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.
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.
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