style;  as if to say that if you light a movie dimly enough, depth and hidden meaning will emerge. It never does, and 7 Khoon Maaf ends up as a hothouse of exotic spouses with names scratched off the catalogue at metronomic  intervals.

Click here to read the full review.

Open also has an interesting article titled – Inside the Mind of Vishal Bhardwaj.  His long time associate, co-writer, and the director of Ishqiya, Abhishek Chaubey describes the filmmaker, from his Makdee days to 7 Khoon Maaf. To quote..

After Makdee was made, Vishal called me to a theatre in Juhu. Gulzarsaab and his friend Shivam Nair were also there. Makdee had been made for the Children’s Film Society of India (CFSI). They had rejected it outright, claiming all sorts of problems with it—“Badly directed, badly shot.” He wanted us to see if that was really the case. We all thought their reaction was extreme.

Then Vishal did something courageous, given that he was just a music director then, and not the sort with 20 songs in the bank that he could give producers when they’d come to him. He had worked on very few films. As a producer, he was nobody. And yet, he decided to take the CFSI head on. He told them, “If you don’t like the film, I will buy it off you.” He must have paid Rs 20–30 lakh. He put everything at risk. We completed Makdee and went around town selling it…..

….Vishal had the letter he got from the CFSI framed, and it is still on his wall. It’s right in front of where he sits. Not only was Makdee released, it also won an award at a children’s film festival in Chicago. ‘Courage’ is too goody-two-shoes a term for it. It takes balls.

Click here to read the full piece.

And the last link is a video. Click on the play button to hear Gulzar dissect his own words…the poetry in 7 Khoon Maaf.

Pic Courtesy – Time Out Mumbai

Having divided audiences and critics, the discussion on 7 Khoon Maaf refuses to die down. And we are not complaining. First, we had a post expressing disappointment at a film that ‘packed so much, yet offered so little‘. Then we had Varun Grover passionately defending 7KM saying: ‘If 7 Khoon Maaf is boring, then Pratibha Patil is exciting.’

Never before has a Vishal Bhardwaj film been the subject of such intense debate and such diverse opinion! And never before has Subrat been so inconsistent with his reaction. Who knows, maybe it’s the effect of slow poison. Post-interval, post-climax and two days after watching the film, Subrat’s reaction to the movie has been changing quite fast. And yesterday he tweeted, “Have upgraded 7KM from a Good to a Very Good watch.” He is going to watch the film again. Not sure how he will react after second viewing.

In his own words, this ‘is not a 7 Khoon Maaf review. It is about my love affair with dekh to dil ke jaan‘. Professor in poetic mood. Read on:

Having sated myself with kababs and sheermal at Tunday’s that afternoon, I decided to seek some cerebral entertainment for myself with the matinee show at the Sahu theatre in the now faux-Victorian Hazratganj. That is how I watched a faux gangster noir titled Yeh Saali Zindagi. It led me to understand how there might only be 2 degrees of sepration between me and a cross-dressing gangster from Delhi who moonlights as a fashion designer in Ukraine. Chitrangada had so much bronze on her that it wouldn’t surprise me to find that Jyoti Randhawa catches her one day melting one of his trophies since Delhi has run out of bronzing creams. I trudged back to catch a drink at Faluknuma and see if the Ghazal troupe there could lift my mood.

I caught him playing ‘Main kahin kavi na ban jaoon’ when I stepped in which convinced me 2012 is definitely the year of mahapralay. Somewhere between the second and the third Kingfisher strong, a minor miracle unfolded. The singer went quiet for sometime and then burst into ‘Dekh to dil ke jaan se uthta hai, yeh dhuan sa kahan se uthta hai’. Sitting there, not more than a few miles away from where Mir passed away a couple of hundred years ago, I let the words and the excellent Avadhi pulao take over.

A couple of weeks later, on another Sunday, I sat watching 7 Khoon Maaf unfold before me. The reviews that had streamed in were the classic examples of damning by faint praise. ‘Vishal is, undoubtedly, a master craftsman (a term that brings the image of VB in that carpenter wala fevicol ad to me) but this time he fails to soar. But we should forgive him because I am saying so.’ Having equated the Bong gangsters of Kaminey to the cross dressing Ukranian variety of YSZ just that week, such reviews left me with dread.

There wasn’t much initially to dispel my fears. But gradually, I started noticing a lightness of touch and a certain approach to managing the difficulty of filming a story that is episodic in nature. I was about to warm up to all of this when Wasiullah decided to bring Mehdi Hassan singing ‘Dekh to dil ke jaan se uthat hai’. And, I was swept away. Especially, when he stops to ask Sultana about the meaning of ‘naa-tawan’ and then slaps her with the answer ‘kamzor’. Such beautiful detailing! And, this is what people are calling forced references to Pushkin, Anna Karenina et al. Forced? Pushkin had his exile which was ‘milon door’ from his home. From there on, it was Vishal the poet all the way.

You can’t go too wrong with that Mir verse. The first time it played in Hindi cinema was in Pakeezah in the sequence where Meena Kumari recounts the ‘Aapke paon zameen pe mat utariye’ incident to her friend (I think it was Vijaylaxmi). Naseem Banu (no, not Saira Banu’s mom) sings the ghazal which can be heard in snatches between the conversation. Subtlety was not one of Kamal Amrohi’s strengths. But the choice of Mir’s sher forced even Amrohi to go easy on the scene. The second time it appeared was in the opening sequence of Chashme Baddoor where the Mehdi Hassan version is used as you see the dhuan raising out of the cigarette in a pun that sets the film up.

I am glad Vishal continues and takes forward the fine tradition and delivers a film that brings him back as a true desi auteur (there, I said it). Who needs Ritchie or Tarantino when you can get such desi cross referencing.

As for the reviewers who don’t find the film delivering anything at the end, all I have to say is:

Reviewing ek meer bhari patthar hai
Kab ye kuch naatwan se uthta hai

(PS – Profsaab, yeh video aapke liye…chand panktiyaan aur hai…idhar udhar..)

Pic courtesy – Mint Lounge

WHAT : The Venice International Film Festival (La Biennale di Venezia – Mostra Internazionale d’Arte Cinematografica) announces its Call for Entries in all categories for 2011.

Essentially a World Premiere Festival, it is open to films of any format and length that have been produced during the twelve months preceding the festival.

WHEN : The selection process will start from 1st March 2011 and will continue till the end of June 2011. Deepti DCunha will be leading the pre-selection process for the entries sent from India for the Venice International Film Festival, 2011.

The festival’s director Marco Mueller will be visiting India in mid-March for a first shortlisting of the Indian film entries.

DATE : The festival runs from Aug 31 to Sept 10, 2011.

FORMAT : DVDs/ Digi Beta tapes (duly subtitled in English)

REQUIREMENTS : Press kit or documentation including synopsis, cast and crew and other info about film’s content and filmmaker’s vision should be sent along with the film.

CONTACT : deepti.dcunha@gmail.com (from March onwards, also  deepti.dcunha@labiennale.org)

ADDRESS : All submissions (duly subtitled in English) should be sent to the contact details given below..

Deepti DCunha. 23, Gautam Niwas. 7 Bungalows, Andheri (West). Mumbai, 400 053

WEBSITE : For complete rules and regulations please visit the Festival website at http://www.labiennale.org/en/cinema

 

WHAT : The 1st Guwahati International Short Film Festival (Gisff) in inviting entries. The festival is  organized by Creovaent Productions in association with Shamiana.

BUT – Entries to the Competition are restricted ONLY to filmmakers from North-East Region of India in the first year.

AND entries from other parts of the country and world will be show in Non-competition section.

WHEN & WHERE : From April 4 to April 5, 2011 at Cinemax, Guwahati

HOW – Click here to download the application form.

– There is no entry fee in this edition of the festival.

– To know more about the festival, click here.

The header is from one of the tweets of Varun Grover. He has posted a long comment on this post also. Just when we thought that we all agree on one film finally, Varun felt otherwise – Aha, the joy and beauty of cinema! One film but so many things for so many souls.  He gives a strong recco for Vishal Bhardwaj’s 7 Khoon Maaf – Poetry, pain, darkness, more than a bunch of crackling performances, and quirks that stab you lovingly. Read on…

‘७ खून माफ’ के बारे में बहुत कुछ कहा जा रहा है. बोरिंग, कच्ची, बचकानी, और ना जाने क्या क्या! इन सब रंग-बिरंगे इल्जामों का जवाब देने में वक्त बर्बाद किये बिना मैं बस यही कहूँगा कि  जिसे ‘७ खून माफ’ बोरिंग लगी उसे गज़लें नहीं सुननी चाहिए और ना ही ठंडी-अँधेरी रातों में बाहर निकलना चाहिए. उन लोगों को गज़लें भी बोरिंग लग सकती हैं, और ठंडी अँधेरी रातें बेमतलब.

फिल्म के अंदर का मैं कुछ भी नहीं बताऊँगा…और मुझे भी फिल्म शायद इसलिए बहुत पसंद आई क्यूंकि मैं खुद बहुत बच के रहा था पिछले दिनों फिल्म के बारे में कुछ भी जानने से. अच्छा-बुरा कुछ भी नहीं. तो अगर आप सिर्फ ये जानने के लिए पढ़ रहे हैं कि देखनी है या नहीं – तो अभी कह दिया – देख लो जा के! और बाकी का वापस आकर पढ़ो.

अगर फिर भी कीड़ा है, और अभी पढ़ना ही है तो भी वादा है कि आगे कोई spoiler नहीं है. लेकिन उसके बावजूद – जो भी है, फिल्म से ही जुड़ा हुआ है ना! आगे आपकी श्रद्धा.

मैं यहाँ बस यही बताऊँगा कि फिल्म देख कर मुझे क्या-क्या याद आया. कौन-कौन सी चीज़ें याद आयीं. और वो चीज़ें, यादें, कितनी गहरी हैं. क्यूंकि याद बहुत कुछ आया. सबसे पहले तो याद आया विशाल का गुलज़ार से इतना लंबा रिश्ता. फिल्म शुरू होने के १० मिनट में ही भाषा ने पकड़ लिया. इतनी साफ़, नपी-तुली ज़बान सिर्फ विशाल की फिल्मो में ही कैसे मिलती है? उनकी फिल्म यू.पी. की हो, या बंबई की, या कश्मीर की – सब जगह की ज़बान का वज़न बराबर रहता है. और ‘७ खून माफ’ में तो उन्होंने ‘ग़ालिब’ से लेकर ‘मीर’ तक सबको याद कर लिया है….साथ में गुलज़ार साब के लिखे गाने!

इसके अलावा याद आयीं दो फिल्में जिनका इस-से कोई सीधा लेना-देना नहीं है (फिर भी treat this as a spoiler) – पहली Lars Von Trier की Dogville, और दूसरी ‘साहिब बीबी और गुलाम’. दोनों में प्यार से जुडी उदासी, manipulations, cruelty, अंतहीन खोज, और अधिकतर शांत (या reaction-mode में) central female character है. और इन दोनों फिल्मों का याद एक ही फिल्म देखकर याद आना मेरे हिसाब से बहुत बड़ी उपलब्धि है.

फिर याद आये विशाल के पुराने गुरु Shakespeare और inevitably, मकबूल. फिल्म में बार बार यही लगता है कि विशाल ने रस्किन बोंड की कहानी को शेक्सपियर वाली बोतल में डाल के जमा दिया. किरदारों की भीड़, नौकरों का कहानी में बहुत बड़ा रोल, quirky characters, और लंबे-लंबे dialogue…सब उसी कमरे के थे जिसमें मकबूल लिखी गयी थी. और भी बहुत सी वजहों से मकबूल याद आई…पर यहाँ नहीं बताऊँगा. देखो और सोचो.

इसके अलावा भी बहुत कुछ याद आया – बहुत सी कविताएं, गज़लें, सपने, डर, और गीत. एक बार ‘मेरा नाम जोकर’ भी याद आई.

और अंत में बाहर निकलते हुए, जब आगे चल रहे दो लड़के बोल रहे थे ‘यार ठीक थी…पर कहानी कुछ पूरी नहीं हुयी…’ तो याद आया कि थोड़े दिन पहले कहीं और भी बात हो रही थी (‘दायें या बाएं’ देखने के बाद) – कि हम लोगों ने कहानी को इतना सर पे चढ़ा लिया है कि सिनेमा के बाकी मतलब कभी ढूंढते ही नहीं. परदे पर कई बार एक साथ १०-१२ चीज़ें चल रही होती हैं….और हम लोग सिर्फ ये खोजते रह जाते हैं कि कहानी कहाँ आगे बढ़ी? मुझे तो खैर इसमें कहानी भी हर वक्त आगे बढती हुयी ही दिखी (सिर्फ एक जॉन अब्राहम वाला किस्सा थोड़ा out of place लगा) – लेकिन जो सिर्फ कहानी देख के आ जायेंगे, उनको इस फिल्म का असली प्रसाद नहीं मिलने वाला. एक-एक फ्रेम, एक-एक लफ्ज़, एक-एक किरदार का मतलब है…और वो मतलब गज़ल की तरह ही, कई बार हौले से बोला गया है….कई बार उर्दू या फ़ारसी में, जो हमें समझ तक नहीं आती. उसे दोबारा सुनो, या जोड़-घटा के समझो, या गुज़र जाने दो…किसी अच्छी गज़ल के उस हिस्से की तरह जो समझ आये बिना भी हम गुनगुनाते रहते हैं.

PS – To copy-paste another tweet of his – All you good folks, falling for bad-reviews of 7KM, just one piece of advise – GO WATCH IT! VB IS STILL THE DADDY.

Thanks to the good soul who mailed us the (un)official synopsis of Life Of Pi. The film is directed by Ang Lee and is based on Yann Martel’s novel of the same name. It has Irrfan Khan (Older Pi), Tabu (Pi’s mother), debutant Suraj Sharma (Piscine Molitor ‘Pi’ Patel) and Adil Hussain (Pi’s father) in lead roles. It’s scheduled to release in 2012 and will be in 3D.

And here is the synopis…

PISCINE “PI” PATEL (54) was born in India but now lives in Montreal. Though he loves Canada, he misses the heat of his native country. He is still a bit traumatized by the memory of being abandoned by RICHARD PARKER when he was 12.

Pi’s father studied zoology in Paris which is where he met Pi’s mother. An avid swimmer, Pi’s father taught Pi how to swim when he was seven. His father worked as the director of the Pondicherry Zoo in Madras. Pi grew up around the animals, learning to love each of theirs unique and sometimes amusing idiosyncrasies.

In school, Pi earned the unfortunate nickname of “pissing Patel”. When he entered middle school, he took the moniker Pi and was thankfully never teased again.

In 1964, over the objections of his mother, Pi’s father took Pi and his cousin RAVI to the tiger cage to watch it kill a goat. It was a lesson to teach them to fear the big cats. They may look fluffy and cuddly but they are ferocious animals.

Pi became interested in Catholicism. He would visit the local church and talk to the PRIEST about his religion. Pi was raised as a Hindu and would go to temple to question the PANDIT about his philosophy. Pi also would go to the mosque to ask the IMAM about his religion. Pi was fascinated by all three religions and considered himself a member of each. It never proved a problem until one day when he was walking with his parents and encountered the priest, pandit and imam. Each declared Pi a member of their congregation and got into a fight when the others made the same claim.

When the owner of the zoo, the MAHARAJAH died, his SON took control of his holdings. He decided to raze the zoo and replace it with a golf course. Pi’s father hoped he could change the Maharajah’s son’s mind by acquiring a lion for the zoo. He took Pi with him when he went to a circus to look for a lion to buy. While he negotiated a deal with the circus owner, Pi met the LION TAMER. He took the boy into the cage with him and showed him how he controlled the animals. The most important thing he taught Pi was never to show fear and to always be in command. Pi’s father was unable to make a deal with the circus owner and they left empty-handed.

With the zoo closing, Pi’s father got a job with the Canadian zoo which purchased all of the animals. They were loaded onto a boat along with Pi and his family. While on the cruise to their new home, Pi helped to feed the animals.

Pi was awakened one night to find his room flooding. The ship was sinking. The sailors freed most of the animals, giving them a chance on the open sea rather than drown on the boat. Unable to find his parents, Pi was taken topside by a sailor who threw him into the ocean. Pi swam to the nearest lifeboat, climbed aboard and watched the ship go down. That’s when he noticed that he wasn’t alone on the lifeboat. He shared it with a zebra, peacock and a hyena. Pi never saw his parents again.

Pi saw a tiger named Richard Parker clinging to a piece of driftwood nearby. It got that name from the Brit who found the orphaned cub that was then given to the zoo.

Pi is telling the story from his hospital bed to MR. OKAMATO and MR. CHIBA, investigators from the insurance company who were questioning him about why the boat sunk. Besides the two Japanese, there were a few nurses and orderlies also listening to Pi’s fascinating tale.

Pi then saw a hand grab the edge of the lifeboat. It belonged to a female orangutan who pulled herself into the boat. After a couple of days and getting hungry, the hyena moved to attack the zebra. Pi tried to fend it off with an oar but couldn’t stop the starving animal. It attacked the zebra who panicked and fell out of the boat. Thwarted, the hyena then turned and attacked the orangutan, killing it. That’s when the tiger reappeared, jumped into the boat and killed the hyena. Pi escaped the boat after making a raft from oars and life preservers. He stayed near the boat because it contained supplies that he might need.

As Pi continued his tale, his hospital room began to be filled with more patients and staff who were hanging on every word he said.

As the days continued, Pi remembered the things he learned from the lion tamer. Using a fishing hook he found in the survival kit on the lifeboat, Pi began catching fish to feed himself and the tiger. He would clean the fish by using one of the tiger’s discarded claws. In time, they formed an unlikely truce. The tiger wouldn’t eat Pi as long as he continued to feed him. When Pi got the chance, he would also feed on sea turtles and sea birds that he would encounter. Pi would keep track of the days by making notches on an oar. He would eventually make a total of 137 notches.

Pi woke up one morning to find that his boat had reached an island. The tiger jumped out and ran into the jungle. Pi began to investigate himself before passing out from exhaustion. He woke up to find his hands and feet bound. The sailor from the ship was also on the island. The sailor was apologizing for his what he was about to do – eat Pi. Before he got the chance though, he was attacked and killed by the tiger. Pi jumped back in his boat and began to paddle away but then felt guilty about leaving the tiger, so he used a whistle he had found to call the big beast. It came running (carrying the sailor’s arm in his mouth) and jumped back in the boat.

Some time later, the boat washed up on the beaches of Mexico. The tiger leaped to the shore and disappeared into the woods. Pi was extremely saddened by the loss of his only friend. Pi was found by some locals and taken to the nearest hospital.

By now Pi’s audience had filled his room and spilled out into the hallway. When he finished his story, many of the listeners dabbed at the tears in their eyes. Some openly wept.

SPOILER

Mr. Okamato and Mr. Chiba expressed their doubts about the veracity of the story, finding it to be just too implausible. When they saw Pi’s eyes look downward, they thought they hit a nerve so they ushered everyone out of the room. Pi then told a simpler tale. He said when he reached the lifeboat, it held his mother and two sailors, one with a broken leg. After a few days out on sea, one of the sailors wanted to kill the injured one to eat. Rather than face that fate, he jumped into the ocean taking his chances with the sharks. The sailor then turned and killed Pi’s mother, stripping her flesh to hang and dry. When the sailor fell asleep, Pi killed him and later ate him. Mr. Okamato and Mr. Chiba are distressed by the story, feeling sorry for Pi having to witness his mother being killed and cannibalized. As they left the boy alone, they remarked how similar his two tales were, marveling how the young man’s imagination had replaced humans with animals. They figured the hyena was one sailor, the zebra was the injured sailor and the orangutan was Pi’s mother. Who then was the tiger? Well, Pi of course.

SPOILER ENDS

Years later, Pi is living in Montreal. He returns to his apartment. Pi still has the tiger’s claw.