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Cerebrum (2021)
A neural sci-fi thriller with a heart-beat.
'I'm NOT my father', Tom's assertion is far from dubious. As an audience one wanders, then why is he visiting his father. It turns out Tom reluctantly agreed to be a guinea pig for his father's science experiment in exchange of monetary returns. As he sits in the chair in the make-shift lab setup in a barn, a device is attached to his head which creates a digital copy of his brain on to a chip, thereby storing memories which, in future, can be reloaded in case of a memory loss. The idea, on the surface, may sound familiar and one might think, so what? The answer to this very question will set the audience on a twisted, yet heart-warming, feature film length debut by Arvi Ragu. Picking up the mantle as writer, director, and producer, Ragu has proven that his short-film 'One Small Step', which won 2019 Remi Award at WorldFest - Houston International Film Festival, was not a one-time fluke. His first feature length film, Cerebrum, has won Special Jury Prize at 2021 WorldFest during its world premier at the closing night.
The idea of storing and reloading memory is merely a yarn knit into a myriad of pieces which Ragu has meticulously stitched together around the central narrative of father-son relationship. James Russo plays the father, Kirk Davis, who has managed to copy the neural structure of a brain onto a micro-chip. The incentive for his research stems from witnessing his wife falling prey to Alzheimer's. Russo's natural portrayal of the father sets the tone of this film early on. A son's reluctance to see his father and their strenuous relationship can be felt through Russo's voice. His son Tom is brilliantly played by Christian James, who carries the baton forward and, without any exaggeration, carries the film to its finish line. Without giving much away, early on in the movie there is a scene in his father's lab that involves memory reload and right after this he is sitting in front of a TV watching a home video tape that his father had recorded, both of these scenes encompass James' acting prowess. He should be nominated and bestowed with awards. In the side cast Andy Pisharody's over-zealous intern, as Bruno, brings the humor and Alexxis Lemire's Chloe is a cool breeze. Ragu has succeeded admirably making every character an essential part of the plot.
On the technical front Jakob Lofberg and Ron McPherson have captured wild west with scorching heat. Jon Blaze's editing and Edward Antonio's music keep the tension afloat. In summary, Cerebrum is a remarkable debut. For film-lovers sci-fi genre is a gateway drug that teases and pushes them to venture into making their first film and invariably they fall into the trap of plot-driven incoherent mess that becomes a copy of a copy of Christopher Nolan. Fortunately, Ragu has resisted that temptation and made Cerebrum a character driven film that is coherent and accessible, without, dare I say, the need of multiple viewings. It is the father-son relationship that drives this drama on a winding road to a satisfying climax, making this sci-fi thriller beat with a warm human heart.
Catfish (2010)
A temptation from a human desire for happiness! *No Spoiler*
Hello", a girl answers the phone. Boy says, " Megan?". Megan replies," Hi, how are you?" Astounded boy says, "Your voice is not at all what I expected." Follows a introductory conversation for the first time between new York city photographer Yaniv 'Nev' Schulman and a country girl from Ishpeming, Michigan Megan Faccio. They previously knew each other from facebook when Megan was tagged in her 8-yr old sister's pictures. Abby previously requested Nev to send a picture of himself so she could paint it. When Nev received the paining in the mail he is instantly feels a friendly connection. Follows a facebook family of Abby, Megan, their mom Angela, her two sons and so on. No need to mention Nev falls in love with Megan and they share text messages over a period of 8 months. Nev almost decides to quit his life in the city to live with Megan as a cowboy. What follows is a series of events over the course of this 'so called documentary'. Anything else and I will be spoiling the 'film'.
Ever since Cannibal Holocaust (1980) premiered documentary style film-making with above average, by Hollywood standard if I may, story lines and plots were presented to scare the crap out of audiences with a 'how real it is' phenomenon. The Blair Witch Project reached audiences in the farthest corners of the world with film making perspective of handy cam that started a series of such films up until Paranormal Activity (2007). The filmmakers have always been questioned about the authenticity, if they claimed it is real, of their work. Whatever the response they had one thing is for sure that these films in a way created a cult following, if not made buckets of money like Blair Witch or Paranormal. Catfish is such a movie/documentary that fits into this genre.
What makes Catfish different than these films is it makes human characters in it extremely believable. It uses those characters and drives the story. A story of some predictable, some unpredictable, some bizarre, some painful, some disappointing (for all characters), some awkward and one very unique and beautiful outcome. This outcome gives you the meaning of the title and how everything in this 94 min show bonds together. It may be half filled to some and half empty to others. But the meaning of the Catfish is essential for the film's credibility in its entirety. If you think about it then it could be argued that a celluloid creation that makes a point in the end is usually a 'film'. Not a documentary. Recall Bowling for Columbine, Up series or An Inconvenient Truth. The viewers are shocked and shattered through each frame of the film. They do have a finale but the point is made way before the ending. The whole prospect of following a journey in those documentaries was the pleasure source. Catfish could be true as its makers claim. Catfish does drag you in and deliver. But the avalanche like finale of last 10 minutes almost makes it stand in the category of a film. Like Hitchcock's Psycho. Tony Perkis' character confronts to give meaning to almost every single frame of the film and so does Catfish. Be warned that this does not make Catfish Hitchcockian or with one of the best mysteries. But it is definitely as if the filmmakers previsioned the whole attempt to create their celluloid creation.
It cannot be predicted how true or made up Catfish is. Maybe it is genuine or maybe the creators will take a secret to their graves. It does not matter. It is a thriller that has its source from the very thing that makes us human. The unique perspective on human character and a temptation to human desire for happiness that it portrays makes viewing experience absolutely unique.
Orphan (2009)
Hold Your Breath!!
A mother (Vera Farmiga) in a dying labor pain looks up when doctors say her child has died. Doctors and the mother look at the blood-soaked baby in shock when it starts crying. Above all that, the husband shows up with a camcorder. Now that is one bone-chilling creation from a twisted writer, or in this case a pair of writers (David Johnson and Alex Mace). Not sure if that was a necessary introduction for this cleverly written violent opera (Orphan) but honestly it is not the time to judge yet. Not for the sake of saving writers and director's (Jaume Collet-Serra) plea for freedom of expression but for the explanation in the end.
It is tough to find a decent thriller. If you agree the last three best thrillers were James Wan's Saw (2004) and Shyamalan's The Sixth Sense (1999) and Unbreakable (2000). Orphan, a tale of a couple who adopt a girl from an orphanage only to get thrown into a world of mis-deeds, mis-fortunes and mis-takes, could be added as the fourth cleverly twisted thriller of the past two decades. For that not only the writer and director but the shining star of this film Esther (Isabelle Fuhrman) should be appreciated with a round of applause. It is not just the idea that is the primary force behind the success but the screenplay fits well to the dark ambiance. The argument of the violence justification perhaps will render itself un-necessary. The writing is hypnotic and shocking. The director does not fail to justice the screenplay. The false impression of ghostly possession of the protagonist leading to a conclusion is very 'Hitchcockian'. In fact the director makes a homage to the famous stop-light-confrontation of the leading lady by her boss in Psycho (1960), if stretched further to Butch-Marcellus confrontation in Pulp Fiction (1994). Another memorable scene is when camera sits next to sleeping Max (Aryana Engineer) in the dark room and the lightning flash from the window shows her adopted sister Esther standing next to her bed. Director accomplishes a horrifying tone to this thriller throughout. Watch for the modification of the studio logos in the beginning of the film.
Isabelle Fuhrman hovers over the film with a winning smile. This 12 yr old actor has a great potential and will help her in her upcoming career. Alongside Aryana Engineer and Jimmy Bennett as siblings have shined as well. Especially Aryana. Wonder how director executed the chilling scenes without affecting all the child stars. Maybe Mr. Kubrick attended the filming in spirit and gave suggestions from The Shining (1980). Finally the parents, play the roles of a believer and a non-believer in each other's theories. Posing as opposing thought invokers for the audience. This is also the writers' achievement.
In a nutshell, if you haven't been scared intelligently then Orphan is waiting for you. Just sit back and bite your nails because you may not find time to chew on the popcorn.
Dev.D (2009)
Requiem for DEV / DEV-spotting
"Sattu, don't send me to London","Don't call your father by his name", "Well Grandma calls you Sattu too", " Because she is my mom". Rare occasion might be but this conversation between young Dev and his father provides enough insight to Dev's ungrateful and remorseless character. In next 2 minutes grown-up Dev (Abhay Deol) asks Paro (Mahie Gill) for a 'bit' of a cyber fun. She agrees while knowing what a tease it will be. Follow-the-heart or in other words where the heart is at, the LIBIDO.
Please welcome back with a round of applause to the mind behind grenade exploding Satya (1998) and bone-chiller Kaun (1999)'s writer Mr Anurag Kashyap. I missed out on his first directorial venture, Paanch (2003), but Black Friday (2004) and No Smoking (2007) gave me reason to wonder his courage, only. Dev D is a chance at reminder of his true writing talent resembling the widest horizons of Satya and Kaun. Dev D is a movie of the generation of MMS voyeurs, cyber punks and flesh famished junkies. Male and Female hand in hand narrowing the gap to a single 'byte'. The 'byte' being the difference between the core properties of their respective 'connectors'. Nobody can ask Mr Kashyap," So what is your contribution to Saratchandra Chatterjee's classic novel?" It is as blatant as any internet sensation's strength to spread over the globe overnite. Nailed it!! I mean, 'proper' nailed it.
Abhay Deol does it again. After playing desi-version of JJ Gittes, Manorama-Six Feet Under(2007), and a cool superchor, Oye Lucky Lucky Oye (2008), he is back as arguably the most popular loser in the history of Indian literature, Devdas. Unlike charming Yusuf saab's 1955 version or beloved Shahrukh Khan's 2002 version, this one is a brat. Not only that but he is surrounded by brat versions of Paro (Mahie Gill) and Chandramukhi (kalki Koechlin). Blame Dev and Paro's 'choices' on the age of internet but Paro has her strong reasons. Talk about character building. Chanda's pre-call-girl story is unfaltering. Reminded me Fenix's troubled and bloody childhood in midnight-movie-genre inventor Alejandro Jodorowsky's Santa Sangre (1989). Can't really blame Chanda's choice at the life style. But it is rather necessary to get drugged to the tunes of 'Ankh Micholi' as Chanda leans her head out of the bus' window. Strongly reminiscent of Joker's head tilt out of the stolen cop car's window in The Dark Knight (2008). Talk about Dev and his character's impulses. Well impulse is what makes us human. The characters in this movie have impulses to watch porn, gulp down vodka-coke (i mean seriously?, screw-the-world choice maybe) and chase dragons. These guys have 'rivers of white water' (like the dudes in Dil Dosti Etc). Regret is unheard of. Fear is un-felt of, until one moment for Dev. It had to be the fear of death for Dev to re-evaluate his choices in life. The character study doesn't get any more convincing than this. Abhay understands the necessity all the way and gives a stunning performance. The scene with his mother is a great example.
When writing stops the camera starts to show it's power. Kashyap went with Danny Boyle's suggestion to use the German camera, used in Slumdog Millionaire, to shoot Dev D. The revolving takes focusing nothing but Abhay's drooling face are illustrious. The steadicam reminds of Arronofsky's Requiem for a Dream (2000). The luminous streets of Delhi and blinking cheap hotel signs are 'Oldboy'ish and striking. Amit Trivedi's music becomes an integral part of this bonanza. 'Nayan Tarase, Pardesi and Emosanal Atyachar' blend and make this flicker-show fly high.
How much ever Dev D reminds of anything seen before, this one stays as one of the remarkable original works of art. Dev D is an important addition to the current golden era of Bollywood. The era of A Wednesday, Rock On, Manorama, Dil Dosti Etc and Luck By Chance. This era is reminiscent of the independent film driven '70s Hollywood era of Taxi Driver, Network, Dog Day Afternoon, El Topo and Chinatown. That era was ended by gargantuan commercial success of an independent film called Star Wars (1977). Paul Schrader said, it killed Hollywood. I am fingers crossed for the independent filmmakers of Bollywood.
Manorama: Six Feet Under (2007)
Raymond Chandler's 'Lakhot'.
Written and Directed by: Navdeep Singh.Starring: Abhay Deol, Gul Panag, Raima Sen and Kulbhushan Kharbanda.
Manorama (Sarika) in her 40's (or 30's?) walks in to Satyaveer Randhwa's (Abhay Deol) house in Lakhot, Rajasthan. Styaveer has recently debuted his first mystery novel, titled Manorama, which Manorama has read and curiously asks him to do a job for her. For a budding novelist, who doesn't keep a copy of his own novel since it reminds him of his failure, 10,000 Rs is quite a temptation. But the job turns out to be a list of scandals and illusions mysteriously unfolding into a grand finale.
Manorama Six Feet Under is THE noir cinema. Navdeep Singh, along with Devika Bhagat, has written a marvelous screenplay. Right from the need for a detective protagonist, to femme fatales, a cop who helps protagonist solve mystery, flashbacks, high contrast images, silhouettes, habitual liars, corrupt villain and secrets that are violently dark are all necessary noir elements seen through Hollywood film-noir and neo-noir. Although the 'sad end' is rather toned down cleverly. This movie reminds of J J Gittes and his 'Chinatown' (1974) so much that at one point the nose-cut seen featuring director Roman Planski's cameo is shown on the TV. In this Bollywood era of Hollywood copiers where plots are copied but the required environment for that plot is never even understood let alone copied. This movie stands alone for director and writer's ability to transfer exact noir elements from Raymond Chandler's Double Indemnity (1944) and The Big Sleep (1946) which of course were adapted in Chinatown as well. The muted trumpet is used aptly creating a mystery atmosphere. This is an extraordinary debut.
Abhay Deol has shown great potential as a novelist using his writing abilities to find clues in his own life. His choice of movies have been unusual, for instance Ek Chaalis ki last local (2007). Next up is Raima Sen as Sheetal. She comes quite natural here. Kulbhushan Kharbanda never fails to perform. Gul Panag as Satyaveer's disagreeable wife is rather convincing. Sarika has a short appearance. But the best performance above all was Vinay Pathak as Brij Mohan, Satyaveer's brother in law and cop. He blends in with his sentence delivery as hot as Rajasthan's desert.
Last but definitely remarkable is the cinematography. The hot sand, empty roads, dried bushes, burning sun and desert mountains are stunning and a bonus to this fast paced story that has twists after twists. Almost every event and person has a meaning and purpose. Nothing goes untouched for the second time. With an achievement like Manorama I wonder what's next for Navdeep Singh. This movie you do not want to miss.
My rating: 9.5/10.
Dil Dosti Etc (2007)
An "Indian Pie" with a social message.
Not always a title will blend in everything to a discussion/monologue. The title above may not be suitable to other viewers. But I think Dil Dost Etc does have a social message which is targeted on an individual basis. This film portrays college days of Apurv (Imaan Shah) and Sanjay (Shreyas Talpade). Sanjay is a student from a middle class family in Bihar who is trying to run election and also win it by all the means he can. Apurv is his fellow mate who is born with a silver spoon. These two students have a totally different background but currently they face almost same situations in the college and they have almost opposite perspective on moral/ethics background. These two students bet to each other and that initiates a series of events which connect them together in the end.
I must say that this film is a great blend of psychology and philosophy of college students who are religious towards timely pop culture and matured audience who perhaps are competitive enough to exercise any and every means towards their goal. Debutant Manish Tiwary has written a clever script that from the first minute ("River of White Water") till the end of the film initiates and propagates various thought processes and live it open to individual comprehension. With humor as a positive ingredient his protagonists speak a language which is definitely thought for. The educational institute seems to be a perfect place to place two characters with different backgrounds and mentality. Though I have seen Sanjay at other occasions but Apurv shocks me. Not only his philosophies and self-ethics bother me but when he talks he seem to have understood a much about his surroundings. He does not apologise for a failed kissing attempt to a school girl (Ishita Sharma) and he survives a great deal of endeavor in the end. "A glimpse of the goal clears away some paths" as he utters this line I wondered where is this movie going to end. Manish Tiwary has ended this film with a social message which has to be self realised and self applied.
Imaan and Shreyas both have acted well. Shreyas as usual is very natural. It was good to see him in a matured serious role. I have never seen Imaan before but I wonder about his courage. Whether I should appreciate his ability to focus on the goal or the goal itself is a mystery. Smriti Mishra as the prostitute is also a great portrayal. The direction and screenplay are running at the same pace. For a debut this is a remarkable film. This is perhaps the best college flick since Jo Jeeta Wohi Sikander (1992) though I doubt I would watch it as many times as I watched Sanjaylal Sharma and the cycle race.
My rating: 8/10.
Jodhaa Akbar (2008)
Two hearts amidst an epic setup.
Written and Directed by: Ashutosh Gowariker. Starring: Hrithik Roshan, Aishwarya Rai. Music: AR Rahman.
A young boy named Jalaluddin stands on a war front In 1555AD India to be crowned as the new Moghul Emperor after the death of his Father Humayun. The ministry wages the war and defeats the rival King. They bring him in front of the new emperor and ask him to behead the defeated King. Only to find that the young emperor recognizes that disgrace is worse than a death and denies following the orders. This young boy grows up to become Jalaluddin Muhammad (Hrithik Roshan) Akbar (as honored by his country eventually). He marries a Hindu Rajput's daughter Jodhaa Bai (Aishwarya Rai). How? You will find it out.
Jodhaa-Akbar is a story of love between a husband and a wife after they get married. Given some exposure to Akbar's learning curve to understand the common man in his country with the help of his wife's thoughts and philosophy this movies tries to connect the dots between a husband and his wife and an Emperor and his people. The first winner of this movie is writer-director Ashutosh Gowariker. Making a comeback after a highly spiritual Swades (2004) Ashtosh may not have as appealing story as Swades but the love in Jodhaa Akbar cannot be denied. He brings in different shades of connections between the two like the first time Hindu vegetarian meal for Akbar, a sword fight or a confession of love in a room lit by setting sun. Gowariker handles these facets very carefully by taking his time to create an atmosphere. He is one of the young directors with his own vision that he follows.
The next one on my list is Hrithik Roshan. With a muscular physique and eyes full of emotions his portrayal as an Emperor with roots of humanity is something to look for. An emperor slowly learning about the people around him and eventually following his heart and philosophies is a very good character to be seen. His fight with his ownself to understand Jodhaa is convincing. Not to forget Aishwarya Rai as Jodhaa bai. Personally I haven't been able to appreciate her beauty in a long time since maybe Aur Pyar Ho Gaya (1997).
I have saved the best for last and that is Mr AR Rahman. His background score and musicals like 'Jashn-e-bahaar' and 'In lamho ke' are appreciable. But 'Khwaja' is something beyond great or extraordinary. The prayer and appeal by sufi singers to the priest are nothing short of 'magical'. You will be drawn into the prayer just like the emperor when he gets up and shows his excitement to God. Wow!!!
Independent movies are said to be daring and courageous. Jodhaa Akbar may not be an Independent creation but it is a period movie with a magnitude that perhaps was last seen in K. Asif's Mughal-E-Azam released in 1960. It took 48 years for Bollywood to make a movie like this so in that sense it is a daring and courageous effort.
My Rating: 9/10.
Taare Zameen Par (2007)
A tale of an Artist.
Starring: Darsheel Safary, Amir Khan. Screenplay by: Amol Gupte. Directed by: Amir Khan.
A drop of a red paint falls on a canvas. Then a finger comes and adds some yellow color to that drop. The drop shows some light turbulent mixing of smaller pigments of yellow and red, then that same finger starts mixing those colors. Then appears a creation of color on canvas as seen by Ishaan (Darsheel Safary), an 8-year old kid who just destroyed his graded exam solution of non-art subjects. Well, because he failed in those. There is something that drives Ishaan away from the books and exams to painting, to catching fishes in the gutter, to jigsaw puzzles, to almost anything that catches his eyes. He mentions his teacher that the letters in the book are dancing. That would make him dyslexic. But not dumb. Perhaps his vision is different than an average human being. When he has been send to a boarding school hundreds of miles away from his home then it appears as a child departing from his parents in his flip book. Can we help Ishaan? Perhaps professor Nikumbh has the answer. You have to watch Taare Zameen Par, to know what that answer is.
Amol Gupte wrote the screenplay for this beautiful and powerful film. He also was a creative director and I guess that is the basic need of this film. The number one thing expected from any filmmaker is to create sympathy for his protagonist. May it be emotional, but definitely has to be psychological. Amol Gupte puts you right where you are able to observe through Ishaan's eyes at a kid sitting on his father's shoulder and slurping a shaved ice cone. So much indulgence that it makes you unaware of the cone in your 'own' hand that melts and falls. There are so many sequences like those and Amir Khan (also the débutant Director) understands the conveyance need of those visuals as much as Amol Gupte and creates an impact. Slow motion gives us time to understand Ishaan's fast grasping. The connection of images, surreal, if I may, of the solar system to the math problem in Ishaan's exams is simply brilliant. How Ishaan thinks and imagines and applies it to his real world creates sympathy. Not to forget the confrontation by professor Nikhumb to Ishaan's parents is one of the scenes with convincing words. Perhaps convincing for any parent. There does exist get-beaten-first-followed-by-triumph-later-superhero psychology which works. Amol Gupte and Amir Khan both have done a great job.
But how much ever you write or direct a movie, it is useless without the actors who make you feel what they are feeling in all the situations in the movie. Darsheel Safary as Ishaan falls short at nothing. He is an actor that has not been bound by anything. He excites at fishes in the gutter, he fights a bully twice his size, he feels guilty and apologizes to his father at first and gets angry with strained eyebrows later at revelation of father's lie. He cries with the sorrows that you will feel and laughs with joys that shake you. Sight of a dawn over mountains and a lake creates an image in his mind that later shows up on a canvas that screams his urge to see what people don't see and you will stand beside him all the way. He deserves all the accolades he stands nominated for.
Amir Khan has chosen a unique tale of parent-kids relationship, that is sad, because that relationship has been ignored long enough to make a movie but at least now we have a movie. Shankar-Ehsaan-Loy give music to songs written by Prasoon Joshi that add to the surreal environment of this child. This movie is a great attempt to look at every child because he/she is special beyond our comprehension.
My Rating: 8/10.
Chak De! India (2007)
A highly spirited thrilling ride.
"The next 70 minutes are yours. Not even God can take it away from you. Go get them". As Kabir Khan (Shah Rukh Khan) gives the speech to its hockey team, you feel the moment with him. As if you are standing in that locker room and you are going to play that hockey match with the rest of the crew. This feeling will follow you on a fantastic ride called as Chak De-India. This is not a story of champions. This is not a story of freedom. This is not a story of strength to win. This is not a story of extraordinary people who fight against out numbered enemies. But this is a story of gaining high spirits among individuals who come together and achieve something they never knew how to.
Kabir Khan is a newly appointed coach of Indian women's hockey team who are preparing themselves for upcoming World Cup championship. The hurdles for the coach are not just to bring the team together and train and teach what they exactly need to, but also to answer to the criticism from his fans about his missed stroke when he played in Men's hockey finals. Not to mention his fight against himself about that lost game. As the team is introduced at the signup desk, the women from every corner of India make you laugh and curious. They can be wearing a bully's attitude, I-am-so-hot attitude or just plain simple girls lived under the shadow of the family. But they have one thing in common. The passion and talent for the game. They can make friends or enemies among themselves, even though they are in the same team, but the journey ahead towards the final glory is extraordinary.
There was a movie. Ab Tak Chhappan, (2004) that shook so many audiences and critics. Shimit Amin, the same director, now handled Chak De, and surprisingly his knife feels as sharp as his last cut in 2004. The whole tone and attitude of excitement, pain, zyst and glory is so unbelievable that it feels as if Bollywood is waking up and breathing. The expressions on each player's face are captured magnificently and straight to the core. Jaideep Sahani, the writer who previously wrote Ram Gopal Verma's gangster thriller Company (2002) does a memorable comeback with Chak De. I mean the MacDonald's scene, the coach's speech, the final goal and the diligence of keeping away from any cheesy dialogues just makes me say one word. WOW!Thank You Aditya Chopra for bringing this team together.
Now definitely Shah Rukh Khan has to be mentioned here. He is not the usual, mindless college boy who whines over some troubled relationships just to shake those faint hearted who worship him. He is a tough and determined hockey player who knows what he is talking about. With a rough stubble and Ray Ban aviator sunglasses he makes his appearance felt. No clichés, just passion.
Well, the hockey team is rather something to watch, than to read right here. So just go ahead and walk in to this locker room and listen to the coach and chat with these passionate women.
My rating: 9/10.
Life in a Metro (2007)
Same old same old from a new writer.
The title of this movies gives an idea of the setup of the movie. City of Mumbai with local trains, clubs, shopping malls, cell phones, rain and good looking people on the street are the basic assumptions behind the title. What the story brings is an interwoven but not complicated lifestyle of about a dozen characters. Shikha (Shilpa Shetty) is married to Ranjeet (Kay Kay Menon) who is having a no strings attached romance with Neha (Kangana Ranawat) who is sharing her apartment with Shruti (Konkona Sen-Sharma) who is not just Shikha's sister but is also having a buddy Monty (Irfan Khan) who previously got acquainted with Shruti as an arranged marriage proposals while Neha is stalked by Rahul (Sharman Joshi) who works at a call center under the supervision of Ranjeet. Is that all? Actually no. Shikha, after the disappointment from her marriage with Ranjeet, is having a 'butterflies-in-the-stomach' romance with Akash (Shiny Ahuja).
I think that sums it up. Now the question is what next? I guess thats when Anurag Basu (writer and director) starts his imagination or experiences with relationships. Compared to his previous project, Gangster (2006), the script of 'METRO' is rather crispier and the characters look more intelligent and believable. Even though there are almost 6 parallel stories in the script there is not a single time when it confuses. From the introduction of all to the finales writer keeps you on the same page as his. The ambiguities of extramarital and unsure relationships are well written. Although initial fast pace of the script in the first 1 hr. drags a lot in the later half. The melodramatic finales of different couples are laughable. Save Shikha and Akash's temptations and anxieties. In a way this movie has almost nothing new to offer. What actually it offers is Shilpa Shetty's comeback and she perhaps steals the show with her looks. What accompanies is Shiny Ahuja (alway impressive) and Konkona Sen. Surprise package includes Sharman Joshi's ambitious character. His story with Kangana Ranawat (another 'for your eyes only') reminds of Shahrukh Khan and Juhi Chawla in Yes Boss (1997). Also why there was the story of vintage actor Dharmendra and Nafisa Ali??? Music score by Pritam will add a star to this movie. The picturization of these songs is also a fresh new way as opposed to the same old aerobics or dramatic styles. Direction of few scenes, like the erotic sequence of Shikha and Akash uses a good mixture of lights and shadows which also is pretty well acted by the two. Last but not the least Irfan Khan's Monty is quite memorable. He is funny as hell.
In and all the stories have been seen and heard before but fresh new faces including Shilpa Shetty and a nicely written screenplay will make this one a good experience. Worth a look with some popcorns and a gulp.
Rating: 5/10.
Eklavya (2007)
A guard's quest to fulfill his religion.
Directed and written by: Vidhu Vinod Chopra. Starring: Amitabh Bachchan, Saif Ali Khan, Boman Irani.
Enter a royal mansion of Rajasthan, India that is filled with secrets. The royal guard Eklavya (Amitabh Bachchan) is humble, sincere and ruthless. He is guarding the king Rana Jayawardhan (Boman Irani). Like one of the characters Eklavya from the epic Mahabharata, who cut his thumb off as a gesture of respect when his Archery teacher asks him to as fees for the teaching, this royal guard is also determined to protect his king so as to consider this job as his only Religion. What secrets this mansion is hiding? What happens when one tries to blow off the lid off these secrets? Will Eklavya be able to follow his religion? Well the questions are answered, except for one which you will see at the end.
After giving Khamosh (1985), Parinda (1989) and 1942-A love story (1993) Vidhu Vinod Chopra comes back with his own screenplay and his own vision blended in a big screen art piece. Like those other films he still has his cutting knife as sharp as it was before. Little rugged tip though. Mr Chopra has created a dark sequence that can only be understood from voices in the background. He has created a scene where camera is panning over the entire entrance way towards the mansion that reminds Kubrick and Fincher's fluid-track camera. He has created a thrilling sequence involving a car standing close to a running train along with sprinting camels in one of the deserts of Rajasthan. He has created a dark and glooming atmosphere throughout the entire movie which will keep you glued to your seat. He has a vision and he has stick to it all the way almost till the last 10 minutes of the movie. Actually he did give a sign of a grand finale with Harshwardhan's (Saif Ali Khan) gesture which if Mr Chopra has stayed with then this tale would have made sense and fit to all of the character's intentions. But unfortunately Mr Chopra goes a little further which will steer away this car ride out on a gravel road where the scenery is hazy due to the dust. At this point perhaps he could not decide if he can still continue to be an artist or rather make money out of this? Its upto you how hard you take those 10 minutes. Personally Mr Chhopra was already impressive enough to give an exhilarating experience through his quality cinema.
Mr Bachchan as the royal guard has a style and attitude that would take his character where you believe him completely. When he stands next to the bed where queen Suhasini devi (Sharmila Tagore) is lying, he has the eyes that will negate the possibilities of any words from the screenplay. The sequence of chopping off the bells tied to a flying dove's feet is at first seems little cheesy but sometime later helps you understand how unique his talent is. Though his expressions are not new but still he performs with utter honesty.
Saif Ali Khan as the prince charming lights the screen with his persona. His performance is the second memorable followed by Boman Irani as the king and Vidya Balan as Harshwardhan's lover Rajjo. Jackie Shroff makes a comeback to commercial cinema after quite a while. Seems like Mr Chopra wanted to bring Shubhankar from 1942-A love story. He is little more older, tired and less believable. Sanjay Dutt and Raima Sen contribute a little to the story.
Cinematography by Nataraja Subramanian is quite stunning which requires an auditorium viewing. Eklavya asks a question that how far can you go to be RELIGIOUS? This movie is a great attempt which deserves applause.
My rating: 7/10.
Vivah (2006)
Another Arranged Marriage but with a fresh new couple.
Poonam (Amrita Rao) is a pretty, beautiful, sweet, honest, obedient and a "I-want-a-daughter-like-her" typical Indian country girl. She is the sunshine of her father's (Alok Nath) eyes. A family friend notices her as a perfect fit for one of his friend's (Anupam Kher) son. Well who is this chosen groom? Well his name is Prem (Shahid Kapoor). He is also obedient, good looking, honest, educated blah blah. I guess you get the point. Of course he is instantly attracted to Poonam when he looks at her picture. A typical Indian private meeting is arranged. The candidates approve each other and then begins the journey from engagement to marriage. This is a new installment by the king of family movies Sooraj Barjatya.
The director has brought in all the usual flavors of romance to this treat. A pair of fiancée that will be approved by every audience member, their romance that is expressed with first-hesitant-then-cheesy-confident looks, conversations through smiles, choosing the matching dresses, secret rendezvous and almost every single thing that has seen and heard till today. As per the trademark there are also the family parameters into this equation. Father daughter relationship reminiscent of Maine Pyar Kiya (1989), girl loss of her mother at young age seen previously in Hum Aapke Hain Koun (1994), teenage romance from maine pyar kiya, rural lives and nature's beauty and family values perhaps tackled in almost every other movie of Barjatya. In and all this is a perfect rated-PG family movie that is bound to be approved by everybody. And just like every Barjatya movie it starts with goody-goodies and has a little twist near the end that would be a probable reason that might jeopardise the "build-up-too-much-cheesy-romance" relationship. But everyone knows that this movie was made for those two people and they would end up being together forever and ever. Of course they do so.
But I must warn you that this movie has an ending that was rather unnecessary. The first-night scene might have been important by Barjatya but that rather made this tale a total turn down. This is something like going to the smokey mountains, enjoy the scenery, breathe the fresh air and then slip from the highest cliff and fall in the valley. Sooraj had the recipe. But I guess he was hallucinating the success of the movie already and right when he was finishing cooking "Vivah" he added salt thinking it is sugar.
On another plus side the couple looks good on screen. Amrita, if I may say so, has done a better portrayal of a wannabe rural girl than Shahid's urban boy portrayal. Songs are good. Some scenes such as Prem's first gift to Poonam, their meeting on the roof, their chemistry has been picturised well. In the end I can say that if you want to enjoy a weekend with your family then take them to this movie.
Casino Royale (2006)
Bond is Back.
"Name is Bond, James Bond". For almost half a century this line has been a victim of praise and criticism. Starting from Dr No (1962) starring Sean Connery Bond movies have always been on the lists of top action flicks. New movie's arrival is always awaited. At the same time signing up of a new bond has never escaped controversy. Daniel Craig is no exception to the "New James Bond" controversy. If you have heard, during the golden era of Hollywood, that included screwball comedies and Frank Sinatra, the actors were popular for their grace and their image among the audiences. Perhaps acting department was not on their to do list. Then came Marlon Brando in On the Waterfront (1954). He was never worried about how he looked or his social image among the viewers. Not only people accepted him but he was honoured with his first Academy Award. What Daniel Craig has done for James Bond is exactly what Marlon Brando did for the movies. Until Daniel Craig all the actors who played bond used their grace and style to play the character. But Daniel's presence in the action and the acting department has given this new Bond a really never before seen look.
Is this new Bond capable of what we think? Well as the stiry advances we come to know that Craig's promotion makes him James Bond but there are no gadgets and just one leather dashboard Ashton Martin (well let's give him one). We never know clearly till the end what his job is. All we know vaguely that he has to stop a banker from winning a casino Hold 'em tournament and suposedly funding a terrorist organization. Well the first few sequences not just prove that Daniel is capable but he is rather the only bond who is convincing in his job as a secret agent, ever. Daniel has changed all the parameters of James Bond which makes this movie a must see.
Although there are times when the movie drags a little bit, feels like a holiday romantic movie. But that's not what you remember when it ends. The screenplay is filled with humor, pace, romance and one liners. Perfect for an action thriller. As per the original myths and conventions two ladies add to the story. Not to mention swimsuits and cocktail dresses. In the movie the writers almost were going to reveal M's real name but it ended up being another humorous addition. On a final note I would like to mention that last year Batman Begins (2005) portrayed Bruce Wayne's quest to become the superhero. In Spiderman-2 (2004) Peter Parker's character study was done. Seems like James Bond has gone under the same treatment of character study. Thats why this is a must see. Rating: 7/10.
Don (2006)
Farhan Akhtar's comeback after Dil Chahta Hai.
"Remember. It is not just difficult but rather impossible to catch Don".
As Don (Shahrukh Khan) says his famous line to Kamini (Kareena Kapoor) it ignites memories of Mr Bachchan's 1978 portrayal of Don. Don is an international mafia boss who is fast, agile, tough and most importantly intelligent. He has been on the most wanted list of Malaysia, India and almost every other country including UK. He gets illegal drugs and similar substances from India and Pakistan and sells them in UK. He has two other main companions Singhania and Wardhan. Though Singhania and Don's profile with picture is on the records, Wardhan is still a mystery. One day cops get a tip on Don. Cop D'Silva (Boman Irani) is on a high speed chase with Don and Don gets injured. In the hospital Don dies. D'Silva remembers a guy, Vijay, who looks like Don. With an idea and a plan he manages to get new Don into the hostile territory. Will Don be able to help D'Silva? What happens next? Who is Wardhan? Well Farhan Akhtar (director) has all the answers.
Though it is hard not to compare Shahrukh's Don to Mr Bachchan's I guess you can always appreciate Farhan's contribution to this remake. Farhan has kept the original script by Salim Khan and Javed Akhtar. He has added a little tinge of citrus that not only adds a little flavor but also it smells different. Few sequences as the one with Kamini, were unchangeable. Farhan has written the closing scene and this is a classic example of a better character study. Very intelligent and to the exact point. No writing contribution from Farhan for Lakshya was very evident. Farhan totally went with his Father's (Javed) script on Lakshya. This time for Don he took over and his attempts are evident and are an essential part of the movie. Brilliant! Sharukh Khan has done a great job in portraying the ruthless Don and the average Joe Vijay. Shahrukh knows that he cannot escape comparison with the original Don. But he has managed to get the attitude. Good job.
Besides being a remake this movie makes a lot of homages. The Fast and the Furious, Kill Bill, Mission Impossible, Entrapment and Matrix. Well those movies are supposed to be appreciated through little references. Boman Irani is believable as a tough cop after cheesy roles of Munnabhai series. Priyanka Chopra as Roma is a good fit for her beauty. She does some action as well. Arjun Rampal as Jasjeet should have been reconsidered. Shankar-Ehasaan-Loy's music is good to the ears. Their contribution to the basic tunes is appreciable. Overall this movie is quite above the average bollywood movie. Should be viewed at least once.
My rating: 7/10.
Saw III (2006)
Feed your screams.
No Spoiler.
There was a time when Hitchcock shook the theatre with Janet Leigh's scream in Psycho (1960). People were unaware of the gore and gritty atmosphere of Hitchcok's creation. Perhaps this was the movie that created a new trend in the Horror/Thriller genre. Then it was The Exorcist (1973) when Linda Blair walked down the stairs on her hand and feet while lifting her body in a backward arch. This was the beginning of yet another trend. I believe then came SAW (2003) to create something you have never sen before. A serial killer with a gift of forgiveness only when his victims escape the traps he sets up. SAW has created a whole new meaning to Horror/Thriller. This movie fed to the new generations' needs of pure gore. SAW III stands to its expectations of blood, gore, cracking of bones, hacking of flesh, peeling of skin and crushing of skulls. I seriously do not believe how this movie escaped NC-17 rating. The last NC-17 movie I saw was Haute Tension by Alexandra Aja, another member of "The Splat Pack" along with Darre Lynn Bousman. The opening scene in this movie has similarity to one of the scenes from SAW I. But it has a "little" more outcome than it had in SAW I. With that little more I mean a sound effect and when it happened everybody in the auditorium went AWWWW. It was a "Ladies and Gentlemen your attention please".
The acting department? I would be highly insensitive to comment on acting. Nobody expects acting from SAW franchise. What I can do is perhaps compare with SAW I. There is a flaw in the direction. Darren may not make you glued to your seat. The traps are new but they are designed for something else other than just for the victims to try and escape. I would say Darren has managed to make those 1hr 40 minutes interesting enough for a thriller with a non-linear screenplay by Leigh Whannell and the gore content.
The twist is little unexpected. But it is something that only a few people would care for. At least SAW franchise has no ghost stories, UFOs or witches that create something supernatural. This is a movie that could come up with some explanations to stand for. Thats why I would choose this one over The Grudge or Silent Hill any day of the week.
So if you are having a bad day and want to go and scream your guts out then I suggest go watch this. This will feed your emotions.
The Prestige (2006)
Christopher Nolan's brilliant MAGIC act.
"Every great magic trick consists of three acts. The first act is called "The Pledge"; The magician shows you something ordinary, but of course... it probably isn't. The second act is called "The Turn"; The magician makes his ordinary some thing do something extraordinary. Now if you're looking for the secret... you won't find it, that's why there's a third act called, "The Prestige"; this is the part with the twists and turns, where lives hang in the balance, and you see something shocking you've never seen before." - Christopher Nolan.
The above quote is yet another example of a case of delicate and extraordinary screen writing. Guess what, this movie stands to its expectations raised in first few minutes. This is not just about magic but the life behind the acts. As Cutter (Michael Caine) narrates above quotes we see a magician performing on stage. A strange thing happens during his act (which of course I am not going to spoil) which takes you right to the core of what this story is all about. That opening scene creates a lot of questions. But interesting as it has been it makes you create your own theories. Its for you to find out what happens next.
This is a story about Robert Angier(Hugh Jackman)and Alfred Borden (Christian Bale) who are working as assistants for a magician Michael Caine. Every single act they watch of their own master and other magicians, they become curious about the acts and try and break those in their heads. As the story continues the situations arise when they rival against each other. That turns into a quest. A quest for the creation of the greatest magic act ever. All you have to do is just sit back and enjoy this unbelievable ride into the world of MAGIC.
First accolade for the movie goes to Christopher Nolan, who was my immediate favorite the day I watched "Following". He has an uncanny ability to present. He is a master story-teller. The movie has a lot of pace. Though I saw the twist an hour earlier but it rather made me look for an explanation and Nolan has one that fits right in. He gives yet another fantastic screenplay after Memento and Batman Begins. Non-linearly written, based on Jonathan Nolan's short story, this saga glues you to your seat.
The performances were fine. Especially Christian Bale. His acting gives this project a real life. This movie shows us his talent beyond the action scenes of Bruce Wayne' other half. Hugh Jackman wasn't far behind him. He delivers his performance with much intensity as well. Their rivalry keeps you guessing and thinking all the time. Next up is Michael Caine. He fits quite admirably in the character of Cutter. Singing legend David Bowie is memorable in his short performance as Tesla. Scarlett Johansson looks stunning as usual.
This movie is dark, tricky, illusionary, intense and of course has something that I have never seen before. Applause to Mr Nolan.
Omkara (2006)
The Indian Neo-Noir Director's gloriously dark creation.
There was one thing on my mind when I was on my way to Omkara, "can't get Maqbool out of my head yet".
Omkara starts with two men sitting on a small hill talking in the "local dialect" on a sunny day. By the time you realize what is going on, you just have a kick start to the movie. This was an introduction to Saif Ali Khan's character Langda Tyagi who works for Omi (Omkara). Omkara is in love with Dolly, played by Kareena Kapoor. As story unfolds we get introduced to Vivek Oberoi, who is also working with Omkara, Konkana Sen-Sharma wife of Langda, and the Sabse-Bade-Ladaiya" Omkara's "skepticism". For those who have read Othello, what I have heard is it is very similar. I do not want to spoil the story anyway.
Vishal Bharadwaj deserves good credit. Very few directors can create a dark movie and still be glorious. Vishal shows his potential as the only Indian Neo-Noir director. There is one scene in the movie at night. Its about a conversation between Omi and Langda in front of a train that was stopped earlier on purpose and its raining. Drneched silhouettes are magnificent. The only light that has been used is the headlight on the train. It is executed to the perfection.
I had faith in Vishal and he stands "almost" up to his status. I said almost because I actually was waiting for another mind blower like Maqbool. But it wasn't. The screen writing is highly appreciable. But during the end of the movie I guess at may be 1 or 2 occasions it looses its string. I wanted to see some more dialog between Omi and Dolly but doesn't happen. May be Shakespeare never wrote any. One more thing about the script that, for me at few occasions local dialect was quite hard so actually I used to read the subtitles. So subtitles are recommended but not required. But other than that script is beautiful. Kudos to Vishal.
The whole experience of watching Omkara was made amazing by Langda Tyagi. Saif Ali Khan has proved again that he is one of the most talented actors who is privileged to get signed by commercial movie makers as well. His performance actually reminded me of Satya. In satya the character that you remember is not Satya but Bhiku Mhatre. same goes with Omkara. Saif delivers the hard local dialect with nothing but simplicity. His whole attitude throughout the movie makes this one a must see.
Next up would be the player of Omkara. Ajay is good. He makes justice to his character very well. His struggle between power and his own personal life is achieved very finely. Good performance.
Konkana Sen-sharma stands out as well. Her ability to get under the skin of the character makes me curious about her next movie. Her role is short but she makes it stand out.
Kareena is alright. At least not the usual she plays, for instance Chup Chup Ke. But I had hopes from her as well. Unfortunately she doesn't have much to accumulate. Except for the last line she says hugging Omi. Music is good. In the constraints of the movie it fits admirably. Especially "naina thag lenge". Vivek has the same face that he had for past 18-20 of his movies. Not much to say.
In and all Omkara was a good experience. I would recommend you guys to watch it at least once. If you haven't seen Maqbool then I would say watch it after Omkara. You will enjoy that as well.
Pinjar: Beyond Boundaries... (2003)
The greatest creation of 2003.
Pinjar by Mr dwivedi is an awesome movie. Its definitely the greaest and finest of 2003. There are very good performances in it. Dwivedi knows what he can extract from MAST Urmila. she is like u have never seen before. one true great performance. along with her is a fine actor Manoj bajpai, who has shown bollywood what he is with Bhiku Mhatre. The movie is about a girl(Urmila) living in Pre-partition pakistan. she is from a punjabi family livin in a small town. she is been kidnapped by a muslim guy as a part of a going-on-for-years kinda fight with the punjabi family. and then follows a series of twists and turns as urmila's arranged marriage is due in few days. this movie is truly a very good movie. the storyline is solid with an amazing screenplay. all the performances like lillete dubey, isha koppikar (u wont believ but she can act as well besides jus dancin on Khallas), kulbhushan kharbanda and many more. those sets with pre-partition pakistan, costumes, cinematography, sound, background score add to the positive points. from the start till the end u r stuck to u'r seat with the question whats next? this movie is not jus worth watchin but deserved to be a part of your movie collection. the ultimate scene is the end of the movie. i would suggest all those No-Kabhi-Khushi-Kabhi-gum-and-No-Dil-To-Pagal-Hai crowd to watch this amazing flick. my rating: 10/10.