Thursday, December 24, 2009

Bollywood's 10 best ('00 to '09)

Wind chill, overcast, dampness and snow flakes take over as another decade comes to an end. Sitting and contemplating about all of the movies that I watched in those 10 yrs, it does not take a whole lot to figure out my top ten and some more. Thanks to a new generation of filmakers who seed the begining of the Bollywood New Wave. Here is the list of their contributions.
10. Dil Dosti Etc (2007)
Two friends carrying a stark contrast in their background share a bet on a college campus. The melody of carnal and political inclinations is a shining sight in director/writer Manish Tiwari's remarkable debut. His witty and crispy dilaogues are delivered by another debutant Imad Shah, son of legendary actor Naseeruddin Shah, as a character with not just a whole lot of confidence but a body language. I wonder if anybody else had such a daring debut. His 'contrast'ic friend is Shreyas Talpade playing the bully with, let alone muscles, no body fat. His weapon is his character. Mr Tiwari not only played with both of them but he created a story and an ending which ponders a whole lot to think about.

9. Manorama: Six Feet Under (2007)
Only a Film/Neo Noir writer would know how much tenacity it takes to stick to the basic plot while creating a world of treachery and lies. As Abhay Deol's character keeps lying to gather the information he needs from other habitual liars, Manorama becomes a thriller set in dry-as-bone Lakhot in Rajasthan. Taking cues from Polanski-Towne's Chinatown and Spillane's Kiss me Deadly, Manorama stands as arguably the only Hindi pure noir venture to this date.

8. Pinjar (2003)
So many filmamkers have tried a hand in one of the biggest human separations in the history of mankind. Very few of them were able to involve the audience as much as Pinjar does. A kidnapped Hindu girl's painful journey to find her lost family turns into an unexpected scenario that could shatter the basic premise of humanity, while actually re-instating the humanity itself. Urmila Matondkar and Manoj Bajpai play flawlessly as this Partition poem sings agony and ecstasy at unexpected places.

7. Ab tak Chappan (2004)
Remember Sadhu (Nana Patekar) and his 'business' rival's climatic word exchange where the rival calls him by his first name without the usual 'saheb' tag. A lurking revenge hiding behind Nana's grin is unmistakable. If that is not good enough then you cannot ignore why Sadhu rejects the offer of calling an Ambulance in the wedding party, as his knowledge about a dead body comes in handy. Are you kidding me Mr Amin? How did you shock in a debut. Unforgettable is the only word.

6. Lagaan (2001)
'Sach aur sahas hai jiske mann mein, anth mein jeet usiki rahe'. This sports drama set in 19th century British Raaj is as good as it gets for an Oscar nominee in foreign catagory. Thanks to Ashutosh Gowariker's direction and Aamir 'cameleon' Khan's deep eyes this was a winner at the day one. Gripping on to India's most favorite sport the audience went crazy. It was AR Rahman's introduction to Academy genre, 8 yrs before he won a golden statue for himself.

5. Chak De- India (2007)
Another Shimit Amin gem and another sports drama of the decade. This time the film chooses hockey, the second most popular sport of India. Although the usual attitude of politics towards this almost unknown sport shares few glimpses, the facets of Chak de that stand out are the urge of team member's desire to unite against their own team mates and coach's (Shahrukh 'stubble-aviator' Khan) unhindered passion to transmutate his controversial silver medal to gold. Shimit Amin's screen captures intimidation through colored teeth guards, pain through bleeding lips and diligence via sweating cheeks. If you are not moved by the '70-minutes' speech then please check your circulatory system.

4. Dil Chahta Hain (2001)
Arguably the best debut film in decades. Farhan Akhtar creates a male bonding that has never been so beautiful. A college graduate with a top down Benz, surreal sleep of a painter in his own canvas and love tease for an unsure dude blends in a story of multiple layers only to reveal the characters and their attachments to life itself. With scenes involving discotheque, sandy beaches, swollen eyeball, 'Opera'tic confrontation and love that defies boundaries of society Dil Chahta Hain will enjoy a cult following.

3. Dev D (2008)
Filmakers learn a lot from themselves. If it was not for the venture of Lynchian No Smoking, I doubt Anurag Kashyap could have imagined the ecstasy from debauchery while inter-twining hazy images and real life. Sarat Chandra's popular Indian loser gets a makeover. Played by Abhay Deol, whom Kashyap calls Johnny Depp of India. I agree. While wearing a Kangol he goes onto the journey of 'clarity' by means of gulping, snorting and injecting. Paro and Chandramukhi have their own share. The characters travel beyond Dev's world to justify their role. Amit Trivedi's music plays a significant role. The picturization of Saali Khushi with interdiffusion of Twilight Players and Dev's smiles bleeds the basic tone of this film's execution style.

2. Maqbool (2003)
I am sure Shakespeare would have been happy to find this adaptation by Vishal Bharadwaj. Blue-sapphire wearing Abbaji (Pankaj Kapoor) is unaware of the plan by his apprentice Maqbool (irfan Khan) and Abbaji's wife (Tabu) to grab the strings of the business. Unfortunately for the duo guilt is the part of the package. What follows is a string of dreams happening at any given time of the day. Remember the steadi-cam like depiction of end of the life? I doubt anybody executes a film like Mr Bharadwaj. Too bad Kaminey had so many invited writers.

1. Swades (2004)
A non-resident's detachment from his own roots never comes as striking and poignant as shown in 'Yeh Jo Des Hai Tera'. Whoever criticized the finale missed the whole point. The film triumphs way before that during Paani Lo Paani. Swades is full of symbolism. While never making an attempt to push the 'yeh tara' philosophy, thanks to Javed-saab, it certainly does explain SRK as the biggest star in the sky (when he watches moon lying on his back at night as a self realization). Not to mention the undertone of the name Mohan's significance. The movie starts with water as a NASA project, takes turn because of water in that clay-cup, continues with water as a means of creating electricity and ends with water when Mohan cleans up after the traditional wrestling game. No movie in past decade has ever been so true to its basic premise which develops characters and drives the story. Thank you Mr Gowarikar. Take a BOW!

Other films that are worth mentioning: Hey Ram, Taare Zameen Par, Welcome to Sajjanpur, Zinda, A Wednesday and Chameli.

Saturday, October 24, 2009

Paranormal Activity (2007,2009)

Lets redefine FEAR, in a SIMPLE way!!!

Written and Directed by Oren Pali
Starring: Katie Featherston, Micah Sloat

Shiny silver sheets cover a sleeping couple seen on their personal camera sitting on the tripod in the other end of the room. Fast forward as time comes nearer. Play mode again and a shadow barely makes an appearance on the open door, continued by a THUD. Swallow that fear because it is just beginning. Ofcourse you don't see what caused the shadow. Thats because writer has done his homework making this bone chilling sci-fi horror film Paranormal Activity (PA).

Homework that probably involved a Steven Speilberg interview about JAWS (1975). In which he mentions the sharks were not available as per schedule so he shot some footage with water movements while the cast on ship freaks out. Speilberg goes on to add that those 'unseen demon' segments pulled another big chunk of revenue and the anticipation part helped spread the word. The PA director' homework probably also involved a viewing of The Blair Witch Project (1999). With the hand held shaky camera recreating the home video feeling being attached to a horror theme. Not to forget the 'real' disclaimer in the begining, furthur pushing it. Coens invented it in Fargo (1996). Homework perhaps could have also included the psychological development of the real and unreal characters and attachment to the audience, seen in New Age Hollywood's The Exorcist (1973). But most improtantly the director's homework involved the following-the-theme-from-start-till-end-with-no-divergence. This adherence to theme is no longer seen after the demise of silent film genre. The best example of adherence to theme is seen in German Expressionism classic Das Cabinet des Dr Caligari (1920), arguably with the best twist ending ever. This adherence part of the homework is what makes this film an extraordinary form of art and the primary reason being PA has audience and critical acclaim. The same reason while although premiered at ScreamFest in 2007 PA eventually became a Paramount distributed film in 2009. Do read about the 'Demand It' campaign.

All these pieces of homework came together in inception and writing while the screen test of a natural performance by Katie Featherton and Micah Sloat got themselves under the skin of their respective characters. Especially Katie. One of the best debut performances as a female lead. Not trying to push the agenda by pulling overwhelmingly real faces. Just plain natural. But still the director deserves the accomplishment for making the most profitable movie till date. (33 Million Rev to 15,000 budget). Accomplishment for not just filming sounds and images with a 'still' camera but bulding the tension and terror to the peak. A psychologically haunting climax (not the current theatre ending, but the original ending) pushes you off that terror peak into a mental storm.

This movie gives a reason to celebrate the film as a medium of art for a well focussed theme that will keep audience screaming and begging for a breath. Fear has never been so much fun ever. Ever. This makes Paranormal Activity a beautiful film.

My Rating: 9/10

Wednesday, September 30, 2009

Capitalism: A Love Story (2009)

Crime Scene: Do Not Cross



Written and Directed by: Michael Moore
Starring: (unintentionally) Ronald Reagan, George W Bush, Goldman Sachs Executives, Families from foreclosed homes, Workers from a bankrupt factory and Moore (intentionally).

"Is the future generation going to remember us like this?" Cut to 'America's Funniest' videos of cats flushing the toilet, cut to the voice again," Or like this?" Cut to a homemade video of a family peeking through blinds at sheriff dept cars pulling in their driveway. The family sits without attending to the loud knocks to find the door broken down. Sheriff enters the house to announce an evacuation of the foreclosed house being underway. I am not sure if the intensity of the scene is duplicated in those words, but ignorance won't be a bliss, as much as the enlightenment kills the bliss. Simply for the fact that it can't be ignored. This is the driving force behind the documentaries of Michael Moore. You can't ignore Capitalism: A Love Story.

Its been 2 decades since Mr Moore's first documentary Roger and Me (1989) showed an unimaginable blend of poignancy of an evacuation of one of the residents of Flint MI, while Roger Smith, CEO of GM, announces profit and hope for GM at a private dinner. If that does not create any memories then how about the scene of opening a bank account for a gun listed as one of the giveaways in Bowling for Columbine (2002). Or condemning a 'fictitiously' elected 'fictitious' president's 'fictitious' war in Fahrenheit 9/11 (2004). Moore keeps coming back at you to show things CNN fails to highlight, or MSNBC overlooks, or FOX protects. Videos like a Wall Street executive openly embracing money oriented policies and advocating Capitalism,or a widow's husband being a 'dead peasant', or Don Reagan, Treasury secretary and former CEO of Merrill Lynch, whispering 'speed up' to President Ronald Reagan at a news conference. Moore's collection goes to 'deep backgrounds' and as far in the history as FDR era. Barely any documentary footage existed then. Then he creates a story out of the footage to back up his theory. Not only he points at the conspirators but also shows his personal contribution to the necessary change. E.g. attempting a civilized arrest of executives at corporate offices on Wall Street who influenced the current historic meltdown of the financial system since the Great Depression. With the footage from Encyclopedia Britannica documentary about Greek civilization to tax cuts in 'Raeganomics' to 'derivatives' to 'stimulus package' to fear tactics, Moore tries to make a point that could be an enlightenment. Some comments may seem self proclamations while some are cross referenced in end credits. The role of a director is within the collection of those footages and creating a flow through editing. At no point this film drags. It continues as a mine-field. You never know when it explodes with pain, laughter, excitement and fervor.

It is hard to recreate your own first cut, which arguably is the sharpest. With Capitalism Mr Moore almost comes close to the mind blowing effect he created with Roger and Me. There seems to be old wounds which were never healed and the bleeding pain continues through them. Maybe it poured extra essence during the making of this film. Highly recommended.

My Rating: 9/10


Sunday, August 23, 2009

Inglourious Basterds (2009)

Jus' Shootin' 'em Nazis Down!!!


Written for the screen and Diretcted by : Quentin Tarantino
Starring: Brad Pitt, Christoph Waltz

Did I spell the movie title right? I mean wrong. I mean the way the screenwriter, of 'Anyone-of-you-f'in-pricks-move-and-I-will-execute-every-m'f'in-last-one-of-you' right before the background surfing song 'Misrlou' by Dick Dale and (after changing the channel on car radio) Soul Train clan member Kool and The Gang's Jungle Boogie, intended the title of this new WWII extravaganza to be. The mis-spelled title is an admitted intention as much as aforementioned screenwriter's characters' intentions and actions are. Blatantly Highlighted. His credit list continues.

Inglourious Basterds, just as the title, represents a group of crude-clumsy-uncontrolled Jewish-American soldiers set out under the command of a Tennessee native Lt Aldo Raine (Brad Pitt) to kill Nazis and scalp them. The 'basterds' owe 100 scalps, each, to Lt Raine, PERSONALLY. And begins a quest of searching Nazi 'hunters'. Sometimes the 'basterds' look for another 'basterd' with a reputation and sometimes they encounter a basterd (a couple in this case) without realizing that both the parties are in the 'a-boomin' killing Nazi business. This non-realized encounter is one of the top courses offered in the 2 and a half hour WWII themed fiesta.

Can we please stand up and applaud Mr Christoph Waltz for an extraordinary portrayal of Col. Hans 'HUNTER' Landa? The strongest card on the table which keeps this poker game going. May it be the calm and patient 'Not whiskey, give me milk' scene in Chapter One (Once upon a time in Nazi occupied France) or the violent homage to lost-shoe-Cinderella scene in the final chapter, Mr Waltz stands above all. Chilling laughs and bloody executions cannot be duplicated by 'basterds'. Perhaps that's the driving force behind basterds' mission. Yes, the mission is aptly conveyed by Mr Pitt's character. To tell Y'ALL the truth 'ts all 'FINE AND DANDY' in the basterd convention. To join him is the 'slasher-pack' inductee Eli Roth as baseball-bat-swinger basterd who could very well be the product of the 'scoop-up-all-the-little-pieces-of-brain-and-skull-Mr-Wolf' split personality of our beloved screenwriter. So is Stiglitz. And then there is the quite french countryman trying to be protective, only to be failed.

As the list of the characters continue, so does the inter-twined plot of the dear screenwriter. The plots of characters discussing similarity between Squirrels-Rats and Rats-Jews, the plots of character developments like Lt Raine's speech and Stiglitz' killing derby, the plots of 'NITRATE' and 'DEALS'. You will know. Every other scene reminds screenwriter's previous endeavors of Pulp Fiction, Kill Bill and maybe slightly of (most underrated) Reservoir Dogs. If only the big finales could have been recreated. Something could be amiss. Could be not. Just like the beauty in the eyes of the beholder. Depends on you. Personally admitting, this flick could have blown the minds away. Instead this could come in the last in the achievements of Tarantino.

My Rating: 7/10

Sunday, August 16, 2009

Orphan (2009)

Hold Your Breath!!


Written by: David Johnson and Alex Mace
Directed by: Jaume Collet-Serra
Starring: Isabell Fuhrman, Peter Sarsgaard, Vera Farmiga

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 ambience. The argument of the violence justification perhaps will render itself un-necessary. The writing is hypnotic and shocking. The director doesn 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.

My rating: 8/10.

Saturday, March 7, 2009

Dev D (2009)

Requiem for DEV/
DEV-spotting

Written and Direced by: Anurag Kashyap
Starring: Abhay Deol, Kalki Koechlin, Mahie Gill.
Music and background score by: Amit Trivedi

"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 ungreatful 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 Chanda 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, untill one moment for Dev. It had to be the fear of death for Dev to re-evaulate 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. 'Saali Khushi, 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 independet filmmakers of Bollywood.

My rating: 9/10.

Monday, March 2, 2009

The Wrestler (2008)

It is a SIN!

Directed by: Darren Aronofsky.
Written by: Robert D. Siegel.
Starring: Mickey Rourke and Marisa Tomei.

"Don't go. You are gonna get hurt", says Cassidy. Randy replies, " The only place I get hurt is out there. The world don't give a sh!t about me", and begins heart-stopping guitar riffs of Sweet Child'o Mine in the background as Randy walks to the ring of infamous independent wrestling rematch with Ayatollah.

The Wrestler is a story of a gone-are-the-glory-days professional wrestler Randy 'The Ram' Robinson's (Mickey Rourke) survival-of-the-fittest days. Making ends meet is perhaps the last thing on his mind. His fling with a local strip-club dancer Cassidy (Marisa Tomei) and his self-CPR to revive as a father to his estranged daughter has its moments. Only to realise he continues to fail. Not to mention the sleepovers in his truck since the trailer-park manager changed the locks on Randy's trailer since he failed to pay the rent.

How much ever poignant and painful it might have been written by Robert Siegel, this film has no meaning without Mickey Rourke and Darren Aronofsky. Arronofsky is straight-to-the-core director. May it be the protagonist's attempt to drill his own skull in Pi (1998) or the dilation of pupils after injecting heroine in Requiem for a Dream (2000) Arronofsky wastes no time to exhibit his character's visceral state. Duplicated in Wrestler, as Randy adorns the hair-net and takes a long walk from the bathroom with the camera following his back and hears crowd cheering and screaming all the way to the plastic curtain. He opens the curtain to enter the bakery-station in the market. The cheering stops. One of the best scenes in the movie. Unmistakable character study.

But the main shining event is Mickey Rourke. He,reportedly, literally bled with fork wounds and staple gun. He jumps on to a barbed wire. He slits his forehead while opponent fakes an argument with the referee. And in the end he gives a bleeding grin and hugs his opponent in the locker room. He gets knocked on the face with the door by a prospective employer 1/10Th of his size. He apologises. He gets 'Ram-Jammed' as the neighborhood kid walks out after playing Nintendo for 10 min. He gets whacked at his daughter's disapproval of his fatherly love. He is knocked out by his own heart. Mickey Rourke is as sensational and spellbinding as maybe Hillary Swank with sock-stuffed-jeans as Brandon Teena in Boys Don't Cry (1999). This is a complete knock-out.

It is a SIN! First Academy overlooked Heath Ledger's breathtaking performance in Brokeback Mountain (2005). Then for some reason in an attempt to revitalise the status, awarded Sean Penn for portrayal of gay politician in Milk (2008). Moreover the jury for some other reason never hears Bruce Springsteen's brilliant composition The Wrestler that plays over the end credits and Springsteen doesn't even get a nomination. It can only be qualified as a SIN! Ironically matching the underlying theme of unsuccessful attempt of this movie, just like the strength of destiny for Slumdog Millionaire.

But in the end, as human nature goes, this will remain the most acclaimed performance and a fascinating film.

My rating: 9/10.