Thursday, April 28, 2016

20. The Jungle Book

What review can I give for the highest grossing film of the year?

First, watch the film in Hindi.
Priyanka Chopra as Kaa. Nana Patekar as Sher Khan. Irrfan as Baloo. Om Puri as Bagheera. How much cooler can it get?

Second, watch the promotional song. Yes, again. And again. And again. And again.

And then watch the English version of the Hindi version.
"Jungle jungle, word is spreading here and there
A flower has bloomed wearing underwear..."
#epic

Wednesday, April 27, 2016

19. Fan

In short, Fan did not live up to the pre-release hype (at least for me). Shah Rukh Khan (who had cleverly lowered expectations with Dilwale and Happy New Year) and Maneesh Sharma (who has some nice films to his credit in the recent past) were supposed to work magic among masses and classes. In the end, it turned out to be Darr meets Don meets West Delhi.
Sigh. What a waste.
It is very unfair to judge a film on what you want to see rather than what has been made but I couldn't help wondering a superstar's relationship with an obsessed fan could have been so much better than a jazzy chase film.
Sigh...

Over the last few days, I have been discussing - with friends - various scenes of another superstar film, the original superstar film - Nayak. There are many similarities between Nayak and Fan. Both films have the star involved in a nightclub brawl, being insecure after a lacklustre film at the box office, grappling nosy journalists and eventually, retreating into his cocoon after a brush with reality.
The star's ascendance is nicely brought out in both films. In Nayak, the star himself recounts it through a series of flashbacks (during the course of an interview he unwittingly does). In Fan, the fan follows the exact route his hero took while going from Delhi to Bombay (WT on Rajdhani, Room 205 in Hotel Delite).
Uttam Kumar's casual disdain while handling cynical journalists and charming suaveness while handling fans formed a very interesting balance. On the other hand, SRK is strangely uni-dimensional in handling his fans. For someone who thinks nothing of punching an upstart of a colleague, he seems rather unrealistically law-abiding when it comes to an obsessive fan's unlawful activities.
Both films show how the demi-gods of tinseltown are strangely beholden to different kinds of moneybags. SRK is deferential, almost servile to an Indian billionaire who has hired him to dance at his daughter's wedding. While Uttam Kumar is respectful towards a Marwari producer though he doesn't kowtow to him (despite going through a shaky period in his career).

Despite the many similarities, Nayak and Fan remain light years apart. One is a classic exploration of a star's mind while the other is just a jazzy chase film.
Sigh...

[Frivolous Footnote: Autograph (2010) was another delicious exploration of a star and the people around him, made as a tribute to Nayak. The composer of Autograph - Anupam Roy - has written the lyrics and performed the Bengali version of the Jabra Fan song.]

After writing this, I read two brilliant reviews.
One by Greatbong, on how he was a SRK fan once and may consider becoming one once again.
The other by Beth, on how Fan is actually - well - Nayak exploded.

Monday, April 04, 2016

Apur Sansar

I finished the final film of the most brilliant film trilogy to be made or ever will be. Apur Sansar has always been a favourite of mine – especially after I have a Kajal to become friends with, instead of being a father to. This watching just cemented some of those emotions.

Some thoughts that came this time:
Apu, being the younger son of the family (and being doted on), is bit of a spoilt brat! He is the spoilt brat when dealing with his landlord (whose lights he switches on during the day to spite him). But he is the conscientious man when it comes to paying the rent (by selling his books).

The performances of the bit players are amazing.
Apu’s landlord. His surnamesake neighbour. The school principal who advertised for a teacher. The pharma company manager whom Apu asks for a job. Apu’s much-married colleague. Aparna’s parents. All of them just shine like diamonds in the few minutes they are on screen.

Of the lead players, what more can be said?
Soumitra Chatterjee would have done to womenfolk of those times what Fawad Khan is doing now. And when you see, Ray exploits his amazing looks and exemplary elocution skills to the hilt with carefully planned scenes. And he seems to have no qualms in subjecting Soumitra to the female gaze, giving his vests gaping holes and making him exercise in pouring rain!

Sharmila Tagore, who was not even fifteen when she shot for the film, is remarkably assured in her mannerisms and dialogue delivery. In her short screen time, she manages to effortlessly establish why Apu is so much in love with her.
And in a telling scene, the husband also fans the wife after he has finished eating (when the wife was fanning him)… and he does so grudgingly, yawning while fanning and not in the sacrificial style commercial cinema is always showing. In the late 1950s, Ray knew what we are still trying to come to terms with… women’s equality would happen grudgingly, even from the good men!


The transition of emotions seemed even smoother on this viewing.
The way Apu is shown to agree to the marriage – him accepting the archaic concept of a girl becoming unsuitable for marriage if the auspicious hour passes – is very believable and almost natural. He is a modern youth with a scientific bent of mind and yet his natural goodness makes him agree to marry a girl he hasn’t even met. And he does so embarrassedly, without even being able to spell it out. He asks his friend Pulu, “Chakrita pawa jabey toh? Daritao kamano hoeni…” (Will you get me the job you promised? I haven’t even shaved…)
This unplanned marriage leads to the emotion of the helpless father who had to marry off his daughter much below his social standing due to societal pressures. Aparna’s father depicts this frustration heartbreakingly, which translates into a lifetime of resentment against the son-in-law. As a father of a daughter, I thought he ‘got’ it so well.

Much has been said about Apu’s manic grief and whether it suited the normally unemotional character that we saw growing up.
We need to see Apu as a character, who became progressively alone in his life, having lost his beloved family one by one. Finally, he had found a companion – who seemed to be a soulmate – and again lost her. This tragedy is, understandably, devastating for him. In this context, the grief seems almost normal.
The grief of Aparna’s death is built like a tragic movement where the announcement is just the beginning and the subsequent events keep adding to the point of suffocation when Apu sacrifices his novel in a moment of extreme listlessness. This extreme act of abandonment, coupled with the physical transformation of Apu from a handsome young man to an unkempt, haggard tramp, was just too draining a sequence.
The symphonic final closure – with Apu and Kajal reuniting – finally lifts this pall of gloom.

Finally, about the DVD.
The subtitles are very good. They are not literal and manage to capture the essence really well. People who don’t understand Bengali can fearlessly pick up a copy.
Among the supplements, Satyajit Ray’s Oscar acceptance is a much-watched sequence that gets included.
Another segment shows The Restoration process, which is like magic and documents the work done at New York, Bologna, LA where every scratch, every speck dirt and dust on the available negatives were painstakingly removed and the passion of the technicians shines through.
Film critic Mamoun Hassan’s detailed and gushing look at the Trilogy is almost a scene by scene deconstruction of all three films, offering a commentary on the important scenes along with his reactions. This could be a little boring for some viewers but valuable nevertheless.
The stunning piece de resistance are interviews of Soumitra Chatterjee (speaking in Bengali) and Sharmila Tagore (in English). They are still so luminous and animated when talking about their first film roles that it is an absolute delight.


If I haven’t said this already, buy the Criterion DVD set. It is probably the best cinematic investment you’ll ever make. 

Tuesday, March 22, 2016

18. Har Har Byomkesh

Some time back, I read a piece about a gentleman who is the executor of Saradindu Bandopadhyay’s (creator of Byomkesh Bakshi) estate and is the single-point of contact for anyone wanting to buy rights – cinema, TV, translation – for the author’s works. He explained in great detail how Byomkesh is probably the most popular series in Bengali, with scores of filmmakers wanting to procure rights. He, in turn, had to balance monetary considerations with long term prospects in order to decide whom to give rights to. This was around the time Detective Byomkesh Bakshy had released and just prior to that, Yash Raj Films had bought the Hindi rights for all the Byomkesh stories.
After Satyajit Ray first brought Byomkesh to screen, there was a fair bit of diffidence in attempting another one – probably because the director and the star who played the Satyanweshi (Uttam Kumar) were both legendary. This jinx was broken when Rajit Kapoor played Byomkesh in the now-legendary TV series directed by Basu Chatterjee.
In the last ten years or so, there has been a slew of Byomkesh films in Bengali. Many directors – including Rituparno Ghosh – have tried their hands with varying degrees of (commercial) success. The present generation of Bengalis don’t have that sense of awe about Uttam Kumar as the previous generations did, leading to a fair bit of acceptance of the screen Byomkeshes. Abir Chatterjee – with his intelligent eyes and sharp features – looks a lot like the sleuth of our imagination and seems to be here to stay. (Incidentally, he also plays Feluda thus proving that his kind of looks is eminently suitable for iconic detectives.)

Anyway, the point of this whole random Byomkeshing is – in my humble opinion – the rather pointlessness of these Byomkesh remakes. Having come out of books that have been read hundreds of times by fans, they don’t stand a chance in matching up to our imagination. 
I just watched Har Har Byomkesh (based on the story Bahni Patanga) and it was a film without complaints and without any memorability whatsoever. One of the key characters is a woman for whom ‘dazzling beauty’ is an understatement. The actress cast is just another beauty, who doesn’t seem like the type who would drive people around her crazy with her looks. Even Satyabati and Ajit are competent actors, meet their brief and yet, they are nothing what I (and millions others) had imagined. While the film recreates the period of the story well, it nevertheless gives a feeling of déjà vu that then gives way to boredom. We have seen this character so many times and similar settings… where is the punch? Where is the suspense (since we know the ending anyway)? If the idea is too hook youngsters who haven’t read Byomkesh, they are unlikely to get attracted by a slow-moving period drama with somewhat amateurish action and barely-passes-master art direction.

This is why I am more impressed by a film like Detective Byomkesh Bakshy… a film that throws the languid pace and leisurely mood-building of the original stories to the winds and presents the intellectual ‘seeker of truth’ as an action hero. It also eschews the regular stories, takes the major characters and creates a pastiche that keeps everyone guessing. Dibakar Banerjee’s Byomkesh had the purists fuming but at least, I thought it presented Byomkesh in a never-before avatar and a lavish scale that would bring many new fans to the fold.
Sure, Saradindu never wanted his Byomkesh to be a ‘detective’ (and that offending word is enshrined in the film’s title) but then again, Saradindu never imagined his Byomkesh to be wearing glasses either. (Ever since Uttam Kumar wore a pair in Ray’s film, most actors seems to donning one to play Byomkesh.)

Anyway, to bring this to a closure – Har Har Byomkesh is a mild-mannered film, not unlike one of those side characters in Byomkesh stories who look inconsequential right at the beginning and continue to remain inconsequential throughout.


[Frivolous Footnote: The director is obviously a big fan of Ray. Not satisfied with moving the setting of the film to Varanasi, he has inserted an entire (redundant) sequence that is a replica of a similar scene in Joi Baba Felunath. There are cleverer ways of paying tribute, I’d imagine.]

Sunday, March 20, 2016

17. Kapoor & Sons

SPOILER ALERT: This 'review' of the film hints at certain critical revelations that happen in the film. While the film is not a whodunit, it maybe a better idea to not read this before watching. In any case, I sincerely recommend you watch the film before doing anything - let alone reading this!

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
"It's all about loving your parents." - Tagline of Kabhi Khushi Kabhie Gham

"A story about two guys... a girl... and one little lie. Believe it!" - Tagline of Dostana 

What Shakun Batra does in Kapoor & Sons is to take these two films from Karan Johar's stable and make such an amazingly heady cocktail out of it that one is never sure if he is consciously slying against his producer or not. He takes the Karan Johar staples - good looking actors, large families, estranged family members, crazy patriarchs, great music, picture-perfect locales, big parties - and does the filmi equivalent of fusion food. It is the KJo ingredients in the hands of an inventive - even subversive - chef.

First up, let's get Rishi Kapoor - hailing from the original Kapoor & Sons enterprise of Bollywood - and his amazing makeup out of the way. Even without the makeup, he exudes a crazy grandfatherliness from every pore and by making his character a tharki, the film just added a whole lot of fun. And by adding Ram Teri Ganga Maili to the jamboree, the self-referencing just made all trivia lovers dreams come true!

Second, let's not get into the acting. Every single actor has acted brilliantly, especially since none of them are playing easy, sweet, happy roles. These are difficult, everyday people who get angry, get into scuffles, have jealousies and insecurities and do cruel things - often not knowing what they are doing.
Siddharth Malhotra and Alia Bhatt leave their student days far behind and play a normal couple, who are not sure if they should be a couple. Ratna Pathak Shah and Rajat Kapoor bring alive the forever bickering couple, who have forgotten why they were in love once and after a lifetime of scars, they are now even wary of good times.
All female viewers have gushed about Fawad Khan's hotness and - indeed - the perfectly featured actor is likely to go far in Bollywood, thanks to his good looks and easy charm. The posters, trailers and all promotional material have exploited this quite mercilessly. I found it quite amazing that he played a role that would make him the darling of many men as well.
Even the bit parts - photographer Wasim, his bodybuilder brother Boobli, Choksey Uncle, including the plumber - are superbly performed.

However, the hero of the film is the writing.
It is certainly not an easy task to take so many actors (some stars, some merely actors), put them in situations that we see happening all around us and still make it interesting. Especially since, the final payoff - the patriarch's dream of a family photo - is not stuff 140-minute blockbusters are usually about. And yet, director Shakun Batra and Ayesha Devitre Dhillon manage to weave a mesmerising screenplay around this dysfunctional family, going about plugging leaks and planning surprise birthday parties.
A word about Ayesha Devitre: She is a hairstylist with some massive blockbusters to her credit. She calls herself a 'hairstylist by profession, scriptwriter by passion' and has only written two films (both co-written with Shakun Batra). Her first film - Ekk Main Aur Ekk Tu - had the confidence of moving away from standard Hindi film tropes, even while seeming to be within a formula. More power and more films to her!

[Frivolous Footnote 1: In a film that has such great writing, it is great that the two heroes are writers of different kinds. For trivia buffs, Fawad Khan's book is called Freedom Fall and Siddharth Malhotra's manuscript is called We Are All Under A Cloud. Thanks Aarti Krishnakumar for that!]

[Frivolous Footnote 2: The film is set in Coonoor, where a cheese maker lives. I was wondering that his best film is also about two brothers - the elder being the favourite and the younger a bit of a dark horse - coming good in their own ways.]

Wednesday, March 16, 2016

16. Bangalore Days

One of the best decisions I have taken in this #100MoviePact is to seek out the best works of regional cinema. Friends have generously recommended old classics ("This is what made Rajini Rajini!") as well as contemporary hits ("The more I see Dulquer, I more I love him!") and all of them are now on my Amazon wishlist.
This one was recommended by Sohini Mitter.

Rock On! meets Dil Chahta Hai meets Jo Jeeta Wohi Sikandar meets Karnataka Tourism in this delightful film about three cousins who had resolved to live it up in Bangalore as kids and then landed up in the big city by a series of coincidences. The lives society ordains for those who follow rules - and those who don't - are intricately woven.

A girl aspiring for a MBA degree gets married off to an eligible bachelor.
A village boy in love with even the water of the pond gets a job with a software firm.
A rebellious misfit finds a place where his skills can come to use.
But the film doesn't pass any judgement. The girl actually wants to get married to the handsome man she meets. The boy enjoys the money the job offers and the fun that happens in a big city. Nobody seems to be missing what they say they are missing. The characters are refreshingly real as are the settings.
Vivacious RJs. Modern apartments. Tattooed bikers. Burger joints. Friendly neighbourhood uncles. Software parks. Geeks. Freaks. Pricks. Chicks. Scowls. Jowls. All cohabit the world of the three characters and their extended relationships.

One thing I really enjoyed in Bangalore Days is the way filmi cliches are taken and given a very real and contemporary twist. That way, you may know what is about to happen but can never guess how. This exploration of the popular idiom is particularly great where the software engineer cousin describes his idea of a perfect girl found through arranged marriage. The traditional name, the traditional attire, the traditional behaviour of serving tea and snacks... all come true, but in a way you're not likely to expect. Or do they come true?
The climactic bike race. The reconciliation of the couple. The dream girl. The missing father. The disapproving parent. The elopement. The standard tropes suddenly become refreshing and new.

Bangalore Days is quite long - nearly three hours - and there is a short period in the last third when it drags but that it hardly a blip in an otherwise fine film. Writer-director Anjali Menon is clearly a talent to watch out for and so are the actors.
Nithya Menon - known to many of us as the Titan girl - has a short role as well. Wish she had a longer one.  

15. Race

No Abbas Mustan. No Bipasha, Saif, Anil Kapoor or Ameesha. Bollywood junkies, please excuse.

James Cleveland Owens had to sit in designated bus seats, live in segregated parts of town and endure taunts of his fellow countrymen. His success on the track meant nothing to many of them. He was a pariah. Till he became the symbol of anti-racism that his deeply racist country projected on to the world stage.
Race does a great job of presenting the dilemma of a black man in 1930s America. Should he protest against his country's racism and boycott the biggest stage his sport can get? Or should he participate and make a bigger statement?
No prizes for guessing what he chose but his dilemma came out exceedingly well. That and his obsessive desire to run!

I had read somewhere (was it an article by Sandipan Deb?) that many of our cricketing heroes survived almost by accident. Harbhajan Singh could have got slaughtered in 1984 and Irfan Pathan could have caught the wrong end of a sword in 2002. But they didn't and came together to form an invincible* team that is secular, patriotic and our biggest mood-lifter.
While I was watching Race, I felt this story was also somewhat similar and America should be grateful for the accident that - despite everything - Jesse Owens decided to run and not run away.

Thursday, March 10, 2016

14. Aligarh

Suppose - in a middle class colony in any of our major cities - a single middle-aged man is found to be sleeping with his domestic help. 
Every other detail about the situation just ceases to matter in a situation like this. Maybe it was consensual? Maybe they were in love? How did people find out about it? Did they invade his privacy? None of this matters. Personal choices and preferences take a backseat to the societal norms formed over years of sediment emerging out of ancient scriptures of all religions. 

Aligarh takes this basic issue of privacy and sets it in the landscape of gay rights in India (or the lack it). By tracking the story of a Aligarh University professor who was persecuted for sleeping with a rickshaw-puller, he uses gay rights to raise questions about privacy. When a man is killed in India (a place less than 100 kms from Aligarh), we never ask who killed him. Instead, we ask what meat he had in his fridge. Likewise, we don't ask how a camera-toting thug entered a law-abiding professor's private residence without permission. We ask who was in bed with the professor. 

The story of Aligarh is simple but the screenplay asks several questions, leaving us to work them out. Beyond the social commentary, it is also like a thriller where we are never sure of which testimony is dependable and who colluded with whom. By leaving certain strands of the story hanging and moving on to other strands, it creates a deep sense of unease that is possibly reflective of the way we choose to outrage about some victim today and then conveniently move on to another one tomorrow - without bringing any closure to any of those. 

Manoj Bajpayee does a stellar job of playing the disgraced professor - helpless and strong in turns, heartbreakingly real for the entire film. His Marathi-accented Hindi, his halting poetry recitation, his guilty drinking, his anger, his laughter... are just perfect. 
Equally strong is the second lead - Rajkummar Rao - who brings alive the young, idealistic, Malayali journalist out to give the professor a fair hearing. 
In fact, the entire cast does a great job of looking and playing the parts to perfection. 


When I last heard, an alumnus of Aligarh University (or was it a resident of the city of Aligarh?) had petitioned to have the name of the film changed because being associated with a 'gay film' would have a negative impact on the city and its residents. 
Bombay did not run in Bombay without cuts mandated by its most powerful resident. Aligarh, thankfully, did not meet the same fate. 

Sunday, February 28, 2016

13. Drishyam

Having missed the Hindi version of Drishyam last year, I was strongly directed by a Mallu friend to watch the original starring Lal-ettan. 'Acting masterclass', 'Devgn hammed' and similar phrases were thrown around in the discussion. Thus impressed, I procured a DVD of Malayalam original and prepared to get impressed.
To put it in short, I was mighty impressed.

Mohanlal brings just the right mix of a confidence and diffidence that a successful common man has in India. That the character (and the actor) is razor sharp gets nicely camouflaged by his geniality. which is a critical requirement of the role. Not only acting and facial expressions, even Mohanlal's body language is absolutely perfect.
The supporting cast - mainly consisting of Meera Durairaj, Asha Sarath and Siddiqui - is great too. I can't claim to be an expert on Kerala but the tea shop owner, the sub-contractor, the cable TV operator, the small-time political activist... all of them seemed very familiar!

However, what really stands out is the writing of the film (by the director himself - Jeethu Joseph).
In a mystery thriller with multiple witnesses of varying ages and backgrounds, set in a very real milieu, the structure and the words both become very important. As witnesses are questioned repeatedly, it is critical that the integrity of the interrogation is maintained and at the same time, the entertainment value is not compromised. As in, similar scenes don't become boring.
Again, since the 'hero' is a regular character, his introduction as a regular but heroic character also needs to be real but not boring. The initial part of the film - before the 'crime' takes place - plays out really well as George Kutty's (Mohanlal) equations with his family, his fellow villagers and the police are established smoothly and interestingly.
Finally, the words. They must convey differences in levels of education, affluence, power, confidence and so on. With the characters balanced on a razor's edge trying to prove (or disprove) the commission of a crime, each of these facets become like a see-saw between the police investigators and the people accused of the crime.

In short, watch it. Preferably, the Malayalam version.

[Frivolous Footnote: Uttam Kumar, in the later part of his career, was doing some excellent non-heroic leading roles before he passed away. I always felt that while Uttam Kumar did not have the high-culture sophistication of, say, Soumitra Chatterjee, he did have an innate intelligence that helped him weave a spell around audiences. That is pretty much the quality the protagonist has in Drishyam and I think Uttam Kumar would have played it brilliantly.]

Thursday, February 25, 2016

12. Titli

Kanu Behl’s Titli is a relentlessly dark, gut-wrenching view of the NCR underbelly where security guards cannot secure us, the police don’t want to secure us and we ourselves are not beyond making someone else insecure for something extra. The malls, the real estate deals, the swanky cars, the plush colonies and various slippery characters populate the landscape of Titli and all of them are distressingly real.
Behl was Dibakar Banerjee’s assistant on two quintessentially NCR films – Oye Lucky! Lucky Oye and Love, Sex Aur Dhokha – and his sharp perception of modern life in the metropolis is evident throughout. In recent times, several films – NH10 and Aurangzeb immediately come to mind – have gone beyond the romance of Dilli and ventured into the places where malls and democracy both end. Dibakar Banerjee’s two early films – Khosla Ka Ghosla and OLLO – were satirical and therefore, had a lightness of touch. His next – LSD – was quite brutal in its indictment of the mindset of the nation’s capital. 
Titli is also a similar film in that respect. It is not a Delhi film, it is an NCR film. From the unfinished constructions that give hope of a better tomorrow to the crippling financial investment that is required to secure that tomorrow, Titli has it all.

The story of a family of three car-jacking brothers and the efforts of the youngest (Titli, played by Shashank Arora) to escape a life of crime is an exact antithesis of the wholesome family values Bollywood is famous for portraying, institutionalized by the producers, Yash Raj Films. The film’s tagline is “Har family family nahin hoti” and the film manages to pack in pretty much every dysfunctional trait one can think of.
Which brings me to – what I felt – was an issue with the film. As someone (was it @bethlovesbolly?) pointed out on Twitter that after a point, it seemed that one had to guess which unforeseen but completely realistic calamity would befall the family next. Like really, how many skulls must be hammered in before we can seek salvation? In a way, Titli is an anti-KJo film – a minefield of dystopian <can’t think of an alliterative synonym for ‘blasts’>.
Nevertheless, it is a strong debut for Kanu Behl and makes one look forward to his next. Incidentally, it is titled Agra and about a call-centre agent in love with a girl while no one is convinced she really exists. Yeah, expect more from the Republic of Dystopia!

[Frivolous Footnote: The role of the father in Titli was played by Lalit Behl, director Kanu’s father – an interesting case of which the only precedent I could think of was Raj directing Prithviraj Kapoor (Awara) and Randhir directing Raj (Kal Aaj Aur Kal). Anyone else?]