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Friday, March 26, 2010
Atithi Tum Kab Jaaoge?
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Thursday, March 25, 2010
Road, Movie
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Monday, March 22, 2010
Lahore
Combining sports and politics is not an easy thing to do. But then it's not that difficult either, considering the two are inextricably intertwined specially in the Asian subcontinent. Debutant director Sanjay Puran Singh Chauhan dares to visit the forbidden territory."Lahore" is about sports and politics and characters from both the spheres getting embroiled in a terrible fight to the finish.
The script accommodates a great deal of the sporting spirit as seen in the perspective of Indo-Pak politics. Within that ambitious framework, Chauhan weaves in the human relationships that make a leap for warmth and then stay stuck in semi-sterility. The film has too much to say on sports, politics and human nature. It isn't able to say all of it in a lucid language.
Chauhan has chosen a unique sport like kickboxing to spotlight the process of cultural assimilation that underscores all the perverse politicking that goes on at the surface level between the two countries.
The Indian and Pakistani coaches played by Farooque Shaikh and Sabyasachi Chakavarty are seen to be sportingly at loggerheads, but "Lahore" takes the spirit of sportsmanship across the border with more seriousness of purpose.
In the boxing ring, the game gets deadly when the Indian kickboxing champion Sushant Singh is delivered a deadly blow by his Pakistani opponent. A churning point in the narrative is arrived at in restrained rhythms.
This is where Chauhan's narrative comes into its own. The dilemma of the deceased kickboxer's younger brother Veeru (newcomer Aanaahad) to preserve his sporting spirit in the midst of high-voltage mutually-destructive Indo-Pak politics is built into the plot with architectural astuteness.
Not all of the material outside the central conflict, where Veeru forsakes cricket to pursue his slain brother's dream in the kickboxing arena, works on the scripting level.Does Veeru only want to use the boxing ring to avenge his brother's death?
Though the characters falter in quantitative excess, the opposition of sports and politics and politics in sports is put into a persuasive perspective. The rest of drama tends to get tedious mainly because there are too many characters swarming the Indo-Pak map.
Veeru's romantic attachment to the Pakistani girl (newcomer Shraddha Das) is skirted across in a few scenes where they exchange veiled pleasantries. Passion is seriously forfeited in the flurry of squeezing in a large canvas of characters.
It's in the kickboxing scenes that the film exudes blood, sweat and tears. Aanahaad and his opponent Mukesh Rishi reveal a skill in the ring that cannot leave the audience unaffected.
Aanahaad does well in the sports scenes, but needs to brush up his skills in the emotional moments.Of the rest of the cast Nafisa Ali, Ashish Vidyarthi, the late Nirmal Pandey and several other talented actors are wasted in sketchy roles. The film's surface is over-populated. But its inner life suggests a sincerity of purpose.
Wayne Sharpe's background score and Neelabh Kaul's cinematography are first rate. They add to the feeling of a film that goes beyond sports, but stops short of making a statement on life lived on the border of hostility. "Lahore" is not only about kick-boxing. At times you wish it was.
Shaapit
After Click and Rokkk that released earlier this month,
Shaapit is about a curse that plagues a family, generation after generation for 300 years. Kaaya is extremely delighted and nods a 'yes' to Aman's marriage proposal. Just as the happy couple head home to announce their engagement their car takes a spin and they meet with a terrible accident. Kaaya's parents rush to the hospital and are taken aback when they find out about her engagement. It's then they reveal the 300 year old curse that haunts the girls of the family and denies them to even think about wedlock or an engagement.
But Aman decides to win his love back besides all the odds and approaches Prof Pashupati, a well-known researcher of paranormal activities, to figure out ways to strike the evil spirit away. What follow is their dangerous encounters with the spirit and their struggle to get rid of it.
Director Vikram Bhatt's experience with the genre works, as Shaapit is filled with hair raising sequences that keep you on the edge of your seats. The movie is engrossing with sequences canned with utmost care and is filled with many thrill seeking moments. The slow and tactful camera work and the use of sound effects to develop the atmosphere of eeriness and mystery throughout the movie heighten the scare element, thus making it a good watch.
However, Shaapit suffers from predictability from time to time and some sequences meant to provoke fear, fail to scare. The entire flashback part isn't very convincing and details about the reason for the curse could have been clearer. Also for a film from the horror genre, Shaapit has way too many songs.
Son of legendary singer Udit Narayan, Aditya Narayan on debut looks smart, sophisticated and impresses in his very first outing. Shwetha with limited scope does make her presence felt. Rahul Dev plays his part very well. Shubh Joshi is good.
Overall, Shaapit is certainly worth a watch. Vikram Bhatt's third horror outing is one of his best.
Love, Sex Aur Dhokha
The million dollar question making the rounds is - Does "Love Sex Aur Dhokha" have a story?' The answer is yes. In fact, there are three stories, each of them being shown in episodic manner with 'Love', 'Sex' and 'Dhokha' being the plot drivers for the respective tales.Do they work? Yes, they do though it is apparent that there are ups and downs in the pace of these stories. While each of these stories starts with a bang and has a valid culmination, there is a slight dip that comes in occasionally and makes you pine for some faster movement.
So there is a young couple who fall in love during the shooting of a diploma film, get married secretly and then face the wrath of their family. Since the film is set in a filmmaking school, the presence of a camera right through this story does come across as quite valid.
The second story is about an unemployed young man stationed at a retail shop who takes advantage of a naive girl by capturing their lovemaking moments through a security camera. The third story is about a sting operation where an aspiring dancer gets back on a superstar by capturing the entire casting couch proposal on film. Both these stories have seen quite a few predecessors in real life.
Does the film work with disjointed episodes like this? Certainly yes, if one is willing to drop all preconceived notions about how a feature film should look. This is why after 15 minutes, one has to get used to a shaking camera, sync sound, leading to quite a few audio disturbances and random frame capturing.
However, one does feel that treatment like this comes with its own limitations. Since the film is about how a camera follows the lives of people in every nook and corner, the narrative has to be real and there cannot be any dramatisation of an event.
Nevertheless, this very limitation also works as a strength for Banerjee. Whether it is body language, intimate moments or the framing of a scene, done excellently by Nikos Andritsakis, everything is captured 'as-is'.
Also, be warned that the foul language in the film is as explicit as it gets. Never before in a Hindi film has one heard the kind of cuss words that one hears in "Love Sex Aur Dhokha". Again, quite justified since this is the first film that truly fits into the bracket of 'slice of life'.
"Love Sex Aur Dhokha" couldn't have been what it is without the effort of its cast. Everyone - Anshuman Jha (Rahul), Shruti (Shruti), Raj Kumar Yadav (Adarsh), Neha Chauhan (Rashmi), Arya Devdutta (Naina), Herry Tangri (Loki Local) to Amit Sial (Prabhat) - everyone is superb.
"Love Sex Aur Dhokha" has one factor which completely works for it - its genre which is unconventional, unprecedented and unheard of.
This is a kind of film where a filmmaker can afford to play around without worrying much about universal acceptance. That's exactly the route that "Love Sex Aur Dhokha" takes as it is made for a very niche audience that wants something non-Bollywood.
Hide & Seek
Hide and Seek is directed by Shawn Arranha on debut and stars Purab Kohli, Arjan Bajwa, Samir Kochhar and Mrinalini Sharma. No expectations, poor promotion, IPL fever, more than 3 releases this weekend; is Hide and Seek good enough to survive the competition?It all started as a game on a Christmas Night. But little did the 6 kids think that the game that night would change their lives forever. Twelve years later, while some still wrestled with memories of that fateful night and others left it buried deep within them, it was a past that came back to haunt them again. Twelve years later, someone was bringing them all together. To play that game all over again. But this time it will cost them their lives!
Hide and Seek is a well directed slasher movie (sub genre of horror - usually involves a psychopathic killer involved in graphic acts of murder) with a decent plot. What work for the film is its layered mystery, that unravels beautifully and its length (around 100 minutes).
It starts off well, but as a viewer it does take a while to get into director Shawn Arranha's world. But once in, you begin to enjoy the proceedings surrounded by mystery and plenty of screeching. Some of the dialogues are lame and the production values b-grade but the background music is good enough for a low budget film.
The acting isn't up to the mark either. Purab Kohli doesn't get it right. Arjan Bajwa who did well in Fashion gets a few scenes right but isn't consistent. Samir Kocchar is good. The rest of them just screech and scream their lungs out.
To sum up, Hide and Seek suffers due to low production values and strictly average performances. Wait for the DVD.
Right Ya Wrong
While as a film critic you try and abandon any preconceived bias before you watch a film, it is unavoidable that when you walk into a theatre to watch a film called Right Yaa Wrong (Missing an extra 'a' there, am I?), you feel pretty much like the proverbial lamb to the slaughter. Face it: under normal movie-going circumstances; I wouldn't be caught dead in a theatre screening this (or most other films that I review, for that matter).Right Yaa Wrong is about Ajay Shridhar (Sunny Deol) and Vinay Patnaik (Irrfan Khan) who are fellow police officers and the best of friends. A murder takes place that results in a conflict between these friends who find themselves on different sides of the law and of right and wrong. Perhaps with slicker, better direction and a cleverer, darker screenplay that relied on more solid dramatic logic and revealed itself more teasingly, it could even perhaps have been a good noir-ish thriller- but then that's really wishful thinking considering the time and place the film comes from. Which is why when a clunky looking, 3 years in the making film with Sunny Deol actually turns out to be half-engrossing even in its clunky, old-fashioned way- even with a nice moment or two as bonus- you are mighty relieved, even grateful to the makers of the film for not torturing you to death like you expected.
Even with its dowdiness and disturbingly half-baked logic that finally resolves its central moral conflict, Right Yaa Wrong is still surprisingly watchable, because the film mercifully sticks to its real point without digressing much. A few of the actors, especially Irrfan Khan- who manages to impress even here- definitely deserve credit for keeping the film afloat. Sunny Deol, missing from the screen for a while now, returns with a performance that's partly toned-down and partly plain morose, but he manages to pass muster simply with his physical presence. Konkona Sen Sharma also while cast in a part that hardly deserves her, does a sincere job, even delivering a punch line or two with decent panache.
All in all, it's Right Yaa Wrong, despite being dated, is surprisingly decently entertaining- nothing to write about or recommend - but not too bad a watch either if you don't have much to do.
(Technical aspects are pretty average, but a word about the music: what is the reasonably talented music director of Black and Saawariya doing in movies like these, creating instantly forgettable and tuneless music? Or more importantly, are all composers who excel in Sanjay Leela Bhansali's films damned so that they may only shine when they work with him?)
Wednesday, March 10, 2010
Wanted
Monday, March 8, 2010
Road, Movie
Road, Movie has made it to several international film festivals, the director Dev Benegal is a veteran, and Abhay Deol movies are always a good watch. No reason to not watch the film. And I did, even before the other interesting release this weekend (Atithi Tum Kab Jaoge). But sadly, Road, Movie was a colossal disappointment.The story first. Vishnu (Abhay Deol), a restless young man, itches to escape his father's faltering hair oil business. He takes up the job of delivering an antique lorry, which would be sold to the local museum. Along the way, Vishnu reluctantly picks up a young runaway (Mohammed Faizal Usmani), a wandering old entertainer (Satish Kaushik) and a striking gypsy woman (Tannishtha Chatterjee - Brick Lane). Together they roam the barren land, searching for water and an elusive fair. The journey turns dire when they are waylaid by corrupt cops and a notorious water lord.
Road, Movie is a boring journey, with zilch entertainment value and well, just not something that would work with the Indian audience. The performances are adequately good and the dialogues and its delivery (each characters have a different accent, even though all speak Hindi) is pretty interesting.
It's just 95 minutes long but actually feels longer than a 3 hour epic. The pace is dreadfully slow, the film, shot in a desert has this boring documentary look all over it. It does get interesting with certain well written and executed sequences but soon fizzles out.
Abhay Deol is his natural self. Tanisshtha Chetterjee doesn't get her diction right, but acts well. Saurabh Shukla is good. But the film belongs to junior artist Mohammed Faisal, who delivers by far the best performance.
To sum up, only those souls blessed with tons of patience can sit through a movie like Road. Trips to numerous film festivals around the world mean nothing if a movie less than 2 hours long, bores you to sleep.
Atithi Tum Kab Jaaoge?
Athiti Tum Kab Jaoge? stars Ajay Devgn, Paresh Rawal and Konkana Sen Sharma. Directed by Ashwini Dhir (One Two Three) the movie talks about a situation wherein a guest comes over uninformed and has an extended stay. Paresh Rawal plays the role of Chachaji in the movie.The story is about Puneet (Ajay Devgn) and Munmun (Konkana Sen Sharma), a couple happily married with a 6 year old son. Their lives take a turn when a relative (Rawal) visits them. The rest of the movie is all about the tricks the couple tries, to get rid of chacha.
The movie starts off well and the introductory scene of Paresh Rawal is extremely funny. The first half is a joyride full of deftly executed sequences. The second half suffers to an extent, due to predictability and slow pace. The writers have sensibly avoided the romantic angle, yet Konkana Sen Sharma and Ajay Devgn share good chemistry.
The story is good, has a good little twist in the end. The director also never tries to make you laugh; it's the situations that leave a smile on your face. Clearly, Ashwini Dhir is inspired by the Hrishikesh Mukherjee style of filmmaking. Clean and a typical 70s - 80s family entertainer it is, but as good as some of those classics, it is not.
Paresh Rawal is excellent, a flawless performance by the veteran. Ajay Devgn does his job well. Konkana Sen Sharma is effective as Munmun. Sanjay Mishra is in top form.
To sum up, if the Akshay Kumar brand of slapstick comedy is what you like, you'd be better off waiting for Housefull to hit screens. Otherwise, go give this a try; you will walk out with a smile on your face.
Thanks Maa
He's 12, homeless and he refuses to adopt the swaggering amorality of his friends on the street. They call him Municipal Ghatkopar because that's the address where he was dumped as a child. But he prefers to be known as Salman Khan.Strongly reminiscent of Mira Nair's "Salaam Bombay" and far more resonantly representative of Mumbai's slum kids than "Slumdog Millionaire", "Thanks Maa" is a journey into lives that were born into despair.
Without the crutches of self-pity, debutant director Irfan Kamal enters the world of the orphaned protagonist Municipality who on one of those routine days of scavenging, stealing and hanging around with his friends waiting for the next meal, comes across an abandoned little infant.
Before we can say 'Hey Baby', the narration quickly swerves away from the cute and schmaltzy aspect of find-baby-will-coochie-coo kind of feel-good cinema to show the gritty harsh reality of life on the relentless streets of Mumbai and how it toughens the tender ones. Real fast.
Irfan Kamal makes one helluva departure from convention. He cruises the crowded areas of Mumbai with an eye for stinging details. The film hints hectically at the savagely insensitive quality of life lived on the streets.
Our young hero refuses to be like the routine scum. "Main tere jaisa nahin hoon," he tells his more street-wise pals, and sets off on a determined path to find the lost baby's mother.
It's a heartbreaking enlightening journey undertaken by the director in a spirit of adventure, discovery and tranquility. Teeming with characters, "Thanks Maa" still preserves a core of stirring stillness at its centre.
Often you feel "Thanks Maa" is a romantic homage to the unbreakable spirit of Mumbai. But then you see the bitter and brutal truth about life on the fringes, as the young brave little hero is almost molested by the warden of the reformatory played by Alok Nath.
"Thanks Maa" is a tender yet ruthless look at a city that claims to have a place for everyone but somehow neglects looking after children who are vulnerable to every form of attack on the streets.
Quite frequently we look at Mumbai through the eyes of the little boy and his companions as they encounter a gallery of weirdos and wackos...an alcoholic hospital attendant(Raghuvir Yadav), a doped-out cabbie (Sanjay Mishra), a paedophilic reformatory warden(Alok Nath), a cheesy incestuous upper class father (Yateen Karyekar), an imposing eunuch (Jalees Shrawani) who offers to take the baby out of Municipality's shoulder...an offer the boy firmly refuses.
The young hero's shock and dismay when he finally finds the baby's mother are so palpable they reverberate in our hearts long after the film is over.
The film has its flaws, the most glaring being the constant struggle to keep the homeless children's story credibly contoured on the bustling streets. In many sequences, the young actor Shams can be seen carrying a doll instead of a baby. Also, because of the inherently dramatic nature of the theme some of the characters and situations lose self-control.
The jagged edges do not undermine the film's unique and thoroughly unorthodox blend of realism and social message. While the veterans pitch in brave cameos that take the narrative forward to its heartbreaking conclusion, it's the child actors who proudly occupy centrestage. All of them are so in-character, you wonder which came first, the slums or the camera!
Some of the editing (Amit Saxena) is uneven. But the camerawork (Ajayan Vincent) and background score (Ranjit Barot) add an extra dimension to this heartwarming tale of an orphan who won't let another newly-born suffer his fate.
Hello Zindagi
urney away from home with a lonely, neglected but brave middle-aged woman to Goa where she saves turtles... and herself.Kavita goes home redeemed. We are not so sure about ourselves. We remain partly involved but largely distanced from this ambitious but flawed look at life through the eyes of teen rebellion.
Director Raja Unninathan has his heart in the right place. He creates a world of gossipy, sweaty parties, tacky repartees and one-night stands for Kavita. But the words sound more like replications of the emotional outbursts associated with the generation gap rather than actual situations created in a specific crisis.
A more authentic parent-child crisis would be the one in "Wake Up Sid" or better still the television soap "Ladies Special" where two very talented actors Shilpa Tulaskar and Sandeep Kulkarni played harassed parents grappling with a rebellious teenage daughter. We empathised with their helplessness.
In "Hello Zindagi", Neena Gupta and Kanwaljeet Singh specially the latter are in fine form as Kavita's parents. But the writing constantly lets all the actors down.
The one performer who manages to hold her head above the material provided is Kitu Gidwani. playing the dignified unloved but outwardly well-to-do wife, Gidwani epitomizes grace under pressure.
Her section of the film with her indifferent though not cruel husband (Amit Behl) has some interesting moments, like the one where Gidwani goes into the kitchen to get coffee made by her husband and then pours it quietly down the sink.
Gidwani's journey to Goa with the rebellious Kavita is charted with affection. Very rarely do we get to see a movie so gentle and warm about female bonding over differing generations. What Gidwani shares with the debutante Mrunmayee Lagoo echoes Jessica Tandy's bonding with Bridget Fonda in Deepa Mehta's "Camilla".
Except that Gidwani and the girl don't go skinny-dipping. The blackest spot in the film is its lack of sexual energy. The character's are almost invariably frigid in their thoughts and desires. A thwarted indecisiveness runs across the narrative profile rendering the characters weak and unconvincing.
The save-the-turtles message at the end seems forced.
Nonetheless there's enough tenderness and warmth in the relationships shared by Mrunmayee with her screen-dad Kanwaljeet and Kitu Gidwani to make the film worth a watch.
"Hello Zindagi" doesn't bowl you over. But it makes you smile even when the debutant director displays that trite and selfconscious social purpose that makes the film look like a documentary on how to save teenagers and turtles when they don't want to be saved without drowning in the attempt.
Atithi Tum Kab Jaaoge
Wednesday, March 3, 2010
Agyaat
Jungle fever has never been more contagious. Every corner of the Sri Lankan jungle in "Agyaat", as shot with mesmeric skill by cinematographer Surjodeep Ghosh, is filled with danger.There lurks a diabolic unknown ('agyaat') monster in the treacherous greenery. Ram Gopal Varma has always been a master of manipulative terror. His camara range is constantly petrifying and persistently resonant. The sequences in "Agyaat" are ceaselessly shot in a way that suggests the presence of lethal characters and entities whom we and the people on screen cannot see...only feel.
In this endeavour to evoke ghoulish visions of omnipresent danger, Varma is vastly aided by the sound design.
Sound designers Dwarak Warrier and Leslie Fernandes go easy on the eerie sounds and beguiling banshees. Instead there are chilling eruptions of noises that you probably hear in the wilderness but don't pay attention to as being anything remarkable. The sound also includes snatches from Hemant Kumar Mukherjee's immortal "Kahin deep jale kahin dil" from the old "Bees Saal Baad".
But this is well into the new millennium. The perils of modern life such as cut-throat competitiveness often lead to the throat being literally cut.
Who knows who's killing the film unit in "Agyaat"? Maybe it's their own fears and ambitions that are killing them. And the crew's calm cinematographer (Kali Prasad Mukherjee) finally commits suicide. The spoilt bratty superstar's spotboy (Ishteyak) is pulled into a gruesome death even as he chants mantras to protect himself.
While in Varma's previous comparatively-tacky horror outing "Phoonk", god felled the devil, in "Agyaat" nothing works. You are doomed in the jungle. No force can protect you.
As one member after another of the film-within-film gets eliminated, Varma seems to be spoofing Agatha Christie's "10 Little Indians".
There are dollops of tantalizing irony in the way the typical and tight hierarchy in a film unit evaporates as imminent peril puts people in perilous positions. The repressed spotboy's outburst against the spoilt superstar played by Gautam Rode, every inch the despicable brat, is a masterly manoeuvre designed to show how fear melts all class differences.
Portions of the brief supernatural whodunit are unintentionally funny. But all said and done, "Agyaat" gives us enough spine-chilling moments to make us wonder at the end, who the hell is killing all these people???
The grisly plot weaves in humane moments. Nitin Reddy, who makes his Bollywood debut with this film, is confident, honest and has a skilful body language. He and his assistant Sameera (Rasika Duggal) have this very believable bonding that perhaps Shah Rukh Khan and Karisma Kapoor had in "Dil To Pagal Hai".
Nonetheless, this unknown jungle remains chilling and ominous
Monday, March 1, 2010
Life Partner
Some of the writing invested into this not-bad comic look at the roller-coaster called marriage is surprisingly sharp.For example, there's this Gujarati family lorded over by a tycoon (Darshan Jariwala) in Cape Town who remains rigidly rooted to conventions that ended 50 years ago. Back home in Gujarat a modern business family run by a liberal patriarch (Vikram Gokhale) ends up giving his daughter (Prachi Desai) to the NRI tycoon's mousy son (Tusshar Kapoor). The conflict that ensues is likeable and in a fully filmy way, believable.
Elsewhere this spoilt rich girl (Genelia) with a father (Anupam Kher), who never bothered to discipline her, gets herself a domesticated husband who does all the work while she attends to various disastrous hobbies.
Genelia as the destructive daughter gets to sink her teeth into a meaty part. Witty and sometimes genuinely funny, "Life Partner" is a light bubbly take on the pitfalls of various kinds of marriages, arranged or otherwise, and how to avoid perils of getting into a marital alliance where the partners know nothing about the future.
While Genelia is happily over-the-top, Prachi in the rounded sensible part of a Gujarati girl standing up to her autocratic father-in-law does well for herself. Of the two young leading men, Tusshar as the timid believer in virginity as a gift to his bride suits his part and does at least one sequence when he bursts into tears after Prachi accepts his proposal with tonal correctness.
But it is Govinda as the frazzled divorce lawyer who brings the house down. Govinda gives the kind of tongue-in-cheek performance that once made him the number one choice for roles that required comic interpretations of social problems. He works well in combination with every actor in this film, wooden or hammy.
Rumi Jaffrey's direction is most of the time even in tone. But the last half hour with its screeching sermonizing gets on to slippery ground. Nonetheless "Life Partner" is a decent inoffensive marital comedy mostly free of double-meanings.
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