Archive for the ‘Hollywood’ Category

the-reluctant-fundamentalist-posterThe latest offering by Mira Nair features various artists and the album has as many as 14 tracks.

The album starts with Kangna, a traditional qawaali performed wonderfully by Fareed Ayaz and Abu Muhammad. The accentuated bass towards the end remind us that this is for a Film and not performed for anything else. Although the duo have sung this song for Coke Studio Pakistan as well where the duration was in excess of 10 mins, this one ends in less than 6 minutes, melodious nonetheless.

Bijli aaye ya na aaye features the otherwise serious Meesha Shafi. Severely let down on the lyrics the song survives because of the lovely throw that Meesha demonstrates. Peppy. The lyrics are so bad that they actually redefine the word ‘random’. However, this for sure will be closely walking with the narrative, of which I am sure.

Kaindey ney sung by Zahara Khan is up next. Performed with just a guitar and Sarod by the side for most part, Zahara appears slightly out of sync at times in this average song.

Ali Sethi hums Dil jalaney ki baat kartey ho extremely well and leaves you wanting for more because the track is barely 2 mins long.

Atif Aslam croons Mori araj suno and even though he tries very hard, thanks to the varied versions of this ageless composition that we have come across, this track falls short. But it does sound very theatrical.

Measure of me by Amy Ray is the best song of the album. Slow, melancholic and very high on melody. The arrangement is so simple that you might even ignore it. The backup vocal arrangement is brilliant as well.

A young man has to take a stand performed by Michael Andrews is a track filled with a lot of tension thanks to the eerie arrangement and loads of violins used. Ends quickly echoing the tension in the head.

Jannissary again performed by Michael is a slow piano piece with continuous violins. Somehow reminded me of 1947 The earth, this piece. Nicely done.

Something happened – Bass and a lot of bass instills anticipation in what appears to be an anxious track. A track that is very rich on sounds. Faintly heard someone sharpening knife, someone running through a door and then it all descends to a pause. One of the best instrumental pieces in a long time. Highly recommended.

God bless America A very short track comprising of crowds cheering and a continuous beat that eventually fades out far too quickly.

Love in Urdu by Rizzle kicks is a delicately arranged all instrumental piece peppered with subtle Sarod and guitar. Not as beautiful as love in Urdu would be but a soothing and simple track.

Focus on fundamentals paints a picture of tension, yet again. Aided in just right measure with violins and a dying bass line throughout. Eerie. Tensed. Dark.

Get us both killed has got a very dark tone throughout. The riffs remind you of a particular O.S.T. Which shall not be named here. :) the tempo steadily rises but never peaks and that’s quite eerie.

Too much blood has poured into this river With near absent vocals, this track keeps the dark undertone of the album alive. Aided by flute, the overall grave atmosphere gets a touch of sadness. The almost silent alaap is a touch of class in this track.

With Mira Nair, we are sure that the music will be totally circumstantial and compliment the feel of the film. The Reluctant Fundamentalist is no different. Will I hear it as much as the O.S.T. Of ‘The Namesake’? Well, No. The reason is simple. This O.S.T. stays so closely hugged to the film’s feel that you slip into sadness with some of the tracks of this film.

2 Thumbs up! If you are an O.S.T. Collector, do not miss this at any cost!

@Rohwit

(Ed note : For more music reviews by Rohwit, you can check his blog here)

First, the good news – Derek Cianfrance’s new film The Place Beyond The Pines is releasing in theatres this Friday. His last release was the heartbreaking drama, Blue Valentine. If you still haven’t seen it, DO WATCH. Click here to read a terrific recco post by Subrat.

Starring Ryan Gosling, Bradley Cooper an Eva Mendes, it’s released by PVR Pictures. Also, we have been informed that there are no Censor cuts in the film. And do check out the embedded document where director Derek Cianfrance gives an introduction to his film.

You can read the same document on Scrib here.

And here’s the opening scene of the film

TheMaster.php

Great cinema always inspires great writing. And going by that rule, the latest one to join the club is P T Anderson’s The Master. And like us, if you also love reading everything possible related to a film once you have seen it and love it, then you have come to the right place. Some of us have seen the film and googled everything on it so that you don’t have to. Also, there are high chances that once you have seen the film, you will have too many questions. This post has links to some of the explanations offered.

But DON’T READ ANYTHING if you have not seen the film.

The Master is finally getting a theatrical release in India this friday. It might not work for everyone but you can’t deny Anderson’s stamp of great film-making all over. So don’t miss it. And for two more reasons – it deserves to be seen on big screen. There’s no other way. If it works out well, we might get to see much better releases in the coming months.

At the end of the scene, Lancaster sings “(I’d Like to Get You On) A Slow Boat to China” to Freddie. And yes, it’s eerie and perhaps more than a little homoerotic, but it also feels like a twisted version of a lullaby — the most domestic and familial of actions turned into something terrifying and strange — making it clear once and for all that Freddie’s dream of becoming a family with Lancaster and Peggy Dodd is an impossibility. And freeing him, ironically, to try and form a new family — perhaps with Winn, the girl he’s met in the final scenes of the film, right before we see him lying next to the female sand sculpture, suggesting that his search goes on.

– Vulture has done a brilliant piece titled “What Is The Master Really About?: Five Interpretations”. Click here to read.

It’s hard to make a lot. That was one thing when I was working on The Master, they kept being like, “well, he’s got a tea kettle, and he’s making gallons of spirit out of it.” I’m like, “Mmm, you might get a shot of spirit out of a tea kettle.” Like that flask setup in the shed in the cabbage field? No way that would have produced a five-gallon glass carboy full of moonshine, unless you were working every day for several weeks. But, you know, movie magic.

– Vulture has also done a piece answering that million dollar question which everyone will surely ask after watching the film – Can You Really Make Booze Out of Paint Thinner? Click here to know the answer.

The haunting, utterly inward stillness of the actors in “The Master” is one of the director Paul Thomas Anderson’s most apparent achievements, and it’s no mere ornament or element of dramatic plausibility—it’s at the core of the film, as is the very question of performance as such.

– New Yorker’s Rochard brody has written a long essay titled “The Astonishing Power Of The Master”. Click here to read.

– And if you want to read about the making of the film, click here for a long interview.
In “The Master,” we’re often left gasping for air, as in the scene when Freddie is required not to  blink for a painfully long stretch of his processing. Or because of the sheer beauty of some of the compositions. Warts, wanderings, reiterations and all, this is a film destined to be processed in many different ways. And hallelujah to that.
– Michael Philips’ 4 star review is here.
There are hints of an erotic relationship between Freddie and Dodd’s daughter (Ambyr Childers) and a not-too-veiled suggestion that Dodd’s paternal yearnings for Freddie are complicated by other desires. But at the risk of issuing a spoiler of sorts, beyond a bewildering point-of-view sequence when Freddie imagines that all the women at a Philadelphia cocktail party are naked, this is a film suffused with sexual desire that has no sex in it. If you look at “The Master” through the lens of Paul Thomas Anderson’s body of work, this is a prelude to the world of “Boogie Nights,” a disordered America where nobody was getting any that led straight to the disordered America where everybody was getting too much.
– Another great piece by Salon’s Andrew O’Hehir. It’s titled “The Master: A forbidding portrait of L. Ron Hubbard’s America” . Click here to read.
All of this striving — absurd, tragic, grotesque and beautiful — can feel like too much. “The Master” is wild and enormous, its scale almost commensurate with Lancaster Dodd’s hubris and its soul nearly as restless as Freddie Quell’s. It is a movie about the lure and folly of greatness that comes as close as anything I’ve seen recently to being a great movie. There will be skeptics, but the cult is already forming. Count me in.
– A O Scott’s article is wickedly titled “There Will Be Megalomania”. Click here to read.
– Time Out Chicago also offers “An Explanation” of the film. Click here to read.

So where does this leave “The Master” on the Anderson landscape, that oddly populated terrain? Few modern films have been as crowded as “Boogie Nights” and “Magnolia,” and few have been more lonely than “There Will Be Blood.” The new work sways toward the latter. I kept expecting, and even hoping, that Dodd would acquire a tinge of Elmer Gantry—that he might start to muster large throngs to the Cause, with Freddie employed as the muscle to keep the mob in line. But the scale of the story, for all Dodd’s swagger, remains compact, and the plot slowly condenses into a blend of character studies. Look at Amy Adams in closeup, for instance, all the scarier for being so perky and correct, her features filling the screen as she quizzes the reprobate. Or look at Phoenix, lifting his head high and proud, as Brando used to do, with an added, cranky stiffness that comes from having, or being, a serious pain in the neck. The eyes narrow and the mouth is awry, one corner twisting into an Elvis curl, though it looks too sour for seduction, let alone song.

– Anthony Lane’s review in the New Yorker is here. And it’s a must read.

Why do you make things so difficult? Else it wouldn’t be fun.

–  1 hour long Q & A with Anderson
– The Career of Paul Thomas Anderson in Five Shots
If you read any other brilliant essay on the film, do post it in the comments section.

WHY?

The world needs to know. Anyone?

Here is the trailer.

And here’s the answer

Tip – Sumit.

If the title of the post doesn’t make any sense, please don’t blame us. We are also trying to connect the dots. Since we started the “2012 Rewind” series on the blog, we have been getting many guest posts on our blog mail id. This one comes from an anonymous account. And the writer wanted the same title for the post. If you are not familiar with allah duhayee hai, click here. So over to Mister Anonymous and his A,B,Cs of the year. or should we call him good ol’ Mr Screeny (here & here)?

(PS – It also includes a very embarrassing mention of the blog. Spare us. Had no choice, so letting it go.)

Chaalis Chaurasi

A – AgneepathCry cry cry itna cry karte kai ko hum. I expected to see a power packed revenge drama but got Hrithik’s cheeks shaking in slo-mo in bargain and Sonu Nigam’s melodramatic & painful song (Ab mujhe). Agneepath turned out to be Pursuit of Happyness masquerading as 300! But good to see Brijendra Kala and Pankaj Tripathi in meaty roles.

B -Barfi – Original or not, loved how they made the film such a meandering one. Quite an achievement to make the movie go all over the place and yet hold its own. And what visuals (though I believe the DoP was ‘instructed’ to reciprocate the referencing). And can all those people stop praising PC ? As Raja Sen says, she shouldn’t have played it full retard (ala Tropic Thunder)

CChaalis Chaurasi – No Sir. It is not good to make fun of Blueberry Hunt when you act in movies like 4084. Loved you smoking the pot in ZNMD, sleepwalking in Dirty Picture and even the marathi lines in Deool but sir why why why? Why 4084? And though you may be offended by me being offended at your selections, but sir, with humble hands folded, I concede “ANYBODY I CARE ABOUT IS MY BUSINESS!!!”

D3D wala D, Dheele वाला D. Disaster वाला plot, Dazzling visuals वाला Life of Pi. Dubbing वाला D. Shobhna ही ले लेते? या फिर Tabu से मद्रासी बुला लेते जैसे Kandukondein & Iruvar में किया. And Dhakkan वाला इरफ़ान who claims he is in the 1000 Crore league. Cummon Yaar. Even Naseerudin Shah never took the ‘League’ of Extraordinary Gentlemen seriously. But Richard Parker ने definitely नय्या पार करा दी sir.

EEditing. Did Aarti Bajaj (aided by the Background Score) save Pan Singh Tomar? Only those who had seen the early cut which premiered in 2010 would tell.

And another ‘Yeah’ for Namrata Rao for having edited Kahaani & Shanghai (one of my personal favs). I’m tempted to see Jab Tak Hai Jaan purely for her. No doughnut (but lots of dough) this year for Deepa Bhatia who edited SOTY.

P.S – Also Akiv Ali for Barfi. Now if only I can lay my hands on the script of the film.

P.P.S – Pure Promotion of the sexy mashup videos by Sumit Purohit. Do watch if here you haven’t

Fफर्जी Morality, फ्रॉड फंडे – FUCK YOU Censor Board for screwing up my movie watching experience with the Family Friendly Disclaimer “Ciggarette Smoking is Injurious to Health” in English & Hindi, everytime a character smokes on screen. Fuck you! You might as well, like William H Macy does in Thank You For Smoking, go ahead and ‘tastefully update’ history by putting a Disclaimer like “अनचाही संतान प्राप्ति से बचने के लिए, कृपया संभोग के समय, निरोध का प्रयोग करें” in the jaw droppingly gorgeous Roop Tera Mastana Song from Aaradhna. Hippo-Cracy की औलादें साले !

Gघोटाला (Dilliwai bhasha) or घोची (Bambaiyya) or what the hell happened (Universal). Why is Balki grating us with his irritating pun-figure-of-speech lyrics (Manhattan from Engish-Vinglish) in an otherwise Gauri Shinde film (which even has a marathi equivalent of Alay Payuthe Kanna in Navrai Majhi, or may be I’m glad we’re not made to suffer another Dhol Beats wala Punju Bhangra Folk song for that ocassion)? Why did Homi Adjania (ahhh Being Cyrus) make the infinitely regressive Cocktail? What gun did the industry to point to the takla sir of the very talented Naveen Kaushik (Rocket Singh) and force him to do what he did in KLPD & Ferari ki Sewari? Why does Naaser need to do a Rowdy Rathore (Pritam Pyare mein baincho kar kya raha hai woh? Aur kyun? What happened to Kabeer Kaushik (this time none of the Deols or Warsis were interfering were they?)? When will iRock Sid Jain stop uploading random photos and actually produce his 2nd film (with due payments to the crew) and actually ROCK a Shaadi ? Why did Sanjay Khanduri remake Ek Chalis and set it in Dilli (‘Balaatkar karwayengi‘ Jaats in Tempo seems so ridiculously relevant now in wake of the Dilli Gang Rape)? And of course, what happened with Agent Vinod?

HHaggaBai Halla machaye re – Loud maharashtrians who went Wakda (and as apna भाऊ invokeanand says, he has never heard the term in his entire marathi middle class life), there is something curiously wrong with Aiyya. Subtlety out of the window as a lavani would do away with sharam-o-haya. Kai chaleel? Tula mahatiyi hai ka? Or did you too like us went dreamam wakeupum? Agar batti ukhaadni thi toh Sai Paranjpe ki tarah ukhaadthey Bhau….Bhandarkar kyun ghola beech beech mein ? Raat ki Raani ki Gandha subah morning shift pe ‘differences’ le ke aati hai kya set pe?

Iइंकलाब. Independent Cinema. PVR Director’s Rare? A good initiative but 250 bucks for The Last Act at PVR Juhu (Reduced prices)? And wow Shahid, Ship of Theusus, Miss Lovely, Peddlers, and the released ones like Love Wrinkle Free, Supermen of Malegaon, Kshay.

बस यारों इन्तेजाम ऐसा हो की Inzamam-Style रिलीस हो बडे परदे पर. Ignoble या Ignorable तरीके से नही. कहीं ये इल्जाम ना लगे audience पे की इंक़लाब शुरू होने से पेहले Single Screen भाई लोगो ने उसे indoctrinate कर दिया है.

P.S – Dear director of the awesome looking Mizo film Khawnglung run. Can you please provide English subtitles for your film (Which is already uploaded on youtube by the way).

JJoker. How we missed him when we saw Bane in TDKR. TDKR was even more disappointing than the existential heist Inception. Probably for the first time, I didn’t want to see a Nolan film again. Although Skyfall made up for it to quite an extent with a (Bisexual?) Bardem. The rat story goes up there right there with the Jokers’s ‘Scars’ one. और साला क्या single shot intro है. If the father was a “drinker & a fiend” then, “Mommy was not good” in this one.

KKamal Swaroop‘s FB status. Even though it might take me a lifetime to appreciate his much ‘cultified’ Om Dar Ba Dar, the man’s FB statuses are legendary. And of course he shares some of the most mindfuck photos/articles you could find.

“ftii cinema began with bonga.met kudan today”

“if you are bad at every thing,.join films”

“The best firecrackers are always sold by people with 3 fingers.”

The stuff of nightmares! 15 Creepy Images of Ventriloquist Dummies

This bizzare photo

Kamal’s conversation with a certain Mr X filmmaker –

“Mr X. Aap 7 janmon mein film nahi bana sakte hain”

Reply from Mr X – “Agar aap filmmaker hain toh main filmmaker banna bhi nahi chahta hoon”

And because he is on FB & not twitter, you must be-Friend him even if you don’t follow him (Oh God!)

L Lingo, लेहजा, लिबास. Ishaqzaade’s ‘Musalli”, Kahaani’s ‘daknaam’, Vicky Donor’s Chadhdha, GoW’s ‘Kasai mohalla’ & ‘Kalkutta’, Shanghai’s handling of multiple worlds of lingo correctly and the mother of them – Pan Singh Tomar with the Chambal key ‘Mooda-Moodi’. Bhai Waah! Now if only a Vishal Bhardwaj written film had released this year as well.

M Maniratnam. Rangan’s Book. Hands down must read. Buy now! Read now. Even if it is non controversial and tries to read too much, but Rangan gets it 70% right (the subtext). The book is littered with trivia, insights, anecdotes, and gems like this

Rangan – How come the heroes in your films never use swear words ?

Ratnam – May be I save them for real life instead

N – Another Zimply south ‘controversy of sorts’ with the Kamal first calling the producer of NAYAGAN as ‘old school‘ and later the poor man retaliating by downplaying Kamal’s contributions. And eventually an extract from Ratnam’s book with Maniratnam saying “Kamal too didn’t expect much from the film”. Full on Rashomon in Rameshwaram.

O Obituary – (Mandatory Serious & Obligatory point) This year saw its fair share of filmy personalities passing away. Jagjit Singh, Pt Ravi Shankar, Jaspal Bhatti, Yash Chopra, Dinesh Thakur, AK Hangal, Ashok Mehta, Rajesh Khanna, Dara Singh, Mehdi Hassan, Achla Sachdeva, Raj Kanwar, Nikhat Kazmi, Anthony Gonsalves, Ravi, Joy Mukherjee and yesterday we lost Bobby Singh. RIP

Irrfan Khan (4)

PPAKAU – Every once in a while comes a world wide acclaimed BORING PAKAU JHELU film which wows everybody everywhere. If earlier it was ‘Uncle Bonhomee Who Can’t Remember The Film Title’ or Kinatay (the one QT loved and wrote this letter for), or Adaminte-Gareeb-Mallu-Abu, then this year it is AMOUR, hands down. Though it was well recieved even by the intelligent bloggers, critics all around, I however tend to agree more with this piece. ‘VAPID’ & ‘BANAL’ are right words for this film

And if there any Amour fans around, please do pass on my message to Mr Haneke – (NOTHING HAPPENS IN THE REAL WORLD?)

Q – ‘Q-tiyapa Hai‘ guys who do all those viral videos (TheViralFever led by Arunabh Kumar). It began with one on Roadies (must watch), Guide to Bollywood Balaatkaar and later created the Gaana wala song. Also in line are The Golden Kelas and The Bollywood Ghantas (hopefully the one for 2013 is better)

R – for all the Rajesh Sharmas of the year! (Bakwaas Na Kar Titu) from Luv Shuv (Along with an inspired Vinod Nagpal & restrained Rajendir Sethi); the often under utilized Anant Jog & Pitobhash Tripathy (in Shanghai), Jahangir Khan(Irrfan’s Dadda), Ravi Bhushan Bhartiya (his bhatija), the Corrupt Cop (Rajeev Gupta – who also apparently owns a mechanics shop in Delhi apart from being a Tishu regular since Dil Se, Charas, SBG) all in Paan Singh Tomar; Gauhar Khan in Ishaqzaade; Pankaj Tripathi in Agneepath (Cilemasnob‘s new Yashpal Sharma – who is good in every bad film), the entire cast of GoW; Sheeba Chadhdha (someone cast this woman in a big role now please) & Aditi Vasudeva (unrecognizable in Talaash, stellar in Do Dooni Chaar) from Talaash; – this year boasted of some awesome ‘chhipey huey actors’ performances. And of course Bob-Nomashkaar-Ek-minute-Biswas.

P.S – the heart goes out to talented actors like Ashraf-ul-Haque who unlike the Adil Hussains, Nawaz, Irrfan have been struggling since ages but are always relegated to Sujit Kumar type roles even in ‘art house’ films. One wonders who is the next Nawaz ?

SSci Fi film of the year – Rian Johnson’s Looper. After the disappointing Prometheus by Ridley Scott, the Brick director (No Brothers Bloom doesn’t count) made Joseph Gordon Levitt as the younger Bruce Willis, with both men in the hunt for each other, over a span of 20 odd years. Way more inventive than Inception, it goes for a repeat viewing. I’m sure there must be a logical flaw somewhere, I just haven’t found it. Reminded me a lot of Source Code (which was pretty good though more accessible).

And as the year ends, we are treated to the trailer of Shane Carruth’s Upstream Colour. The guy who made the mind boggling Primer on a budget close to 7,000$ 12 yrs ago, is now back. Even if this one disappoints, I’m sure it won’t be disappointing! If only we made better Sci Fi films than Ra-One & Love Story 2050.

T – Did the Twist destroy Talaash? Did the audience Talaash for a Thriller but got a Drama-Horror instead? There’s been a post on this already and I’ve met my share of rabid detractors of the film who yell at the ‘Ghost’ element in it. “Horror/Thriller बना रहे हो तो Horror/Thriller ही बनाओ ना. रोते हुए पती पत्नी की boring slow paced film क्यूं? क्या मॅर मॅर के रो रो के investigate कर रहा है Aamir?”

Does that imply that –

a)(Noir?) Procedurals unlike ‘Detective’ films, are tough to please to some of us? (Remember Manorama Six Feet Under? Police Adjective, MOM ya Anatolia toh marr hi daalenge humein?)

b)Never betray your ‘pitch’. The audience won’t forgive you. OR vice versa – we don’t like being betrayed by our film experiences.

UUkhaad Lo Jo Ukhaadna hai! Dev Saab often said it to the critics before releasing films like Mr Prime Minister & Chargesheet. Ed Wood simply picked up and moved on from film to film. Ram Gopal Varma continues to ignore us. We’ve beaten his films, lampooned his statements, had dispirin at his vodka fuelled twitter-isms (Samples below), and even pretended we don’t care. Yet the man goes onto make films as if nothing happened. Kudos sir. And I mean it with complete honesty & sincerity. You are a living example of how to continue doing work with a ‘Ukhaad Lo‘ attitude towards detractors. I hope someday someone makes a film on you with you delivering an Aviator-ish Climax, chastising everybody in the industry. Move over Pan Singh Tomar, Milka Singh & Mary Kom, you are the role model for us.

“A common man is a common man becos he thinks commonly nd thats why he very rightfully deserves to both live and die commonly”

“Was Gandhiji a gujju?”

“I rate Karan johar far far more higher than Mehboob khan v.shantaram Rajkapor guru Dutt and Bimal Roy”

“I honestly think either the mosquito or the cockroach should be declared as the national insect”

VVaalgey Tamil Vaalgey (Glory to The Tamils). The DMK rhetoric apart, this year two films made in the ‘commercial’ bracket by short filmmakers who regularly uploaded their well made shorts onto youtube, and somehow cracked into the Tamil Film Industry. Kadhalil Sodhapavudu Epidi (How to mess up in Love) by M Balaji, showed his short film (can be seen here) to Siddarth, who immediately decided to act and co-produce the short into a full fledged feature. Hopefully our Hindi Film Heroes can learn a thing or two.

Pizza, a horror-thriller by Karthik Subbaraj is even more audacious in it that it doesn’t have a single ‘known face’, and was made on a low budget. I can’t remember the last good Tamil Horror film. The film is out #YouKnowWhere with English subs. Do watch these films.

Karthik Subbaraj’s short films can be viewed here and M Balaji’s other short can be seen here.

W WTF Versova. The erstwhile ‘struggler Barista’ patrons have graduated to this place, and you will find tons of filmy people hanging out here at nights. And even among the ‘established’, you will always spot the ‘struggling established’ class here – the Sudhir Mishras, Abbas Tyrewalas, RGV, the not so famous Journos, ‘Bandiyaan’, and various well to do Chief ADs (advertising waley). A Mallu Beef Fry worth dying for, and general coteries of cake-painted-faces worth strangulating, that is if you can find space to do that!

X – The ‘XX’ chromosome. Female Power – Along with the two editor’s we have Reema Katgi, Zoya Akhtar (ok, ok, ZNMD was last year but she co-wrote Talaash), Juhi Chaturvedi, Urvi Jurvekar, Sneha Khanwalkar, (no Pooja Bhatt’s Jism 2 doesn’t count), Gauri Shinde. Call me a sexist but Kya baat hai!!! Can we get more such talented women in the industry ?

Yये भी बिकता है. This year saw the announcement/release of tons of ‘literature’ being picked up by movies. Life Of Pi (By Pandit Ang Lee), Reluctant Fundamentalist (Fodu Namesake aur Monsoon Wedding wali Mira Nair), Midnight’s Children (I-Am-Born-To-Sell-India Deepa Mehta), Kai Po Che (if 3 Mistakes of My Life can be considered Literature that is), Oh My God (Paresh Rawal co-produces another Gujju Play into a movie after the disappointing James Hadley Chase Maharathi), and the Realistic Shanghai (from somewhat slapstick Z). Here’s Cilemasnob‘s recco to all filmmakers – The Illicit Happiness of Other People by Manu Joseph. Btw, when is that film on White Tiger coming out?

Z – And finally ZehNaseeb – A self congratulatory, mutual mastrubatory, admirational clique wala Hi-Five to moifightclub for being the coolest Desi Film Blog of the Yr !

कांटो को मुर्झाने का खौफ नही होता,

और MFC का HAT हर एक फिल्म के लिये DOFF नही होता.

Lilaah!

Sam: [In the women’s dressing room] What kind of bird are you?
Sparrow: [Starting to point to the other actresses] I’m a sparrow, she’s a dove…
Sam: [Cutting her off] No. I said…
[Points to Suzy]
Sam: What kind of bird are YOU?
Suzy: I’m a raven.
what-kind-of-bird-are-you

I have stood in front of the mirror, pointed my index finger at my image, just like Sam points at Suzy in that delicious Wes Anderson film, and have asked the same question quite a number of time, using all kind of possible emotions. And whenever i think about the scene, it still makes me smile. Bit of Googling tells me that am not the only one who loves this dialogue so much. Though it’s quite difficult to dissect why such a simple line from the film has turned out to be one of my favourite quotes of the year and has stayed back with me for such a long time.

So i thought about doing a collaborative post on similar lines. Quickly mailed some of the friends/films buffs for a simple exercise –

1. Close your eyes

2. Think of all the films you have seen in 2012…released/unreleased/long/short/docu/anything

3. Think what has stayed back with you…impressed/touched/affected/blew

4. Write on it and tell us why.

And i didn’t tell anyone else what the other person was writing about. Got some very interesting responses on all kinds of films and i have put it all together in this collaborative post – 15 film buffs on 17 movies (memories) of the year. The post has turned out to be bit long but hopefully you will enjoy it. And it can also serve as a movie recco list if you haven’t seen the films.

@CilemsSnob

Joshua #TheActOfKilling

—–> Kushan Nandy on The Act of Killing

I saw this two and a half hour-plus documentary at the Toronto International Film Festival in September 2012 and was blown away. Long after the film got over, after Joshua Oppenheimer spoke about it, even much after, weeks later, the film haunted me. It did to me what Incendies had done to me a couple of years back. But much more.

Never before have I seen a film or documentary, where, during the process of film making, the characters go through a life changing process. They metamorphosize into better beings, and this becomes a part of the actual film.

For example, what would happen if someone video interviewed Modi, his political associates or even the people who were the actual executioners of the 2002 Gujarat massacres? And they all accepted their crimes and celebrated this with glee? But suddenly, one of them changed, understanding the repercussions of what he had done?

Anwar, from The Act of Killing, is a person I will never forget. He had butchered thousands. But it was this documentary, and the process of filming it, that showed him who he actually was. He can’t sleep anymore, he stutters, he throws up. He will never be the same again.

And after watching this film, I wont either.

SRK JTHJ1

—–> Varun Grover on Shah Rukh Khan/Jab Tak Hai Jaan

Setting: 7 degree centigrade. Fog. Railway station. A small town in North India where Shatabdi/Rajdhani trains don’t stop.

My fingers are numb and typing out each letter is like feeling the power of it. For some strange reason, the 1st image from Cinema of 2012 that comes to my mind is SRK’s bike rising above the horizon as AR Rahman’s strings go crazy in the background. The theme music of JTHJ (the one they used in promos) it is. Call it the power of music, and it can’t be anything else ‘cos I didn’t even bother to watch the film, or call it my latent romanticism.

My friends from Lucknow – who were there alongside me, fighting for tickets outside Anand cinema hall in 1997 when Dil To Paagal Hai released – watched JTHJ on 1st day in Lucknow and sent me an excited SMS telling me – “Don’t believe the reviews. It’s as good as any Yash Chopra – SRk film you’ve seen. The crowd at Novelty loved it.”

The crowd at Novelty. I was that crowd once. My life’s biggest joys came from being that crowd. Especially on being among the select few who had the matinee show ticket on the 1st day. (1st show was for loafers, matinee was for civilized middle class.)

For Dil Toh Paagal Hai, our friends’ group of 5 was split into 2. Three of us got the evening show, while two fortunate ones got the matinee show. They were clearly the winners – getting to see Maya and Rahul and a new-look Karishma before us. Also they’d get to tease us on their way out, may be telling a couple of spoilers too. So we tried our best to avoid them as their show got over and we were allowed in.

But as it turned out – the theatre owner had cut the film by 15 mins in the 1st and 2nd shows. Apparently he didn’t think the Karishma outrage scene by the river had any merit. But when he saw the audience going crazy with whatever they saw in 1st two shows, he added the cut footage back. And we, the losers till just a few hours ago, were the 1st bunch in Lucknow to watch the entire film.

This scene, Karishma blaming God for complications in love, is almost the crux of Jab Tak Hai Jaan. Though that doesn’t explain why that image of SRK is the 1st that comes to mind. My nostalgia does.

Paan Singh Tomar4

—–> Varun Grover on Paan Singh Tomar

Now inside the train. Cozy and warm. Time to think clearly.

I can’t be a cinema buff by just noting down SRK/ARR as the lasting memory of 2012. But of course there are more. Neeraj Kabi’s intellectual-saint from Ship of Theseus, Denis Lavant and Kylie Minogue singing the existential song of the year (Who Were/Are We) in a post-apocalyptic shopping mall, Sridevi’s eyes full of tears (sprinkled throughout EV), Pi’s uncle swimming in what appears to be sky, the big-screen film print grainy look on Naseer’s face as he looks in the mirror half-seduced, half-confused by Bhakti Barve’s reflection in JBDY (which re-released this year), the spaceship landing smoothly in waters next to a dense mountain in Cloud Atlas, the sad, spent face of Dimple Kapadia at Rajesh Khanna’s funeral (in contrast to a 21-year old Dimple asking Khanna which color sari she should wear for the wedding reception party in the excellent BBC docu resurrected this year due to once-superstar’s death), Gael Garcia Bernal walking away silently, amused and (maybe) depressed amidst the emotionally charged crowds of his nation in Pablo Lorrain’s excellent NO, the trailer of Nikhil Mahajan’s ‘Pune 52’ (though the film didn’t live up to the high expectations and made the trailer look like a red herring), Faisal Khan’s eyes as he lets his gun go crazy on Ramadhir Singh while singer-composer Sneha Khanwalkar screams ‘Teri kah ke loonga‘ in the background……. and I can go on and on.

But one image that will shake me for many more years, the one that is so depressing that I haven’t seen the film again even though it is, for me, one of the best films of the year – Paan Singh Tomar’s sadness at seeing his worst enemy Bhanwar Singh dead. The man who had forced Paan Singh to end his international sporting career to become a dacoit had died. And instead of being relieved, Paan Singh was left purpose-less. The cries of Paan Singh, telling Bhanwar Singh’s dead body that he will chase him in another world and get his answers still give me chills. Those lines are the best lines of the year for me, resonating so much with the cynicism and depression of our times, where one fine morning, without any notice, all good turns into hopeless, impossible bad by the apathy of the system and resident evil of vengeful human kind we are, making Paan Singh Tomar the film, a kind of socio-political version of unrequited love stories.

Talaash

—–> @Anand Kadam on Talaash

This year we saw a gamut of movies from the hilarious yet fresh Vicky Donor, violently poetic Gangs Of Wasseypur,  and a mystery with a pregnant femme fatale  – Kahaani . But the movie that has stayed with me, which still sneaks into my mind and cuddles me, is a strange one. I call it a strange choice since this movie isn’t a great one (to be honest), and i didn’t think of it much when i watched it. But the grief stricken Shekhawat and his wife refuse to leave me. Talaash is like “Rabbit hole” with more guilt. When you lose someone very close to you, really really close, his or her or its memories sticks to you like a parasite, sucking every notion of happiness from you. You become a robot going through your daily chores with only one thing playing inside your head – how things could/would have been different. And when a small ray of hope or redemption comes into your life, even if it defies common sense, you cling on to it, not for a closure which comes later (or does it really comes) but for confronting the loss and accepting life as it is.

This is Talaash for me, not the twist, not Kareena or Aamir Khan, or the underbelly of Mumbai. And as i had said it earlier – A movie is never about its twist and if it is, it’s not worth it.

Kumki

—–> @Vasan Bala on Kumki

This year, I guess, without much fuss some low budget sleeper hits happened down south. Sundarapandian, Pizza, Naduvula Konjam Pakkatha Kaanom (a few pages missing in between). This year’s Paruthiveen-set-in-the-Jungles-with-an-Elephant marked the debut of Sivaji Ganeshan’s grandson, KUMKI! Breathtakingly shot. Directed by Prabhu Solomon, the guy who made Mynaa.

The film was earlier called “Komban” (Big Tusker). It’s about a mahavat and his “timid” Elephant Kumki, which is supposed to keep a wild elephant Komban from straying into the fields. The film is basically Kumki v/s Komban. It almost reads like a Pixar film, doesn’t it? BUT….Like any south RURAL “hit” this too has it’s rugged faced man with a toothy grin walking behind a shy girl “LOU STORY”, this one too has endless walks and shy glances and grins and predictably ends in a bloody tragic battle. An epic elephant battle! and it boils down to Computer Generated Blood and Dust (hmmm..ummmm). It’s a bona fide formula now, it’s a dream debut for any Star before he graduates into City “Criminal and Cop” roles, mouthing punch lines and beating up Telugu Villains. Loved the music though.

take-this-waltz04

—–> Jahan Bakshi on The Sarah Polley Double Bill : Take This Waltz & Stories We Tell

Sarah Polley delivered a double whammy this year with two diametrically different but intrinsically linked films. The first was Take This Waltz, her deeply sensual and feminine take on love, longing and those gaps in life that we try to fill in vain, and those questions about relationships that never have easy answers. Once you get over the affectedness: the overtly twee touches and some clunky dialogue at the start, Take This Waltz is in turns both superbly seductive and devastating. Michelle Williams once again, brilliantly owns her character and her mousy imperfection, and it’s clear that Margot could only spring from the mind of a filmmaker with a distinctive voice, and one who is a woman. And it contains two of the most exhilarating (musical) sequences I’ve seen at the movies this year.

In Stories We Tell, Sarah turns the camera on her own family with a brave, deeply felt documentary/personal detective story about her discovery of her real biological father, but more importantly, the meaning of family, secrets, memory and the very nature of storytelling. This must have been an impossibly hard and emotionally testing project to put together, but Polley pulls it off- life might be messy but Stories We Tell holds together very well as a rich document, revelatory in unexpected ways. Watch it when you can, and you’ll see where Take This Waltz comes from.

Shanghai-Movie-2012-Review

—–> Kartik Krishnan and Fatema Kagalwala on Shanghai

Kartik’s take

He gets to know that the system is rotten, that the investigation he was heading was flawed to start with from beginning, that beyond the scattered red herrings lay the actual ‘villain’, who incidentally is the same person who gave him the power & ‘support’ to start the investigation in the first place, that the ‘villain’ is the CM of the State.

So easy for any protagonist to become an Anna Hazare/Kejriwal in such a case, or to become a whistle blower and later face the inevitable martyrdom (ala the Satyendra Dubeys & Manjunath Shanmughams). What else can a cog in a wheel in such a scenario do? Pickup the gun like Eddie Dunford in Red Riding 1974 and blaze away? Become corrupt like Micheal Corleone or Ram Saran Pandey (Mihir Pandya has written an awesome article on Dil Pe Mat Le Yaar) ? Or run away into overexposed light like Vijay in Pyaasa? Should he accept defeat and get down to some other profession like learning Medicine (like KK Menon in HKA), or resign hopelessly like Vikas Pande in The New Delhi Times? Even Z didn’t have an answer.

He goes to the party and plays a ‘Prisoner’s Dillema‘ of sorts with his Paneer tikka-munching Boss and the other Powerful man. Eventually he somehow manages to ensure that the guilty get their comeuppance. But this ‘victory’ is hollow. As his Boss asks him “Yeh hai tumhari Justice?”, he gives a reply which was there in the promos but sadly cut out from the film – “Justice Ka Sapna Maine Chhod Diya Hai”.

And this was probably my moment of the year which is not there in the film, but there in my memory, for a long time!

Fatema’s take

The cutaway from Dr. Ahmadi’s murder to the item song. It was a stroke of brilliance. Not only technically, but as a comment on our conscience in itself. Physically it’s a jolt, meant to unsettle us and shake us up. We’ve just witnessed a murder we’ve seen hundreds of times before but what we expect to come next is NOT an item song. And so we sit up and take notice. Besides, there is the juxtapositioning of the two warring factions of the film itself, one (the ‘good’) killed like a dog on the street and the other (the ‘bad’) celebrating his decadent power in all its ugliness. And then there is that tenuous mirror to our own conscience – what’s our rtn to this cutaway? Are we glad we are back into an indulgent song-n-dance setting and away from boring Dr Ahmadi? Or gratified by our own lust? Or guilty about feeling so? Or disgusted to watch such sharp contrasts unfolding in front of us? Or do we feel the cut is an over-sighted mistake? That the director doesn’t know what he is doing? The answer to this is a huge part of our response to the film and to think AND achieve something like this is no less than genius.
Beasts of the Southern Wild - 6—–> Shripriya Mahesh on Beasts Of The Southern Wild

The movie of the year for me was Beasts of the Southern Wild. I saw it in Sundance in January 2012 at it’s premier. I knew very little about the movie going in because the filmmakers were careful about not even putting out a trailer before the premier.

It was instantly captivating. I love the world Benh Zeitlin creates. It is constantly surprising, always engaging. All the actors are local and that lends significant authenticity to the world (bigwig directors would do well to take note). It tackles such powerful themes, but all from the perspective of the little girl, Hushpuppy, played to perfection by the adorable Quevenzhané Wallis.

There are no long speeches about government control, environmental disasters or about the right to live freely in a manner you choose. No sermonizing. The visuals speak and the magical realism is very nicely done. The music (also composed by Zeitlin) and the the production design really elevate this movie.

And it’s a debut feature. It won the Camera d’Or and Sundance.

Since the film’s theatrical release, there has been a fair share of haters. But for me, it just worked. Eleven months later, I still think about it.

ScreenShotAlma
—–>Mihir Desai on Fjögur Píanó

There are times when I can’t put things in words, I feel the need to express and communicate in visuals. Visuals stick with me and this year one such visual experiment has been playing in my head for the longest time. Directed by Alma Har’el, the Sigur Rós music video, Fjögur Píanó.

Har’el, director of last year’s surreal documentary Bombay Beach creates this gorgeous portrait about the painful pleasures of love. The couple, addicted to each other only really ‘feel’ the pain when separated. The edit juxtaposes the bruises on the girl with the boy softly touching the butterfly. This image stuck with me and Alma Har’el’s quote sums it up so perfectly, “For me it’s about not knowing how to get out of something without causing pain to somebody else.” Without lyrics Alma Har’el has created this beautiful story which I feel was one of the best, cinematic experiences of the year. Due credit to Sigur Rós’ music that inspired Alma Har’el to create this world. Click here to watch the video if you still haven’t seen it.

Other Picks: Celluloid Man, Last Ride, Rampart, Once Upon A Time In Anatolia, Holy Motors, Your Sister’s Sister.

Supermen Of Malegaon

—–> Neeraj Ghaywan on Supermen Of Malegaon

At the surface it may be about the lives of people dreaming about film-making with empty stomachs and hearts full of passion, it could be about an accidental hero, about a world we have never seen but still seems so close. The director is never interested in milking the tragedy of the crew’s limitations, their poverty or the tragic loss of the lead character. Instead, she turns it all into a celebration of life, we smile along with the characters who are making the film, in a way we reflect upon our own personal constraints and learn to laugh at them. It is a comment on the Bollywood system of over-produced film-making, it is paying homage to films of the 80s/90s, it’s also a drawing lessons about how to keep going at it even when there is no hope, it is philosophical at times, it is laughing at itself too.

A film that is so simple in its structure and still speak at so many levels is remarkable. And above everything, it inspires you to take the plunge without thinking twice. When I saw the film, I wanted to get out of the hall and start shooting a film immediately. The biggest achievement of this film is that it goes beyond the confines of being a documentary and touches you more than a big budget fiction based feature.

 Koormavathara

—–> Ranjib Mazumder on Koormavatara and Makkhi

Be it a random blogger or a certified critic, everyone is Noah on internet and takes no time to float the boat of top ten lists. Like the middle-class father comparing his kids among themselves or with other families, we always manage to make a list of ten best films every year, irrespective of their debatable qualities. I am no exception.

However, when I was asked to contribute for this collaborative piece after shutting the eyelids, a bald man appeared in front of my eyes, riding a fly. So, here I am, writing (only because I have been threatened with sarcasm) on two of the most remarkable Indian films of 2012.

Koormavatara

It starts late at MFF 2012. I am almost certain that I would leave it midway because Hansal Mehta’s Shahid is right after it and almost everyone from my group is going for it. The film opens, Godse shoots Gandhi and my doubts evaporated in no time. This is the world of an old man, disinclined to show emotions and engrossed only in his mundane office work and his little grandson. A Gandhi lookalike, when he is approached to play Gandhi in a TV show, he vehemently opposes but gives in due to the greedy family tentacles. Gandhi, like the fourth passenger in Mumbai locals, slowly invades his life, brings him down to the level of helpless co-passengers. Like a master of swift attack, Girish Kasaravalli breaks down the middle-class system and releases the Gandhi in him, leaving him in the midst of incessant disintegration of his surroundings. Rajkumar Hirani’s Munnabhai MBBS was a joy to behold, but Lage Raho Munnabhi, despite a splendid screenplay, offended the adult in me, with its preachy attitude. Without making him God, Koormavatara makes Gandhi accessible showing the mighty repercussions it can have in a typical family in independent India. As far as breaking down the myth of Mahatma, this is the best we have seen so far.

Makkhi

With scenes dipped in liquid cheese, a boy constantly stalks a girl with trite expressions; Makkhi was loathsome in the first 20 minutes. I wanted that boy to just die. Thankfully he did thanks to the overdramatic villain, soon after I wished. Little shaky special effects took charge. And I witnessed the most inventive revenge drama this year. A fly killing a mighty man is simply an impossible idea! But the way this little soldier choreographs his action scenes in the concrete fort of the villain, you can’t help but root for an insect that you have always detested. The triumph of S S Rajamouli’s film lies in the sheer leap of faith. We are yet to have our Jaws, but this is the one that comes closest to the idea of a fantastically executed concept film.

Kahaani2

—–> Pratim D. Gupta on Kahaani

Parineeta did the same thing for me in 2005. Celebrate Calcutta! And how. It reminded me of the way Mira Nair shot Delhi in Monsoon Wedding and Taj Mahal in The Namesake, almost pausing the narrative to just soak in the sensuality of the space. You sexy! Also what Sujoy Ghosh did brilliantly was inculcate his love for cinema in the many myriad moments of the movie in a way that they never became copie conformes but rambunctious references that served those respective scenes just fine. From Satyajit Ray to Salim-Javed to Bryan Singer. And those eyes of Bidya Balan when she looks up in the twist-revealing scene before unleashing her real self. Eyes filled with hurt, vengeance and rage…Our own Beatrice Kiddo? Present please!

Ship Of Theseus

—–> Svetlana Naudiyal on Ship Of Theseus

I don’t see all films that release in the year (and I am kind of unabashedly arrogant about it; can’t spend moneys contributing to someone’s 100 crores or out of sympathies to so called indie/different films), so my opinion from the very beginning of it, is skewed. The indie film movement (or whatever there is of it) took a whole new leap with PVR Director’s Rare creating a platform for their release. And even though in my personal opinion, indie films are becoming the cinema equivalent of DSLR carrying people with so & so photography facebook pages (read opinion as – ‘people should be banned, either from making films or from expecting people to watch’), there have been moments of pure delight at the movies in 2012 than years before that, much thanks to the few Indie films that released this year.

Some of the favourites this year are Supermen of Malegaon (one of the best, a documentary so delightful, hard hitting and yet nowhere remotely close to being poverty porn), Kshay (for Chhaya), Gattu (for finally bringing to the screen an unpolished, bratty, clever, naive and most importantly, real kid), Shanghai (for creating that discomfort that exists in our world and we do not see) , Anhey Ghorhey Da Daan (for creating a cinema experience like no other, for delving into time space and making the silences speak)

The most favorite of all that I managed to see in 2012 would be Ship of Theseus for its language, for its being able to be so unique, so evolved in thought and yet not have an iota of pretentiousness and be accessible to just anyone. For the benchmark it creates not just for indie filmmakers but Indian cinema, in general. I am dying to point out and quote every single nuance I loved, but that should be saved for the film’s release. For the smallest of elements it picks and for the whole it creates. For repeating itself like a poem long after you’ve seen it. This is Cinema!!

anhey ghorey da daan

—–> Mihir Pandya on  “अन्हें घोड़े दा दान” (पंजाबी), निर्देशक – गुरविंदर सिंह

एका – कदमों का, कराहों का, नांइसाफ़ियों का, नकार का। एका – दुख: का, संघर्ष का, सपनों का, समता का। वही इंसानी पैरों का जत्था जिसकी मूक कदमताल में पलटकर मेलू सिंह के पिता शामिल हो जाते हैं। किसी अभ्रक से चमकते इंसानी इरादों का जत्था, जिसका सीधा मुकाबला समाजसत्ता अौर राज्यसत्ता के मध्य हुए भ्रष्ट समझौते से तैयार हुई दुनाली दुरुभिसंधि से होना है। किसी ख़ास दिशा में सतत बढ़ते चले जा रहे वे कदम कोरी भीड़ भर नहीं, वे जनता हैं। एक अात्मचेतस समूह। निर्देशक गुरविंदर सिंह की ‘अन्हें घोड़े दा दान’ के इस विरल संवादों से बने विस्मयकारी दृश्य में, जिसके अन्त में सरपंच की दुनाली के सामने गाँव के दलित फ़कत लाठियाँ किए खड़े हैं, अाप सोचते हैं कि अाख़िर वो कौनसी अात्महंता चेतना है जिसने उन्हें वहाँ साथ अा खड़े होने का यह गर्वीला माद्दा दिया है?

बराबरी का सपना। समता का सपना। यह खुद अपने में पूरा मूल्य है। गैरबराबरी के अंधेरी सुरंग रूपी वर्तमान के अाख़िर में न्याय अौर समानता रूपी किसी उजले सिरे के होने का यूटोपियाई स्वप्न। बराबरी स्वयं ऐसा मूल्य है जिसके लिए लड़ा जा सकता है, जिसके लिए मरा जा सकता है। अौर जिस दिन एक दलित दूसरे के लिए खड़ा होता है, एक शोषित दूसरे शोषित के हक़ की अावाज़ का साझेदार बनता है, वह सदियों से जड़वत इस सत्ता व्यवस्था के लिए अंत का बिगुल है। यह दलित चेतना सबक है जानने का कि हमारी देश के भीतर की तमाम पुरानी संरचनाएं कहीं गहरे बदल रही हैं। यह शोषित की साझेदारी है। यह दुख का एका है। वो बस एक फ्रेम भर है ़फ़िल्म में। गाँव के सरपंच की दुनाली के सामने डटकर खड़े मेरी पिता की उमर के ये निहत्थे भूमिहीन किसान। लेकिन इस एक फ्रेम में अक्स है मणिपुर की उन तमाम माअों का जिन्होंने अपनी उस एक बेटी के लिए खुद को विद्रोह में उठे जिंदा माँस के झंडों में बदल लिया था। इनमें अक्स है सशस्त्र सेना का सामना पत्थरों से करने का दम रखने वाली उस नौजवान पीढ़ी का जिनकी ज़बान पर बस यही गूँजता रहा, “हम क्या चाहते… अाज़ादी”। इनमें अक्स है खंडवा मध्य प्रदेश के उन किसानों का जिनकी सामूहिक जल समाधि ने एक बहरी सरकार को भी सुनने अौर अपना फैसला बदलने पर मजबूर कर दिया। अौर इनमें मेरी ही उमर के उन दो नौजवान साथियों का भी अक्स है जो रविवार की उस रात उस बस में इंसानी जिस्म की हदों के पार जाकर भी अंत तक लड़ते रहे, एक-दूसरे के लिए। बराबरी के उस अप्राप्य दिखते स्वप्न के लिए जो सदा ‘फेंस के उधर’ रही इन अाँखों ने अब देख लिया है।

So this was our list. Do comment and share your movie memories/thoughts/opinions of this year.

It’s been raining trailers and how! We are adding two new interesting trailers to the list. First one is Ang Lee’s Life Of Pi. Based on the book of the same name by Yann Martel. 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. Here’s the trailer which released today.

What’s wrong with the first 1min? Looks fake and poorly done. Rest of it looks magical. And Royal Bengal Tiger Mister Parker looks scary and delicious. There was a great buzz for its 3D at Cinema Con. We are waiting and how. In Ang Lee, we trust.

Click here to read the unofficial synopsis if you haven’t read the book.

The makers of Prague have just released the first teaser of the film. It really doesn’t say anything about the film but gives you its mood – Trippy is the keyword here. Click on the play button and enjoy.

Directed by debutant Ashish R Shukla, it stars Chandan Roy Sanyal, Arfi Lamba, Mayank Kumar, Sonia Bindra, Elena Kazan, Lucien Zell & Vaibhav Suman.

To know more about the film, click here.

 

Alejandro Gonzalez Inarritu, Guillermo Del Toro and Alfonso Cuaron – are these three names enough to sell the post? Try it. It’s a great interview. These three filmmakers talk about their cinema, life, Mexican roots, what’s common between them, friendship, criticism, competition and much more. It’s a Must Watch.

Tip – Chintan

And our favourite writer, Subrat is back. After many requests, much cajoling and few smses, he managed to sit down and write this post on a film that he really liked. Read on.

We like to deal with the big issues. Those that are significant. The crisis of capitalism. Saving the earth. World peace. On the fabric of society, these are the big pictures. Acknowledging them is mankind’s acceptance of its collective failure. There’s something charmingly uplifting when we discuss our frailty in plural. It ennobles us. With such vexing problems to solve for the collective, why are we then, individually, beset with the trivialities of life? Why does the insignificant ground us? Betrayal. Loss. Estrangement. These warp and weft of life that should have subsumed themselves to the grand design. Instead, they force your attention to them. And to you. To your imperfections.

Imperfection is what Alexander Payne wants us to meditate over in his new film The Descendants. It’s seven years since Payne gave us Sideways and, on the evidence of this film, it’s reassuring to note these years were well spent on the minutiae. And, on imperfections. This gives us a film that is in turns profound and farcical while managing a lightness of touch that is often sought but seldom achieved. There is an unhurried pace to the story that eschews dramatic highs and showdowns though there’s ample opportunity in the script for both to surface. More importantly, the director avoids the trap of caricaturing the shallow, ordinary American family that seems veering towards dysfunctionality.

In a society that worships achievement, it is interesting how being ordinary is celebrated in American literature and films. May be it is the impact of American Realism; of Mark Twain and Henry James who crafted their stories around everyday people facing moral choices. How deep is their impact on American culture can only be gauged by the currency that stories of ordinary lives have enjoyed for the better part of last century in America. From Faulkener, Updike, Franzen in literature to a whole host of films that have rightly (or, wrongly) won critical acclaim for protraying ordinary lives. Just run through the list of Oscar winners over the years to see the impact that realism still holds on American psyche. Strong enough to have Ordinary People win the Best Picture nod in the year of Raging Bull (a more compelling case for the entire lot of voting members face the firing squad hasn’t been made).

That aside, if any contemporary director in Hollywood can lay claim to that real tradition of realism, it has to be Alexander Payne. Payne has an instinctive grasp of an ordinary life, its tribulations and, like the realists of the yore, he lets the character stumble his way through reaching the right conclusion. And, like them, he understands locations. From Omaha, Nebraska (About Schmidt) to Napa Valley (Sideways) or even that last segment that he directed of Paris je t’aime, Payne has few peers in weaving in the location into his films. In The Descendants Payne takes the unlikeliest of locations for depicting a family in strife, Hawaii, and makes it integral to the film.

Matt King (George Clooney) isn’t an ordinary Hawaiian as he informs you in the voice-over that starts the film. While disabsuing us of the notion that Hawaii is a tropical paradise (yes, there’s poverty and grime there), he quickly establishes his bloodline that traces its history to the tribal royalty and the early white settlers in the middle of the 19th century. He is a partner in a real estate law firm who has worked hard to build his identity separate from his ancestry. Matt, though, is burdened by this ancestry that has bequeathed on him the responsibility of disposing off a large virgin tract of land in one of the islands for ‘redevelopment’. This is big news locally as it pits the alleged forces of development (malls, amusement parks et al) against environment. Matt and his sprawling extended family of cousins (there’s a cousin popping up every minute in the film in brightly coloured shirts and chappals) are indifferent to the debate. There’s no less messy way of dividing up the family fortune and quite a few cousins are hard up.

These, seemingly, larger issues hardly match up to what fate has dealt Matt. His wife of many years, Elizabeth, lies in a coma in a Honolulu hospital with doctors ruling out any chances of survival. Matt’s younger daughter Scottie (Amara Miller) is a 10-year old who is precocious in the wrong way whose favorite pastime seems to be to confuse her friends on adult issues. Matt, admittedly, has never been a hands-on parent (a backup as he calls himself in a voiceover) and, in Elizabeth’s absence, he finds Scottie a handful. There’s also Matt’s older daughter, Alex (Shailene Woodley), who’s been sent away to a boarding school to rid her off her drug habit. Matt brings her back to make sure the family is together when the doctors pull the plug on Elizabeth. He had hardly bargained for the secret that Alex carries that seems to make her loathe her mother – Elizabeth was cheating on him. Matt becomes obsessed about finding out Elizabeth’s lover and breaking the news of her impending death squarely to him.

The narrative arc is quite familiar from here on. Matt has to pull his family together, learn to be friends again with his daughters, put his wife’s transgressions behind him, do the right thing on the land deal and seek redemption. This is a territory susceptible to high melodrama and in the hands of lesser director would have turned into a soppy, sentimentalist work. But Alexander Payne elevates this into a whimsical and wry look at life by keeping sentiments at a safe distance. He is ably supported in this by an ensemble cast that is completely in step with the director’s alternating profound and farcical treatment of the subject. Especially noteworthy are the cameo turns – Nick Krause as Sid, the irascible boyfriend of Elizabeth who isn’t as shallow as he seems, Judy Greer, who chews up the scenery in just the two scenes she is there.

The triumph of The Descendants is how it meanders through this familiar arc. There is no pre-determined denouement that the film is hurtling towards. There are no certainties here, like life. It appears like everyone has time to spare. Unhurried is perhaps the term. Matt, who has all the emotional cards dealt to him, is often driven by petty instincts. You are bound to be sympathetic to him but you are intrigued by his fickleness and his decisions. Payne isn’t judgmental in his portrayals. You take each character from your own station of life. It’s rare for a film to achieve this.

The cynic in me wanted to see through all of this. This whole calibrated business – of ordinariness, of making George Clooney look stupid, of having a bunch of kids dysfunctional on surface but being alright at the end and of making a statement about development versus environment. I have let the cynic question it all. I have done my best to see through the deception. It’s been over a month since I saw it and I have failed.

May be, for once, there’s something real here. You be the judge.

But take my advice. Don’t bet against The Descendants this awards season. There’s no Raging Bull in the ring. And, The Descendants is no Ordinary People. Though that title may have fitted it perfectly.

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).