Archive for the ‘film’ Category

It’s raining trailers and how! The much awaited trailer of Aamir Khan’s new film Talaash is finally out. Have a look.

And here’s the so called digital poster of the film.

Directed by Reema Kagti, the film stars Aamir Khan, Rani Mukherji, Kareena Kapoor and Nawazuddin. Produced by Excel Entertainment, Aamir Khan and Reliance Entertainment, the writing credits include Reema Kagti and Zoya Akhtar, Farhan Akhtar (Dialogues) and Anurag Kashyap (Additional Dialogues). It has been shot by Mohanan.

So it’s a murder mystery. A cop chasing a murder case. A housewife, a prostitute and lot of tension. Well shot and creates the right mood.

And the mystery is the big punch? Seems so. The tagline says – The Answer Lies Within. So what’s your bet? Reminds me of that weird and stupid film called Kartik calling Kartik. Is it on same lines? Murder, murderer, memory, all mashed-up.

Earlier this week Ashvin Kumar released the 7min preview of his new film Inshallah, Kashmir : Living Terror. And now he has released the full film online. The film is available for viewing for 24 hours. Watch it NOW.

After he faced problems with the Censor Board for his last film, the idea is to bypass the Censor Board and reach out to the audience directly with this one. Click here to read a Tehelka article on the film.

You can also click here and have a better view on the Vimeo page.

DISCLAIMER :  This is a compilation of live interviews. The statements of the interviewee are completely their own. The explicit nature of the content may affect the viewer’s sensibility and therefore viewer discretion is advised. Please proceed to click only if you wish to watch the contents. The viewer shall be fully responsible for the access to and viewing this content.

We apologize for the low resolution of the video – it has been impossible to upload larger files. We’ll continue trying.

First things first. In Sriram Raghavan we trust.

So?

So far only two posters and a trailer has released. Isn’t it bit early to dissect the film? Well, not really when it’s one of the most anticipated films of the year. We have been reading, hearing, discussing, tweeting and have been waiting patiently for this one to release. Long shooting schedules. Saif even completed shooting another two films in between. Production fck ups. Lead actor is the producer. Girlfriend is the co-star. Release dates postponed again and again. But that’s nothing new. Such things happen. Shit happens.

So?

But the intial publicity stuff of Agent Vinod has seriously got us worried. Have a look at these two posters.  Rewind. Look at the posters of Sriram’s previous two films – Ek Haseena Thi and Johnny Gaddar. All in the slideshow.

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Isn’t there a big difference between these two and those three? Where is the quotient “cool”? Where is that rare thing called aesthetics? Bollywood rulebook says the bigger you go, the dumber you have to be. Is AV on that track? Hope not. But looks so. And now the trailer.

Let’s go one by one.

Text : The last thing. he will reveal is. his identity.

And the film’s title is Agent Vinod. That’s a masterstroke.

As everyone tries to find out his identity, Saif does the 70’s swing. Doffing the hat to the original Agent Vinod – Mahendra Sandhu, to Anthony Gonsalves to Vinod Khanna, he says it all. That’s wickedly funny. Much like another 70’s popular line – Tumhara naam kya hai, Basanti?

The music keeps up the momentum through out the trailer. If it’s Pritam, we sincerely hope that he is not back to his old trick. Because this one is too good to be Pritam’s. Can anyone confirm?

The problem. The rest (in order of appearance) – B and W, caught, gagged, jumps, taps, turns, glance, kick, punch, another punch, hide, Kareena in red light, Saif in red too, Illuminati Films, turn, chase – some Arab country, inside car, flight, Saif walking, Kareena walking, tram – London, Saif – Europe (?), Saif & Kareena in a party, a glance here/a look there – in slo-mo, RB 13, another chase, pulls out, Saif jumps and fires, Eros, car, train, gun, car, dhoom, dhaam, turn, bike, boom, flying kick, stunt, roll, Kareena, gun, cover the spycam, Sunil Lulla, cards, jump, gun, blast, dhickiyaaon, title, on floor, smile, captured, Sriram Raghavan, release date, credit plate.

Now, where have we seen it? Well, in any other spy/action films. And it’s as good or bad as Priyadarshan’s Tezz or Abbas-Mustan’s Players trailer. No stunt/action/chase stays with you after you have seen the trailer. It lowers down the bar of expectations drastically. And, may be,  that’s a good thing in a way. But if we can’t expect from Sriram Raghavan, who else?

These are difficult and demanding times. Bourne has forced Bond and MI franchise to have a relook and change drastically. Style is Out. Stunt is In. Grab me by my balls. Give me that breathtaking high. Show me the thrill pill. And when the films release in India on the same day as in any other country, and sometimes even before them, the stakes are quite high. We have tasted blood. Being good in India is not the parameter any more.

When Bond and Bourne are here, the question is, where is Vinod heading to?

23rd March, 2012. We will not fade in. We will plunge in.

(PS – Click here to check out the trailer launch video of AV. Sriram at 00:38 – It’s fun, action film. And at the same time real film)

(PS1 – A friend who has read the script assured us that it’s all good. Spread all over, quite ambitious and quite a thrilling ride.)

The year was 1994. I was in class 9th. It’s the year when the world starts reminding you that life and death will be based on your next year’s results. So, this is the year before you are crucified for the board exams. Have as much fun as you can have.

My class found its first official couple that year – those who declared their love without saying anything. Boy from middle-class. Girl from Officers’ colony. In a small coal town in Jharkhand (it was Bihar then) where dating wasn’t part of our dictionary, it was a big thing. Quite daring too. Because unlike in big cities, we all knew how many chappatis our neighbours had for lunch and how many they finished in dinner. Everyone knew everyone else and every affair related to them. Love in a small town was a risky business.

So for the rest of us, it was a teasing game – oh, she is with him and he is with her. The peer pressure that makes you imagine weird things. It was all just in the head. But for the couple, i was the middle man. The boy used to sit on my right as we shared the desk. The girl, on my left, had a separate desk. And between the boring classes, writing and passing love chits was their favourite activity. Being a good friend, i had no choice but to spice up the chits when asked by my friend. And help her in  studies too. She is your friend’s girlfriend. If not you, for the first time someone in your life has a girlfriend. You have no other choice.

The first chit, the first letter, the first chocholate that was shared – it was all before my eyes.  And like all small town love stories, this also ended with a Jagjit Singh ghazal. He came back from Benaras and told me that he did exactly what Jagjit Singh sang in Arth – Tere khusboo me base khat mein jalata kaise….Pyaar me doobe huye khat mein jalata kaise…Tere haathon ke likhe khat mein jalata kaise…Teri khat aaj mein ganga me baha aaya hun….Aag behete huye paani me laga aaya hun.

We never discussed this later on. But sometimes i still do think about the entire episode and a big smile appears on my face. For two hours i had the same smile on my face as i watched Sujay Dahake’s directorial debut Shala.

Based on Milind Bokil’s novel by the same name, this is an assured debut. And believe it or not, the filmmaker is just 25 year old.

The film doesn’t state anything new. It’s a trip down memory lane that you have seen many times before. Just the set-up is different and the faces are new. But everything is captured so well – it’s all about the silences, glances, moments and the memories. School, best friends, love, heartbreaks, first rush of hormones, crush on your favourite teacher and that first introduction to politics which tells you that the real world is not what it looked like so far – say it, and it’s all there.

Best thing about Shala is that it doesn’t look like a film at all. The acting is so natural, the camera is so non-intrusive and lingers on frames with so much ease that it feels as if someone just put a camera in a school. There is not a single false note in the family affairs too where the scenes are quite delightful.

The story is set in the backdrop of the emergency. Though it doesn’t add much political colour to the main story and which seems like a tokenism, but Sujay belongs to “subtle school of filmmaking”.

A common factor in any good film is that you will always remember a character who is there in just 2-3 scenes. Mr Joshi (lead character’s father) played by Nandu Madhav is that character in Shala. Watch him in the scene when he receives the letter from the school – knowing some of my friends and their strange equation with their dads, can bet that many people will wish that they had a father like him.

The lead actors played by Anshuman Joshi and Ketaki Mategaonkar have such a terrific and delicate chemistry between them that it’s impossible to believe that it’s just onscreen love. They do nothing heroic about their love story but those tender moments filled with soulful music are so powerful that they will stay with you long after you have left the theater.

Another place where it scores a high point is that the film doesn’t aim for the big bang climax. It’s all about the journey, it’s not a “destination movie”. Because the pain of growing up can’t have a happy ending. Nothing prepares you for the cynicism. The joy is in the journey. Shala celebrates that. This is what pure and uncompromising cinema looks like. And since that’s a rare genre in this country, i suggest you don’t miss this one.

Watch it. Watch it because nostalgia is a bitch, and when the bitch is so beautiful, there is no way out.

And what’s your class 9th story? Do tell us.

The film is playing at Mumbai’s 24 Karat Theater (Jogeshwari) with Subtitles. They have only one show at 3:30pm. If you know about any other show with subtitles, do let us know.

Click here to check out the official website of the film.

We were bit clueless about how to approach this film. Sudhish Kamath is a good friend and that means we will do whatever we can to support the release of the film and make it more visible. But how good or bad the film is – that’s a completely different question where friendship has no space. You can be our best friend and make the worst film that we will not endorse publicly. And you might be the biggest dodooth* in the town and deliver the best film which we will happily endorse. Also, to be honest and fair with your friends’ films is quite a difficult task. And while we were in this dharam-sankat, Shubhodeep offered to review it. We were more than happy to share the burden. This is his second post here. To read the first one, click here.

Read on.

The guy introduces himself as Turia to the girl. I wonder aloud what the name means. Indeed, whether it means anything at all. A couple of minutes later, the girl says: “What kind of a name is Turia?” I grin and prepare myself for their night-long conversation.

Sudhish Kamath’s Good Night Good Morning is that kind of a movie. Shot in gorgeous black and white (curiously under-produced at a couple of spots) it surprises, amuses and frequently offers situations and dialogue that resonate with déjà vu. All this in accompaniment to a jazz soundtrack that sweeps across the movie and infuses it with much life.

The story straddles New Year in New York: a time usually defined by merriment and debauchery. Neither element is present as this story begins. He is a hopeless romantic unable to get over a broken relationship. She is, at least on the exterior, a cynic who doesn’t believe in relationships. They both have troubled pasts. Both of them appear to be in need of comforting company. We’ve met both characters before in reel as well as real life; nevertheless, the two occupy these comfortably stereotypical characters with an unexpectedly invigorating freshness. He drunk dials her number while riding in a car with three sloshed friends. What follows is an engaging and witty conversation that almost anyone will identify with. I’m certain the movie had snatches of conversations that I’ve actually had verbatim in “real” life. Love, losing love, the oft-perceived hopelessness and uselessness of relationships, are sensitively articulated in the movie. It’s easy to lose yourself in a melee of your own ruminations once you start thinking with them.

As the movie progressed, I became acutely aware of the two writers at work, weaving their words on a fabric so tenuous as to not exist at all. Writing near-endless lines of dialogue, interspersed with little or no action, can be a forbidding task. Not only have Shilpa Rathnam and Sudhish Kamath managed to veer away from schmaltz, they’ve done a telling job of keeping the pace of conversation mostly even. I remember reading that the screenplay of Richard Linklater’s Before Sunset (which, along with Before Sunrise, is perhaps the best “conversation movie” of the past two decades and is indeed referenced in GNGM as well) were largely written by the two leads, Ethan Hawke and Julie Delpy, who drew on their “real” lives for parts of the story. I might be grossly overstating my case but the writing in GNGM seems to suggest that Messrs Kamath and Rathnam share an affectionate camaraderie that has helped them produce a truly well-written script. The chemistry of their writing shines through in the virtual chemistry of the protagonists.

The only real gripe, and a minor one at that, I have with the movie is that it could so easily have been even more relatable and enjoyable had the writers (and director) chosen to do it Hindi (or even Tamil). Indeed, half-way through the movie I was dreaming up a gloriously fun Hindi movie on the lines of GNGM. Even though the dialogues and situation were overwhelmingly familiar, I found it hard to find any sense of belonging to the boroughs of New York. Perhaps because this is a film by an Indian filmmaker I really pined to see a more “accessible” movie as far as the setting was concerned. Of course, choosing what to make and where is a decision that is best left to the filmmaker, but I feel this movie could have stayed indie and yet explored a more Indian setting precisely because it had the potential to be quite a successful entertainer for the masses.

However, back to the movie. Conversation flows freely in GNGM. The lines are incisive and intelligent – sometimes a bit too intelligent – but never over-smart. That is one of the most enduring virtues of the film. Apart from a few moments that fall prey to kitsch, the dialogues sparkle with vim and wit, throwing in memorable lines now and then: “Long-distance success stories are a work of fiction my boy”. “Stories are meant to be simple.” When the dialogues become laborious, the action cleverly changes to the antics of Turia’s three inebriated companions in the car. It’s curious however that the best lines seem to have been reserved (by design or chance) for Seema Rehmani who occupies, with glorious vitality, a character that has been done to death.

Ms Rehmani does a star turn, outshining her male counterpart and keeps us interested in the movie till the end. Manu Narayan is reliably consistent, and even remarkably good at places, but I wish the script had more for hm. Raja Sen and gang exhibit much promise initially but are eventually let down by the script. They’re efficient in the beginning – with Mr Sen turning in a few sharp lines accompanied by epic expressions magnified by his magnificent tache – but seem to dwindle in importance and utility as the story progresses. Ultimately, their tomfoolery becomes mildly irritating in a movie that stands out due to its consistently winsome glow.

GNGM is not a movie that will make you froth at the mouth with amazement or feel giddy with euphoria. Indeed, that is perhaps its most becoming virtue. It neither wallows in conceit nor lays claim to greatness. Instead, like the rising warmth of a hot cup of coffee, its fingertips will lovingly graze your skin like that of a soulmate and that sensation will linger many hours after you’ve watched it. And like the tender glow of a winter sun descending into the fog, it will lure you into cosying up to it again on a rainy day.

I’m eagerly waiting for that day.

Shubhodeep Pal

The film has been released by PVR Cinemas and is currently showing in Mumbai, Delhi, Gurgaon, Ahmedabad, Bangalore and Chennai.

(PS – If you still haven’t read Sudhish’s now famous rant (The Truth About Films : Ungrateful. F***ing. Bitches), click here.

(PS2 – Karan Johar reviewed the film for Rediff as Raja Sen makes his on screen debut in this one. Click here)

(*doodoth = dodo + ch**th the word has been devised for that rare tribe)

The trailer of Ali Zafar and Aditi Rao Hydari’s film London Paris New York is just out. Have a look.

The film is written and directed by debutant Anu Menon and produced by Shrishti Arya and Goldie Behl along with Fox Star Studios.

A new couple, shot well and looks fresh. Just wish that they had paused a bit on those sketches that appear and disappear even before you can blink. More so when the film’s title is on the names of the cities. Who doesn’t like cities as characters in films? Ali Zafar and Aditi Rao are pleasing to eyes, and as a couple, there’s some kind of charming and cool comfort onscreen. Only issue – her babytalk in the last shot.

And here’s the official synopsis…

London Paris New York is a film that captures the angst of the twenties, the most dramatic period of one’s life – when you have to find a career, you have your first significant relationship and most importantly form your identity in this world.

This is story about Lalitha, a middle class south Indian girl from Chembur(an eastern suburb in Mumbai) who is on her way to New York to study politics with full scholarship, and Nikhil, a Punjabi, rich kid from Bandra (a posh western suburb of Mumbai )who is going to study Film Making in London on 100% dad’s money. They decide to hangout together one evening in London and find that they are completely drawn to each other even as their future lies on separate continents.The film follows their personal journey and their love story as they meet in London, Paris and New York for a night each over eight years. The film is in three chapters and each chapter is shot in a manner that mirrors the mental state of Nikhil and Lalitha.

 

Speaking Of Films – Part 1

Posted: January 10, 2012 by moifightclub in bollywood, cinema, film, Hollywood, Movie Recco
Tags: ,

Unlike journalism, which thrives on 5 Ws and 1H, we think blogging is all about the distinct blogger’s voice. And so three questions should define you – 1. Who you are 2. What crimes you commit? 3. Define your kink. This is Manish Gaekward‘s first post here. And before you read this interesting post, here’s his reply to those three important questions – 1.  someone who tries to speak less and less within the ambit of alcohol, otherwise, even lesser. Love films for what they are – they say more and more of what i feel i cannot express. 2.  Content writing for a website, will remain unnamed till i make it as a screenplay writer (will mention it in my struggling period). 3.  Chorus girls, love them – for instance – when Lata tai sings dilbar dil se pyaare (caravan) – i wait for the chorus girls to join in – so here is how it goes – Lata – dilbar dil se pyaare. Chorus girls – dilbar. Lata – dil ki sunta ja re. Chorus girls – haan haan dilbar – i tend to accentuate on ‘haan-haan‘ – the part that i get pat. In other kinks – pause and help myself whenever the girls yelp ‘oui maa‘ on the oh la la track from The Dirty Picture.

Like his blogging bio, the post is bit long but quite exhaustive and interesting recco post. Read on.

What have film critics Andre Bazin, Pauline Kael, Satyajit Ray and Francois Truffaut taught me about films?

Bhai, let the films do the talking.

Here’s a list of some that spoke to me.

1. When women walk

Malena – The whole town comes to a standstill when Monica Belluci walks. Hell, why not? Everyone wanted to know when those legs open for business

Volver – Almodovar pours into petite Penelope Cruz the voluptuousness of Sophia Loren

Pakeezah – Meena Kumari does the gajgamini

Gajagamini – Madhuri Dixit becomes the gamine gamini

Daud – Urmila Matondkar runs, walks, struts, halts, gyrates, even lifts her legs up in the air..er..she kicks butt – it is from Daud that Ramu learnt to fix the camera in Jiah Khan’s crotch and shoot the whole of Nishabd through the vaginal eye

2. Where men strut like they have more meat in their balls

Pulp Fiction – John Travolta did not resurrect his career with disco moves, he had to show he could do more than swish his butt

Reservoir Dogs – Tarantino guides this pack of 14 talking testicles

The Good, The Bad, And The Ugly – Tarantino’s favourite film

Kagemusha – Japanese people have balls too!

The Battle of Algeirs – behind every agitated man is a woman cupping his cojones, ‘I’m with you’

Taxidriver – Puny man De Niro, but what gigantic gonads

The Godfather Trilogy – less said, better viewed

The Hurt Locker – defusing bombs, dude you need more than balls!

3. Five Meryl Streep movies that you should be embarrassed to recommend

Lemony Snicket’s A Series of Unfortunate Events – Meryl and Jim Carrey in the same film? No!

The River Wild – Meryl and Kevin Bacon in the same film? Worse!

Death Becomes Her – Meryl and Bruce Willis in the same film? When her boobs ‘magically’ swelled in her shirt, my mother gasped it was unreal…uhh yeah!

Mama Mia – she’s having fun, but Meryl singing and dancing – some other day please

Dark Matter – Meryl and who? Fuh-get it!

4. Five Meryl Streep movies even the blind would recommend:

Angels In America – 4 Meryl for the price of one ticket!

She-Devil – she’s funny funny funny when she is furious, pure trash fun

Kramer Vs Kramer – spot on

Silkwood – never seen her this resilient

Sophie’s Choice – queen of accents

5. Five Meryl Streep high octane performances:

Doubt

Adaptation

The Hours

The Devil Wears Prada – though you must watch the real Anna Wintour in The September Issue

Out Of Africa – the Oscars seem to think she hit a note

6. Films that Shabana Azmi was smug in (inadequate script could be the reason):

Loins of Punjab – she seemed to be powdering her nose throughout for the next shot

Honeymoon Travels – there was promise of Goa, she did need a vacation, didn’t she?

Umrao Jaan – Allah tauba, did she really think she could be her mother Shaukat?

The Immaculate Conception – Shabana Azmi as Samira…is that even a name worthy of her persona?

Rakhwala – isn’t this the film where she is Anil Kapoor’s schizo sista? She drove the filmmaker up the wall asking what method to madness he wanted!

7. Shabana Azmi’s rage as we know:

Ankur

Arth – the confrontation scene with Smita Patil where her pallu slips and she wants to cover her modesty while she’s fuming but ab kya faiyda? She gives all

In Custody‘Main shayara hoon‘ she rebels, and damn you know whose daughter she is

Mandi – she can be loved when she is pissed

Paar or Godmother – the former is a helpless rage, the latter high-strung – which is the better?

8. Jungle mein Mangal films

Aguirre, The Wrath of God – Herzog’s mercurial venture into the Middle ages

Apocalypto – again, Tarantino hefts for Gibson’s vision

Apocalypse Now – Marlon Brando is the human stain on your soul no detergent powder can erase

9. Karaoke out loud musicals

Cabaret – can Liza Minelli ever keep a straight face? She cracks me up when she wants to be earnest

Chicago – Catherine Zeta Jones

West Side Story

Carmen – hell hot in here, both the Rosi and Saura version – robust, feisty, and passionate – I hope Shyam Benegal makes Chamki Chameli as pulsating

Grease – ridiculous and fun

10. Comic as it should be (Buster Keaton, Monty Python, Groucho Marx – too broad for me, mea culpa)

Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb – I’ve no stomach for any other Peter Sellers comedy

Some Like It Hot – Monroe in the middle, perfect tuna sandwich, and ukulele

Andaz Apna Apna

Jaane Bhi Do Yaaron

The Birdcage – prefer it over the french original

As Good As It Gets – Jack Nicholson makes me want to be a better man

City Lights – Chaplin makes us laugh, but in the end he makes you cry in the final scene

Alice Doesn’t Live Here Anymore – it might not look funny in the beginning, but once the actors get in the car, it’s a fun ride – who could have thought Scorsese could give this?

11. Gay characters humanised by straight filmmakers

Happy Together – Wong Kar Wai – lyrical work

The Talented Mr Ripley – Anthony Minghella is deeply missed for more than this

Infamous – this version of Truman Capote over In Cold Blood any day, it’s warmer

Gods and Monsters – Ian McKellen is a monster, albeit, a human one

Before Night Falls – Javier Bardem in this – then tell me he’s married to Penelope Cruz

My Beautiful Laundrette – Daniel Day-Lewis is gay, enough said

Basic Instinct – Sharon Stone could be gay, she could be straight, who cares as long as she uncrosses her legs, she’s humanised!

Dog Day Afternoon – Gun toting gay, Al Pacino can hold-up a bank yo bitches!

12. Straight actors immortalised by gay filmmakers:

Bad Education – Gael Garcia Bernal was the man in his Natalie Portman affair? Gosh! Pedro does it again, pours Penelope Cruz’s pout into Bernal’s blowfish lips

Milk – Sean Penn – of the Madonna ex-husband fame, could not have been any gayer

Priscilla Queen of the Desert – Guy Pearce in drag! Holy mother of Memento, rewind will ya…

Gia – Angelina Jolie can switch from straight to gay like a chameleon, who cares as long as she puckers her lips, she’s everyone in one!

The History Boys – brilliant ensemble cast, from the filmmaker who gave us Jennifer Aniston’s arguably only watchable film, The Object of My Affection

13. Movies not meant to be understood, yet marveled:

Last Year At Marienbad – critics agree

Rules Of The Game – the sort of comedy of manners film made less french in flavour by Gosford Park’s tribute years later

Memento – Ghajini was difficult made easy pudding

Mullholland Drive – as New York Times pointed out, the less sense it makes, the more you want to see it

14. 5 films Kareena Kapoor should watch to reclaim her skill

Erin Brockovich – this is the Julia Roberts she should be emulating

The Piano Teacher – Isabelle Huppert to the masterly training

Under The Sand – Charlotte Rampling towers like a lighthouse over it

A Woman Under The Influence – Gena Rowlands mad as can be

Monster – Charlize Theron – Bebo should balk at having to look ugly, gain weight, act no!

15. Horror as it should be

The Others – Nicole Kidman is terrified, and so are we

Let The Right One In – twelve year old vampire kid in love, uhh, pretty scary love story

The Shining – Jack Nicholson in anything is damn shit creepy

Rosemary’s Baby – just for the last scene, that look on Mia Farrow’s face, ever-lasting horror

Psycho – What would the genre be without you?

Carnival of Souls – low on budget, high on atmosphere

16. Romance is in this odd coupling:

The Kids Are All Right – Julianne Moore and Annette Bening make the perfect dysfunctional lesbian couple

Venus – A seventy plus Peter O Toole attracted to a girl his granddaughter’s age. Toole’s most endearing act

Brokeback Mountain – Jake wishes he knew how to quit Heath. How inconsolable we were when Heath passed away

The Graduate – Mrs Robinson has eyes only for a plucky Dustin Hoffman

Elegy – Penelope in bed with Kingsley – er Gandhi with an appetite for sex, watch

Moonstruck – Cher doing Nicohlas Cage – you got to be kidding

Vicky Cristina Barcelona – Cruz, Bardem, Johansson tripling, oh yeah, even when there is no sex in the room its one hell of a hot place to be

17. Must watch Iranian New Wave films

The Cow – Possibly one of the best films in the world, ever

Where Is The Friend’s Home? – Abbas Kairostami’s deceptively simple tale

Children of Heaven – The Majidi film Priyadarshan should not have copied, shame shame

A Time For Drunken Horses – where horses are more prized than human beings

The Circle – Jafar Panahi should be released from the circle that has presently engulfed him

The Day I Became A Woman – Makhmalbaf’s wife outshines his debut for sure in this stunning film. He has Kandahar, and daughter Samira has The Apple to bring the house down

Tip –  Afghani film, Osama from this region, is magnificent

18. What’s the best in world cinema?

Federico Fellini’s La Dolce Vita – Raj Kapoor’s predecessor

Rene Clair’s A Nous La Liberte –– Pankaj Advani would have agreed

Sergei Paranajov’s The Colour Of Pomegranates – Kiran Rao, Madonna and yours truly are the only people who might have seen this

Michelangelo Antonioni’s Blow Up – Kundan Shah knows

Ingmar Bergman’s Autumn Sonata – the film Rituparno Ghosh, Pedro Almodovar, Khalid Mohammed would perhaps fork and knife over lunch.

Francois Truffaut’s 400 Blows – the film Vikramaditya Motwane will accept and Aamir Khan deny – freeze frame anyone? – Satyajit Ray admitted his last shot in Charulata

Vittorio Di Sica’s Umberto D –  if you can get over The Bicycle Thief

Luis Bunuel’s Un Chien Andalou – Dali’s surrealist vision; razor slicing an eye, who can forget this indelible, hair-raising horror sequence

Jean Luc Godard’s Breathless – the ever so loveable rake Belmondo

Alain Resnais’ Hiroshima Mon Amour – I should not be surprised if Ondaatje likes this

19. Films that have been successful with ‘potato eaters’

Fried Green Tomatoes – Chop, chop, chop girls, this is it, meat-pie in the oven

Babette’s Feast – where gluttony is sin, there devout small portions is all you will need to thank the lord for

Woman On Top – f*ck the food, Penelope Cruz with a chopper headed for you meatballs, dare you move

Ratatouille – it’s animated, and yet so wonderfully glazed, you want to nosh, and the food critic in the film, is certainly Proustian in hauteur

Julie & Julia – has food ever been filmed this lovingly, Nigella Lawson, you have competition

Chocolat – Juliette Binoche grinding cocoa with her creamy hands, won’t you lick her fingers off when she is all messed up whipping a chocolate meringue?

20. Sex scenes you may have missed

Last Tango In Paris – Marlon Brando using butter – I thought butter was meant only for spreading, how naïve I was

Anatomy of Hell – A stone dildo? Only in a French film will you see a woman getting lucky with it

Sex And Lucia – Beautiful locales, gorgeous women, great music, and loads of sex – plus some festival awards. Perfect

The Ages of Lulu – Javier Bardem’s very early film, graphic sex scenes, very risqué

The Postman Always Rings Twice – not a great film but if you want to see Jack Nicholson kneading Jessica Lange covered in flour on a kitchen table, go for it

In The Realm Of The Senses – The Japanese use egg in foreplay, find out, yep

Shortbus – After Caligula, if anyone has dared to film another orgy, pop your eyes here

21. Sweet n Sour Bengali films

Meghe Dhaka TaraDada, ami baachte chai (Brother, I want to live) – isn’t that what Bhansali keeps trying to convey to us through his films

Charulata – My favourite Ray film, what I would do to get hold of that pair of binoculars

Antarmahal – Where Rituparno dares, and Rupa Ganguly seductively bares

36 Chowringhee Lane – The one time Aparna Sen was spot on with her casting of Jennifer Kendal

22. The Khans should stop wiggling their butts and watch these actors do full frontal (performance included)

Vladimir Mashkov – The Thief – passionate, volatile, hard-knuckled, a seasoned man

Klaus Maria Brandauer – Mephisto – such incredible drama off-stage, especially with his mullato

Vincent Casell – Irreversible – crazy as a nut, this man

Edgar Ramirez – Carlos – that scene where he’s feeling himself in a mirror, he’s loving it!

Alain Delon – Le Samourai – dude, this guy cools you with his point-blank shot

Birol Unel – Head-On – Drunk, uncouth, bedraggled, he gave to the role more than its demands

John Hurt – The Naked Civil Servant – hahahahaha, truly one of a kind

23. Banned films I should not be recommending

Salo – please do not watch this film, its puerile

The Last Temptation of Christ – what was the fuss about, it’s hardly spectacular

Brief Encounter – considered adulterous entertainment then, classic now, ask Anurag Basu where he borrowed Life In A Metro from

Caligula – terrible, terrible film, who wants to see Helen Mirren naked? God no!

A Dirty Shame – so gross, you don’t know whether to laugh or to wince

Zack & Miri Make A Porno – Thailand banned it because teens might learn how to make a porno, hello world!

24. Cult films you will never watch

The Holy Mountain – Director saab was on LSD while filming, and actors were fed ‘magic mushroom’ to experience their characters, roles, skin, whatever

Plan 9 From Outer Space – considered the worst film ever, but please watch Ed Wood before you watch this, you will die laughing at its incongruity

Blue Velvet, Wild At Heart, Lost Highway – strange David Lynch films that hypnotize

Man Bites Dog – biting cruel humour, this is not for the faint hearted

Showgirls – so camp, you’ll reach out for cheesecake and pour honey over it

The Rocky Horror Picture Show – the mai-baap of camp and cult, thoroughly entertaining

25. Where are the Hindi films in this list?

Apart from a gazillion films I have not spoken of (will come back with Part 2), there’s about only a handful of hindi films I love. It’s so bourgeoise to repeatedly discuss them.

Dilwale Dulhaniya Le Jayenge

Maqbool

Hazaaron Khwaishen Aisi

Boot Polish

Jaagte Raho

Awaara

Kagaz Ke Phool

Devdas

Pyaasa

Sahib Biwi Aur Ghulam

Sardari Begum

Pakeezah

Rangeela

Lamhe

And a film that will always top my best list, my heart belongs to Mughal-E-Azam (coloured version please).

It’s raining trailers and how! The theatrical trailer of Sujoy Ghosh’s Kahaani is finally out. Have a look.

Balan seems to be on Bull run and in this one she doesn’t even have a hero opposite her.

The film stars Vidya Balan, Parambrata Chattopadhyay and Nawazuddin Siddiqui.  And the writing credits include Sujoy Ghosh (story/screenplay/dialogues), Advaita Kala (story), Suresh Nair/Nikhil Vyas (Additional screenplay), Ritesh Shah (Dialogues) and Sutapa Sikdar (Dialogues) . The film has music by Vishal-Shekhar.

Here’s the official synopsis..

Vidya Bagchi arrives in Kolkata from London to find her missing husband. Seven month pregnant and alone in a festive city, she begins a relentless search for her husband. With nothing to rely on except fragment from her memories about him, all clues seem to reach a dead end when everyone tries to convince Vidya that her husband does not exist. She slowly realizes that nothing is what it seems. In a city soaked in lies, Vidya is determined to unravel the truth about her husband – for herself and her unborn child even at the cost her own life.

 

From the producers of Pyaar Ka Punchnama – That’s enough to make me curious. Because i have been in a weird position with regard to PKP. Have tried to defend its misogynist point of view in endless discussions about the film and on the other hand, was against the director, and was on the side of the writers when the writing credits were almost invisible on various publicity materials and they were accused of writing just few pages. Anyway, Bittoo Boss is the new film from the same producers. Have a look.

New director (Supavitra Babul), new subject, new faces (Pulkit Sharma), and a young producer (Abhishek Pathak). Great! It looks interesting for sure but what’s the point of wasting 90seconds to tell the same joke again and again and again and again. It doesn’t say anything more than that. As they say, you never get a second chance to make the first impression. And that’s gone. Hopefully the second trailer will tell us more.

A new trailer of debutant Karan Malhotra’s Agneepath has just released. Produced by Karan Johar, this film is an official remake of Mukul Anand’s Agneepath and stars Hrithik Roshan, Sanjay Dutt, Priyanka Chopra and Rishi Kapoor. Take a look.

And here are few observations…

1. This doesn’t look like the usual KJo film. And that’s a a good start. Dongri? I am not sure if any of the characters from any KJo production ever knew that a place called Dongri exist. Good to see that Dharma Productions is exploring beyond SoBo.

2. Dialogues by Piyush Mishra. Great.

3. Music by Ajay-Atul. The music director duo started with Marathi films and quickly made their mark. Again, good decision to go with Ajay-Atul instead of the usual suspects – Shankar,Ehsaan, Loy or Vishal-Shekhar.

4. More roles for actors like Brijendra Kala and Pankaj Tripathi (is that him in the opening scene?) makes me feel that we are going in right direction.