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Rakhta Charitra (2010)
Never before seen bloodshed on screen...
Vengeance is back on Indian screen with a baggage of excessive violence. After making one of the worst film of his career, Ramgopal Verma is back with a big bang. He returned to his fort of crime, violence, power, politics and thrill with the original real life story of Andhra criminal cum politician Paritala Ravi. This is his striking and desperate attempt with a punch with all his capable might and madness which either make you hate or just praise him for his daring effort showing you never before unthinkable violence and bloodshed on Indian screen. Though in showing reality of dirty nexus between crime, politics and shifting volatile power and portraying some of his character too diabolic, he crossed the limit of Indian audience and orthodox censor board but while doing it in his limitless frenzy he made another 'original' and 'cult' film for his fans.
This is the only Indian commercial film shot and made with a length of more than five hours and the reason enough why it has to be released in two parts. The first installment begins with impressive shifting of power that gave birth to revenge and bloodshed with mind-blowing treatment, brilliant ensemble cast and striking performances all with what one can expect from RGV's diabolic dark mind. The film is saving grace and praiseworthy comeback not only for RGV but also for Vivek Oberoi and he's the extension of fire what we witnessed in his debut 'Company' with the same mentor. Apart of him, the film has fine ensemble and supporting presence of many RGV loyal cast with certain new entries. The prominent among them is Shatrughan Sinha, who has short but impressive presence with his mustache less face as popular film star cum politician Shivaji with dialogues and attitude that suits his aura; this time his 'Khamosh!' is replaced with 'Topic is over'. Abhimanyu Singh who blew our minds in his short but terrific presence as Ransa in 'Gulaal' has performed one of the most heinous and violent villain you have ever seen on Indian screen as Bukka. It's in portraying him as 'Rakshas', RGV showed certain objectionable violence crossing all possible barriers. But the intensity of Abhimanyu Singh's act is visible in some of the striking scenes with his bloodthirsty rage in expression and pervert body language. Watch the scene where he continuously slapping the lady cop repeating 'Touch nahi karna' or another where he's showing his temper when his brother comes to meet him in prison. Without a doubt he's the villain of the year.
Technically film is almost flawless and has gripping editing with few avoidable distractions and a song. Cinematography, background score and production deserved clapping. The only complain is too dark portrayal of characters shedding their part of violence on screen. It would have been better if Ramu had explored multiple dimensions of their charcterization like 'Satya'. He ended the film on interesting turn with showing you rushes of his second part releasing 19th on next month with the entry of South Indian superstar Suriya to give Vivek enough fire. I'm desperately waiting to see the second part and I'm sure that Ramu won't fall short of my expectations in making this epic bloodbath of his career.
The film is strictly no, no to family audience and achche ghar ki bahu-betiyan. It's all loaded for RGV fans who're as mad enough as him. Watch it at your own risk, it's quite hard to digest for all.
Ratings-8/10
PS- "I am like a hardcore porn DVD. You might hate it, love it, look down upon it or get disgusted by it but if it is in the room you can't resist watching it." - RGV's interesting comment on his blog.
Peepli [Live] (2010)
Mockery of Rural India...what a shame?
Sorry this isn't happening new age film. Unfortunately the film is more disturbing and hurting personal experience for me rather than entertaining or concerning one. A journalist turned débutant writer-director Anusha Rizhvi has literally ruined the subject of farmers suicide and made a farcical mockery of culturally rooted real India living in small villages. It seems that the film is made for urban audience to have a funny and tongue in the cheek look by lampooning and spoofing the people who lived below poverty line. Rather than highlighting and giving weight to the poor farmer who's going to commit suicide and his family, the major part of the film hammered us with the farce of excess and exaggeration created by TRP mongering TV media, concocted political circus and above all that loudmouth old age mother lying on bed, giving enough laughing moments to urban audience.
Satire works when film drags you into the character or treatment and strikes you at heart emotionally but rather than satire Aamir and Rizhvi have made a film which is high on hyperbole to tickle urban audience in the name of new age cinema by showing hyperbole reality. Satire works in few frames but the excessive one sided picture and too much exaggeration made the film disturbing mockery of rural culture. When public around me laughing out loudly watching live over dramatized coverage and analysis of Naththa's natural excretion, it's hurting me so badly. What a shame!!! Talking about acting, the film utterly wasted brilliant theater actor like Raghuvir Yadav, appeared on screen after long. Any of his earlier films are far better as films and that's why in whatever limited role he played it fits his character so naturally. Rajpal Yadav look-alike Omkar Das Manikpuri as Naththa fits in the frame like a real character but poor fellow has nothing much to do except showing his unspoken expressions to camera. Being journalist, director Rizhvi has given much footage to the rivalry of two reporters. Again spoofing English speaking urban reporter Barkha Dutt and Hindi speaking Dipak Chaurasia. Naseeruddin Shah's presence is suitable cameo but the amalgamated cast of late Habib Tanvir's theater is natural and impressive, especially the characters played by local opportunist Bhaiyaji and local print media reporter Rajesh.
There's just two scenes which let me felt the noble and concerning one. The first is showing the skeleton like man digging his own grave and the last fast and shaky journey bridging the two compartmentalized India- culturally rooted rural to the happening urban, barren village farms to urban skyscrapers luring the middle class to have flat of their own with lucrative hoardings and tag lines. But besides these two, the film is hurting one on many accounts. One has to read 'Everybody loves a good drought' written by freelance journalist P. Sainath. It's well researched and brilliant journalist piece of writing neither just reduced to statistics but making you felt the heart of darkness of BPL India still waiting for development after sixty three years of Independence.
Sorry for being too emotional but rather than burning your bucks on this, watch Satyajit Ray or Shyam Benegal's social reforming cinema or buy the copy of above said book on this Independent day to understand the real rural India from more closer, more realistic and more concerning perspective.
Ratings- 5/10
Raavan (2010)
Attractively wrapped but below average product
Few months ago I read an interview of Naseerudin Shah in a daily. The interviewer asked him a question about today's state of Indian films. Naseer responded back quite disappointedly that with advancing technology and prolific role played by media, the producers-directors easily garnered the publicity hype and sell the well packaged material to the audience earning expected profit. Creativity only lies in making frames glamorous, stuffed it well with audience friendly emotional drama and promotes it well globally; yes we are good in wrapping but not in content.
Maniratnam's much hyped modern take on Ramayana reminds me Naseer's words. As an admirer of Maniratnam I was expecting from this film and he's the director who gave few brilliant films to Indian cinema like 'Nayakan', "Iruvar', 'Roja', 'Yuva'. Its noble intention to revisit our epic in modern context but when makers like him fails terribly with poor screenplay, shallow presentation, poor characterization and shoddy direction the epic becomes caricatured and loud product.
The first half of the film is so irritatingly direction less, monotonous and lifeless in everything (except Santosh Sivan's DOP) that I hate to see the second half in the interval. Mani shifted the gear in the second half and attempted honestly to make it gritty and reasonable one with few ingredients of action, twist and turn and wins the character and audience's sympathy for the antagonist. Looking at the performances both Aishwarya and Vikram seems so flat wearing typified expressions. Aishwarya has done nothing except shouting and frowning and she didn't look appealing too. Where's Mani's touch that directed her in 'Iruvar' and 'Guru'? Hope Vikram has done fairly well Tamil edition as antagonist but here he's less than average. Govinda and Ravikishan have stuffed more footage than entertaining the audience. Priyamani is quite impressive in her few minutes presence. It's only and only Abhishek who worked hard to uplift the film and seems impressive among all cast. Don't expect different expressions but watch his intensity and dedication to retain the character in couple of well acted scenes and I mean it that he's the sole reason to watch this film even though having many shortcomings. He saved the grace of Maniratnam as Maniratnam saved his in 'Yuva'.
Technically the film is rich with Santosh Sivan's camera-work as always filming some great landscape locations and Shyam Kaushal's brilliantly choreographed stunt on the bridge 2000 feet above (one of the best I've ever seen in Hindi cinema!) The opinion is mixed; the film entertains in bits and pieces but disappoints as a whole product.
Ratings-6/10
Kites (2010)
A great disappointment of the year...
So here I'm out of theatre watching this year's one of the keenly awaited film of the bollywood in Hindi version and predicting that neither the mass nor the class will like it and it would be surely box office disaster if mouth publicity will reach quite early to the audience.
Now let me tell you first why mass won't like it: Number one it's lifeless and without any sort of substance in story or presentation in anything conventional or non conventional. Almost 70 % of the film is in mixture of Spanish-English and the common audience hasn't yet cultivated the habit to follow Hindi subtitles throughout the film to understand a simple routine love story. Remember K. Balachander's 'Ek Duuje Ke Liye' where two lovers don't understand their regional lingo ended their lives at sea shore and we feel so sad for poor Vasu and Sapna in our first viewing. This poor version severely fails to deliver any intensity to the pairs of lovers. By the way are they lovers is still a big question. Nobody care a damn for the ill fated pair of glamorous desi-international kites even in tragic end here The film don't have a single peppy Hrithik dance number (for which he's quite popular) nor fine action sequence (showing car chase isn't action sequence in my opinion esp. when it seems so ridiculous) And so its not 'paisa vasool entertainment' even for popcorn money, forget the ticket!!!
Now let me come to class audience who join cinema hall to watch it for Director Anurag Basu whose last film 'Metro' was really impressive. The screenplay, tug of tangled emotions and lifelike characters made his 'Metro' quite near to heart. Here Basu quite miserably fails to deliver any of these things. It's in the second half where film starts irritating you to the limit till the end. Basu-Roshan Inc. tries to make it an international product with Spanish actress, foreign locales focusing style and nothing else. The film randomly copied the sequences of Hollywood films from 'Casino', 'Bonnie & Clyde' to 'Road to Perdition.' Why don't they copied the whole films for that matter, Bhatt camp is at least doing that for common audience!! Poor Bollywood!!! Creativity and originality is questionable affair in bollywood.
The only thing worthy of attention its Hrithik and Barbara's chemistry which looks so immensely beautiful on screen but hell they're supposed to!!! But what about performance, well the director and producer papa don't care much about it. I doubt Hrithik's style and charisma won't work this time. Though I must say its Spanish beauty Barbara Mori whose presence with all her innocent and natural expressions let you bear the film till the end. Thank god the film is just two hours affair
I'm adding one more point for that in ratings. Highly Not Recommended.
Ratings- 4/10 (Watch it at your own risk!)
Aguirre, der Zorn Gottes (1972)
an exceptional German masterpiece
Every Herzog film is an absorbing experience and this one is no exception. The most striking elements are the way he portrays nature and his lead character in his films. Unlike usual films nature is not just beautiful and soothing canvas in Herzog films but mystery and absolutely indifferent one towards humanity. Herzog shot his films as raw as nature itself. Perhaps, it's these impressive qualities which separate his cinema from rest of the auteur of the World Cinema.
Men keep trying to fathom, exploit and challenge the nature from the very day he became part of this planet and till day nature remains an unsolved mystery to them. In Aguirre, Herzog takes us to the mid sixteenth century in the heart of jungle where a large group of Spanish explorers trying to search El Dorado, a land of gold located in depth of Amazon tributaries. The journey is full of misfortune as changing climate is taking toll, food ration is short and the terrain is difficult and hostile Indian territory. But still it's not nature but human avarice and obsession which brought the biggest tragedy.
El Dorado is represented as an illusion, almost like mirage in desert. Aguirre is rebellion who became traitor and the precursor of tragedy making all others innocent victims. Herzog's favorite Klaus Kinski's presence is dominant all over the film as maniacal tormentor. It's no easy film but disturbing parable of human vices. Striking visuals encapsulated the whole journey part from very opening long shot to its shattering end. The scene where Aguirre addresses, "I'm wrath of God' in monologue with only presence of monkeys on raft is brilliant moment of irony. Human is back to his primate stage addressing primates.
Only Herzog can do this. While reading the book 'Herzog on Herzog', I come to know that his own life is almost as mysterious and natural as his films. It's one more masterpiece of New German cinema. I would love to avoid rating it.
Play It Again, Sam (1972)
woody's tribute to Bogart...
'What you doing on Saturday night?' -'Committing suicide.' 'What about Friday night?'
The film is Woody Allen's finest & funniest tribute to great Hollywood legend Humphrey Bogart and classic 'Casablanca'. The film was based on Allen's self scripted play, directed on screen by Herbert Ross. More than idolizing he used Bogart as a guiding sidekick to upstart his already doomed pathetic life. Woody is at his wackiest best here!!! He plays insecure eternal neurotic loser obsessed with Bogart and having mental company of him. He's messing up all available dates and ended up with his best friend's wife. Watch the scene how get closest to the most romantic moment of his life with Diane Keaton and the early chemistry looks so young and refreshing one.
It's a film where Woody treated the whole film with light and funny notes and less philosophizing. It's raw Woody before he smelled the success of his bittersweet romance 'Annie Hall' or classy 'Manhattan.' Allen strikingly compared his uncommon weird persona which brings original self style much like Bogart. Watch the last scene where Bogart look-alike delivered that great line to disillusioned Woody - 'Here's looking at you kid."
Another strong recommendation of great fun for all Woody Allen lovers.
Ratings- 8/10
Peeping Tom (1960)
Great psychological thriller
"Instincts are wonderful things, isn't it
its pity it can't be photographed!"
A brilliant psychological thriller made by British filmmaker Michael Powell where a camera obsessed voyeur- psychopath killer capturing the last moments of his victims on hand-held camera. It certainly stands next to any of classic psychological thriller whether it's Polanski or Master Hitchcock's best films, including 'Psycho' which was released in the same year.
The great thing about the film is Powell's treatment; its almost told and shot from the point of view of voyeur named Mark who's suffering from neurological disorder. Keeping Mike always focused as peeping Tom from various spaces, he's compulsive voyeur who's watching and filming everything about his subjects even after things were over. You can say that camera is his alter-ego and also an Achilles heel why cops sniff him. The dark past experience of his life was also told through the screening moments on projector where we witness his sadistic biologist father throwing lights or dropping lizards on his child's bed to experiment reactions of the nervous system to the fear in young child. The film also bears some interesting characters like the blind women whose sixth sense is more powerful than normal ones. There're some lighter moments too where an old man hesitates to ask for erotic magazines; perhaps another social voyeur who's seeking pleasure! It was shot almost in classic vibrant colors by Otto Heller keeping the thrilling atmosphere and tone throughout. The other film I would like to compare is Antonioni's déjà vu classic 'Blow Up'.
Director Sam Mandes paid homage to Powell's this masterpiece in his 'Road to Perdition' where Jude Law's psychopathic character is derived from Mike.
Need I write 'Must Watch'!
Straw Dogs (1971)
Peckinpah's another masterpiece
Absolutely different from his stylized gun slinging violent classic 'The Wild Bunch', Sam Peckinpah's 'Straw Dogs' is brilliant tense film where violence is slowly heightening its tension towards intense and awesome climax. Dustin Hoffman plays a mathematician too mild for her demanding hot young wife Susan George. Their arrival to town starts unhealthy sexually and psychologically boiling tension throughout the film. A bunch of street ruffians become part of their private life, becoming vigilante of the couple making both of them uncomfortable. The wife was terribly gang raped and the hubby is pushed to the limit and the rest is all Sam Peckinpah style shattering authentic portrayal of rough slow motion violence.
Hoffman is fine again but what I love the most is the way Peckinpah built the tension with young and ravishing character of Susan. She is very ambiguous character guided by her sexual urges often demanding attention with her skin projection provoking strangers. But as soon as we watch that terrible rape scene, she gains all our sympathy. Rape is more psychological torture than physical and Peckinpah made us felt that too. More than half an hour long climax inside Hoffman's home is something only we can expect from Peckinpah. He's original and master auteur as far as rough cinematic violence is concerned. Strongly recommended to all violence suckers.
Ratings- 8.5/10
The Night of the Hunter (1955)
Absolute Mitchum Classic...
It's quite surprising to know that it's one and only directed film by Director Charles Laughton. So disappointed was he by the poor reception of this film on its initial release both critically and commercially, that he vowed never to direct a film again, and he never did. The plot revolves around a killer obsessed with biblical vice and virtue and kills the seductive women who arouse men's basic instinct. During his cell time, he came to know about hidden money of fellow jail mate who got death penalty. As soon as he released, he becomes well wisher to Ben's widow and two orphan kids and rest is thing to watch.
With his suave charming personality and wearing tattoos of HATE and LOVE on his right & left hand fingers, Robert Mitchum successfully portrayed one of the classic cold blooded killer here and brought one of the interesting and memorable villain characters on screen. More than acting, it's his body language which is striking. Undoubtedly one of his career best role. Brilliant black and white cinematography of the film is something in sync with sheer visual splendor of Hitchcock or Wells films with few classic deep focus, extreme close up and long shots.
A fine watch for its combination of fable and film noire.
Blow-Up (1966)
Thrillride of Illusion...
This film which won Grand Prix Prize at Cannes made Italian Director Michelangelo Antonioni on centre stage for this strikingly different and technically innovative stylistic film cut loose with open ending left thrown into audience's lap. It's completely innovative way to reverse and disillusion audience's film involvement.
Thomas is young, hot, charming fashion photographer and his possessed with the world less prone to his artistic talents. Amateur wannabe models, routine photo shoot and ennui life. Surprisingly he shoots few snaps of a mysterious couple in a park. This leads him to interesting twist of his life since the woman watched him in park and demanded the photographs back. He smartly prevents her and soon witnessed another man, pointing revolver and probably a murder in the photographs. Like audience, he too is lost in knowing what exactly happened in the park. Whether it's murder or not is revealed in off the hook climax but for the time being it awakens the artist's creative instinct to know the reality behind his camera and he's happy because he's creatively doing something which challenges his talent. But soon his leads got stolen by the lady and he's lost again in mystery until in final scene where Antonioni put his final motif behind the film. The end left me confused and it's truly ambiguous that I feel cheated in first instance. Thanks to internet, I've read some interesting analysis which made me grasp the final Yorker by Director.
The highlight of the film is not plot but style. The film is visually aesthetic in color cinematography and has intoxicating jazz background score with some revealing bare it all scenes. And yep, David Hammings is real chap you love to watch. For me it's hard to rank it as great film for its baffling ambiguity. I still don't understand the logic behind the real dead body which Thomas witnessed in park???
La dolce vita (1960)
Ageless Masterpiece by Fellini
"Don't be like me. Salvation doesn't lie within four walls. I'm too serious to be a dilettante and too much a dabbler to be a professional. Even the most miserable life is better than a sheltered existence in an organized society where everything is calculated and perfected." – Steiner's advice to Marcello in the film Few films defined the masked face of high-society as honestly as Fellini's this ageless satirical masterpiece. Marcello (played wonderfully by Fellini favorite Marcello Mastroianni) is a tabloid reporter living temporary existence in the shallow world of high-class society. He is a man of emotional paradox who loves to flirt with pretty dames, a part of his routine life. He dreams about creative writing but he's so vague about it. He remains seduced by money, fame and prestige under the influence of decadent society where there's huge vacuum of moral values and everyone pursues pleasure. He's so much into the mud that even in the climactic moment of the film and his life; he couldn't recognize the pure last hope of his life. One can't think of any more realistic ending here. A beautiful symbolic metaphor by Fellini.
Modern man has become so much disconnected from the natural world and now he's suffering from that conditioning only. In a way, Marcello is the great symbol of today's modern, urban human condition trapped in absurd mundane life without any significance. He's trapped in the world full of 'eat, drink and have a sex' kind of high society culture where everything is bizarre, duping and lacking any higher significance. Apart of Marcello's old intelligent friend Steiner who commits suicide is the voice of pure soul for him. Marcello adores him more than anybody and he's his idealized perfect version of what he wanted to be and we see plenty of irony when Steiner uttered anything in the film.
Fellini was an artist par excellence. Watching every frame of this B&W film seems like visiting classic portrait art gallery. There are so many indelible images which stay in my memory for long time. The initial helicopter scene with statue of Jesus flying over Rome, famous fountain scene of Anita Ekberg (can any dame looks so erotic and voluptuous as this Swedish beauty!!!), the candlelit procession at castle, the man who can move balloons with his music etc. etc. The cinematography and background score are just awesome. It's Fellini's distinct style of blending fantasy with reality which made him adorable filmmakers of world cinema. Though the film is nearly three hours long, I almost enjoyed every bit of its artistic bliss and love to watch it another and another times till I die.
The film won many awards including prestigious Palme d'or at Cannes and three Academy Awards including Best Director and Best story/screenplay. This is my second Fellini film after 'Nights of Cabiria', and am so desperate to see his puzzle like masterpiece 8 ½ next.
An exceptional classic beyond all ratings.
Diksha (1991)
Who's real Brahmin here?
I watched the film during the golden era of DD when I was 14 or 15 years old and I still remembered that in the last scene I couldn't controlled myself then, watching those emotional departure between Nana Patekar & little boy Nanni. I'm so speechless to watch it again after 15 years long gap and it proves its greatness.
Based on U R Anantmurthy's Kannada story 'Ghata-Shraddha', directed by Arun Kaul and made with the financial support of N.F.D.C. & Doordarshan, the film is set in the time of early 30's some southern village. A Brahmin lost his five children after their birth and took a vow that if god bless him another child, he will surrender his life to God and make him true Vedpathi. It is emotionally so disturbing for eight or nine years sweet little Nanni to alienate from his parents, home and live a life in hostile new surroundings where he has to learn and unlearn something new from his strict disciplinarian Panditji (Manohar Singh) and bully classmates. Poor Nanni has to do his entire routine task himself at the tender age when he doesn't know how to tie his own dhoti. He made two good friends here-One is Panditji's widow young daughter and the other a lower caste orphan Koga (Nana Patekar) working as a servant to Panditji's ashram who in return get the food remains. Working in Brahmin house, he also abstains himself from meat and alcohol unlike others of his caste. During Panditji's absence, his young widow daughter in a weaker moment seduced by a local teacher and got pregnant. The lover is coward and not ready to accept his responsibility. Poor lady has to abort. Before Panditji back to ashram, the whole village Brahmins and folk come to know about this secret affair and forced Panditji to give a landmark decision.
Nana Patekar maintained his small but significant presence true to its salt with South Indian accent and characteristic body language. His act here is something which you won't forget in your experience. Watch the scene where he shows his raw anger to long back Panditji. Manohar Singh, K K Raina, Vijay Kashyap and almost all other cast had acted their parts with utmost sincerity and dedication to their profession. But the most memorable character comes from the little boy.
The film portrays the conflict between a humanitarian Brahmin Vs a rigid hypocrite Brahmin. The film becomes tragic and raises so many disturbing questions, which is a sign of Anantmurthy's powerful social reforming story & Kaul's complete authentic adaptation. It raises many root questions in the end that social reformers have been asking from centuries- Who is 'True Brahmin' here? One who is Brahmin by birth that preaches religion and follows Holy Scriptures or one who is Shudra and follows the religion of humanity with all his nobility and selfless act?
Highly recommended to catch it either on torrent or original, I assure you don't regret it.
Ratings-10/10 (
and there's no exaggeration here, the film deserves at least this much.)
Stroszek (1977)
Herzog-Bruno's masterpiece
Watching this third Herzog film I must say that Herzog's heroes are like directionless hermits. Herzog repeated unprofessional actor Bruno S. again after their appreciable teaming in 'Kasper Hauser' and teamwork again proves another landmark film. Bruno is again social outsider here like 'Kasper Hauser'. In initial scene we come to witness his releasing from prison. He loves just two things in life- playing musical instruments and drinking beer. But soon he realized that life in Germany is full of hardships and brutal one, so along with his prostitute girlfriend Eva and an old neighbor they thought about starting new life in America-the land of opportunities. For them America is an unexplored mystery or a dream of freedom. But soon disillusionment starts unsettling them in hostile land and they realized that life is severe and brutal everywhere and perhaps it's more severe wasteland in America. Remembering the great visionary American poet T S Elliot his 'The waste land' here. Bruno and Eva are physically safe in America and there is no local hoodlum who's kicking them in their hometown but still Bruno is so unhappy. As Bruno explains to Eva in one of the scene that in Germany it was visible but here they do it so gentle way, and that's much worse than it seems. That invisible chaos seems economical on surface but it's deeper at mental & spiritual level. Only Bruno understands it and that's lead us to that brutally dark ending part.
I've never seen final ten minutes in any movies as symbolically represented chaos of life in this one. It is just a phenomenon. Those dancing/ piano playing birds, a shot in ropeway and circularly moving trolley will remain permanently imprinted to my senses. I became bit sleepy while watching it yesterday and miss the brilliant clue by Herzog in that final scene. I watch that scene again today prior to writing this post and it was Eureka moment. It is that line written on the backside of that ropeway vehicle in which Bruno sat last. IS IT REALLY ME! The clue signifies the futility of both driverless revolving trolley and trained performing birds. But for Bruno life itself is futile and he knew it damn well. That final scene was just something that you get from auteur like Herzog only!
Salute to this genius filmmaker.
Jeder für sich und Gott gegen alle (1974)
No director make this except Herzog...No actor can act this except Bruno S.
"Don't you hear all that horrible screaming all around you? That screaming men call silence?" Meet a young man who was abandoned from birth and grew up locked in a dark cellar without any human contact or external world. He can barely do simple things: speak, walk, eat or dress himself. He knows nothing about what we called human civilization. One fine day he was left abandoned in a town; with a letter in a hand he was standing like a statue unaware about his innocent role playing in the world full of smart, civilized people. I won't ruin the charm of this classic by saying more about the plot.
In my experimental search of world cinema's auteur film makers, I would like to add the proud name of Werner Herzog and I must say I become fan of him after watching this gut wrenching film. It's such a unique humanitarian and adorable film and Herzog without sermonizing told the story through the eyes of innocent Kasper. Unlike many films dealing with such enigmatic mysteries, it does not even attempt to explain the central mystery, but rather to see the world through the point of view of its protagonist and we come to know what a cruel but beautiful world it is.
Its revealing thing to know that the actor playing Kaspar Hauser, by almost a non professional actor named as Bruno S. was beaten by his prostitute mother when he was three in his real life, leaving him deaf and leading to his institutionalization, as a mental case, for a quarter-century. But Bruno S. is just striking one with all nuances and it's the finest natural act I've seen in a long run, and I doubt whether any trained actor could do justice to it. Even there is so touchy part about Kasper's being, his whole existence that frequently challenges the established social notions. Outwardly he may look like a savage or village idiot, but inside he is a soulful man of great tenderness and for us he's still big enigma and Herzog left it to audience's own interpretation like Reader Response Theory suggested by Allen Tate. Any fine day I would like to watch it again
and again
and again
For those who've enjoyed David Lynch's masterpiece 'The Elephant Man', it's mandatory watch. It's must for all who loves sensible, subtle cinema which introspects and boils many questions than feeds easy solutions or answers of enigma called humanity.
Ratings- 10/10
Zara Si Zindagi (1983)
Satire on 70's lost socialist young generation
Seventies was an era of unemployment crisis was so palpable and corruption and favors of politicians rules in job interviews. All those hopeless lost generation of jobless educated youth took solace as socialist rebel. They just smoke, do whatever is available and kill their time.
Written & Directed by K Balachander, the film portrays the life of a bunch of three jobless bachelors living strugglers' life in Delhi. The film is woven with satirical humor and captures delicately the everyday reality of that era. Watch fake lunch scene full of overacting. Some of the dialogues penned by none other than Gulzar are really so ironic and striking one to the scenes depicting reality. For example every time a man tries to post his application/postal order into the postbox, he heard sarcastic laughter sound inside the postbox. In another scene all three guys were sitting on road pavement with hunger in stomach and struggling for money and above them we see the huge signboard saying 'Have you paid your Income Tax?' Wow what a contrast!!! These are just few examples, there are many such brilliant sarcasm running throughout the film.
Where most of the Directors often highlighted either the melodrama or light comedy while dealing with such a subject, K Balachander had kept the spirit of both of them alive in right proportions and that's make the film a fine sensible and sensitive watch. Perhaps he would have made some more such films in Hindi!!! Kamal Hasan has done a few films in Hindi and this one is hardly remembered by anyone but as a jobless struggler poet and hater of hypocrisy, he once again gave his well nuanced performance here. Perhaps a few people of today's generation know about Marathi actor Nilu Phule who almost did the negative roles of street gambler, drunkard in so many films. Watch him here in one of his fine act of good for nothing scornful father and I bet any other actor can do justice to it. Actress Anita Raj ruled in 80's B graders revenge flicks but here she too is so natural and average. The only unfortunate parts of the film are its last half an hour which is quite stereotype and dragging one and the other is music. LP failed to score the magic of memorable melodies they composed in Balachander-Kamal's blockbuster hit 'Ek Duje Ke Liye'.
Recommended to all sensible cinelovers.
Alice Doesn't Live Here Anymore (1974)
One of the finest Burstyn film...
There are two reasons why I watch this film. One, its lesser known Martin Scorsese film and second it has one of finest actress Ellen Burstyn in it.
Burstyn is without doubt wonderful actress who has done few films in her career but her choice of roles perfectly matches with her impeccable performances. She had no beauty or glamour to establish herself in Hollywood. Besides she was looking like mid age actress and so she has relied more on her acting talent only. Whether its classic horror 'The Exorcist' or Arnofsky's much acclaimed 'Requiem for Dream', she has tried to deliver complex characters on her sleeve. Here she played the role of Alice, a working confident woman who has multiple roles to perform in mid 80's men driven middle class society of US. Soon after the death of her husband, she has a sole responsibility to play with her annoying kid for the struggle of survival. She dreamed for second chance and the film ends with hopeful ending; quite surprising from Scorsese film.
There are so many realistic scenes and dialogues one can expect from Scorsese film like- Dinner table fight between loud father and son, harassing questions asked by whining kid to her mother, emotional encounter of two individuals under intoxication in a bar or spilling water scene between mom and son. Don't get surprise to see Jodie Foster in child girl friend role of Burstyn's son. Just like most of the film buffs I also used to consider 'Taxi Driver' as her debut film but that was released in 1976.
Recommended to all Scorsese fans but it's more creditworthy for wonderful Burstyn.
Bhuvan Shome (1969)
Must watch for Utpal Dutt lovers
We have seen him as one of the most whimsical funny old man 'Bhavanishankar' in Hrishida's timeless classic comedy 'Golmaal'or 'Naram Garam'. Utpal Dutt was one of the absolutely brilliant and rare breed of actor. I don't remember any other actor who became so graceful at one time and so funny at the other as he grew old in his characters. He was one of the original Indian comedian who didn't require funny dialogues or situations to make you laugh. Humor is the integral part of his natural body language.
The film is Winner of President's Gold Medal and made by India's art house director- Mrinal Sen. It's a limited budget small film with the length of one and half hours. The plot is more seems like reading one of R K Narayan's Malgudi tales.
Bhuvan Shome is typical Bengali Babu who is very principle loving, strict, angry old man serving as a Railway Officer. Due to his arrogant typical characteristics he always regarded in staff as the dangerous man whose sight everyone likes to avoid. He didn't pay heed to his own single son and left him from several years. Now at the ripe age he cultivated a new suitable hobby of hunting birds. He landed up in one of the local Gujarati town for hunting and met a smart local Gujarati village girl with whom he shared a strange relationship as she helped him in his hunting task. How his encounter with the girl transformed him from a whimsical, arrogant old officer into a lovable life loving gentleman is a thing to watch for all Indian cinema lovers.
I don't want to ruin the characteristic charm of Utpal Dutt while praising him much but let me say that I surely include his act here in one of my favorite Indian movie characters list. Watch his mood in the last scene when he committed a single good act of his life and you can't resist smile on your face. The film also has fine act by young and charming Suhasini Mulay.( Remember the modern age mother of Akshay Khanna in 'Dil Chahta Hai') You just love his natural act here.
The only thing you have to bear is few tiring long shots which sometimes bore you. But if you tolerate it, I guarantee you will surely enjoy a quality cinema.
Highly Recommended for all Utpal Dutt fans.
Ratings- 8/10
Agantuk (1991)
Sheeer example of Genius Ray
What civilization we have created in the name of being social animal? What is the real civilization –the tribal one or the one our progressive society has been carrying from the very day of urbanization? Although these are not the questions we often dwell ourselves into; but that's what great film makers like Satyajit Ray stroke at in subtle films like this one.
What happens if any stranger becomes a part of your regular life for whom you carry a suspension of disbelief? Some times we come to know that stranger in the most intimate moment of one's life. If one thinks too deeply, this film also questions the very human notion of knowing or unknowing which always remains limited and relative in every individual case. In the name of civilization and sophisticated comfort, sometimes we forget to be human in its true sense and this film by Ray is just showing the reflection image with mild and touchy story to nourish in your film watching experience.
An unexpected and rather unwanted stranger visits the upper middle class Bengali family claiming to be the woman's long lost uncle back to Kolkota after 35 years of his roaming the world. The initial suspicion with which they greet the man slowly dissolves as he starts telling them the stories of his travels; tales which are at odds to conventional middle class perspective of Bengali family. The suspicious husband arranged an intelligent trap to nab him. The story takes an interesting turn as it progress further.
Utpal Dutt is perfect casting choice of Ray for playing 'To be or not to be uncle' who represents suave, intelligent and rational free thinker. However Dutt looks too old compared to his early films; he carried the lead role with his magnetic personality and well presence of character. The film also has some staunch Bengali art house actors like Dhritiman Chattejee, Mamata Shankar, and Deepankar De.
Ray seems so relevant even today. Yes you were right sir; we are still 'Kupmonduk' but we strive not to be one. Highly Recommended for all those who loves to watch meaningful cinema.
Coraline (2009)
one of the finest animation of the year
I'm back after long tour of North India and confused among all the heap of DVDs lying on my table from a month or so and than I found this fine animation film. I'm impressed by the wonderful imagination world of story writer and Director Henry Selick.
Coraline is a sweet little girl whose parents are busy in their own world and don't pay much attention to her. So she felt bored and neglected in her newly shifted home. One night the girl discovered a secret magic window leads her to different world. The fantasy becomes her other home with replica button eyed parents fulfilling her every demands. She meets her weird friend Wybie and flexi neighbor Bobinski in this other world too. It becomes routine matter for her to witness this other fantasy home at night and returns to real world in the morning when she wake up. But as the story progress it intrigues you completely as in the case of cute Coraline who lured away by the scheming of other fantasy home. All glitter isn't gold always.
The blending of graphics and animation is full of innovation and originality and shows pool of creativity and that's make the film different from all other earlier seen cutie animation flicks.
Recommended to all animation lovers.
Ratings-8/10
To Kill a Mockingbird (1962)
Gregory Peck at his best...
It's one of the longest & finest courtroom trial scene of my movie watching experience. Watching the facial expression of that black man named Tom Robinson on trial sitting on the confession chair just melts my emotions deeply. Next to those goddamn natural expressions you witness a mind blowing speech delivered by Gregory Peck as defending lawyer Atticus Finch (It reminds me the great climactic speech delivered by Pacino in 'Scent of Women'). The scene ends with touching standing ovation of all the black men in the court for the white lawyer who's the last man vacating the court & it's a moment where you feel to shout- What a scene!!
Based on Harper Lee's classic book the film is a moving story of thirties Southern America. Its classic story of a lawyer with the principles living with his kids & defending a case of a black man named Tom, falsely accused of raping a white woman. Although the jury gave racial verdict in the favor of the white woman & innocent Tom got killed himself in his attempt to escape from cops. There's also fine & equally interesting sub plot in the film between the children & mysterious neighbor Mr. Boo (surprising Robert Duvall).
Gregory Peck has played many fine characters but none of them is as rich and as controlled in performance as the character of Atticus Finch- a responsible widower father of two kids & a lawyer with integrity to his profession. His impeccable performance was honored with Best Actor's Oscar for this film. Apart from him the acting by all three kids as non professional actors is really praiseworthy.
A Timeless Classic.
Ratings-9/10
Children of Men (2006)
a brilliant future thriller
Based on the novel of well known writer P.D. James novel the film is a future story of circa 2027. Human race is near to extinction & no child born since last 18 years. The world is in chaos with the concerning issue of infertility & scientists are working on Human Project. The only miracle is a non immigrant pregnant lady & its mission to protect the lady who's the only hope to save the human race.
It's surely one of the well maintained intriguing films I've seen from beginning to end without any nonsense subplot. Some of the scoring technical points of the film are- taut screen screenplay & editing, perfect sound editing; brilliant & realistic action sequences & thrill maintained cinematography. Clive Owen has really maintained his character with his best. Julianne Moore has nothing more to represent in her guest appearance kind of role. Michael Caine is always admirable actor & so anything to say about his character is just wasting adjectives.
Indeed a superb future thriller & engaging film & all credit go to Director Alfonso Cuaron. It's surely a flawless direction & he has done credible justice to the subject. Watch the climactic scene celebrating humanity where all gunning soldiers paved way to the crying child & the mother among gun trotting chaos. It's like watching literal imagery of Bertrand Russell's great quote- "In the end only remember the humanity & forget the rest." Highly Recommended.
Ratings- 8/10
Taxi to the Dark Side (2007)
compelling...hard hitting...provoking us to think
Winner of the 2008 Academy Award for Best Documentary Feature, 'Taxi to the dark side' portrays a disturbing; in depth look of highly questionable interrogation practices used by US military guards on prisoners in Afghanistan, Iraq & Guantanamo Bay in the aftermath of 9/11.
Produced, Directed, Written & Narrated by Alex Gibney, the film begins with the tale of young innocent Dilawar who was working as a taxi driver in Afghanistan. After the Special Forces suspected him as Taliban in Bagram, he was interrogated by US soldiers in the most inhuman ways & died within next 5 days. The movie raised a pertinent question of military torture on innocent civilians who have nothing to do with Al Qaeda sponsor global terrorism. With shocking photos, footage, expert commentary & interviews with several soldiers stationed at prisons in Afghanistan & Iraq the documentary also shows that how certain bad apples of US military clearly violated the humanitarian rules outlined in Geneva conventions & treated these prisoners in the most savage ways using severe & cruel inhuman techniques such as sodomising, stripping humiliation, sleep deprivation, electrocute the testicles, ceiling handcuffing & many other atrocities in Bagram, Abu Ghraib prisons. It also shows clearly that how President Bush along with Rumsfeld & Cheney gave unwritten orders to use any means necessary. It's hard to get evidences against the held detainees & so US forces used harsher & harsher techniques of torture to get their false confession to report their units & made their head held high in front of military. Some of them got medals for it also. It's sad to know about the utter insanity made by US & allied arm forces backed up by US Government besides the reported fact that only 7 percentages of held detainees were found really guilty. What about their fundamental legal rights of liberty for these other 93 percent held innocent detainees who also became scapegoats & tortured incessantly in the cells.
As on September, 2006 the number of detainees reached 83,000 & out of them less than one percent are found guilty. Watching this documentary raised certain pertinent questions like- # Do we call it the loss of American ideals & standards in pursuit of national security? (It occurred in Vietnam & Iraq in the past & still they are pursuing the same blunder.) # How long does the common civilians has to pay the price for living in the country where Al Qaeda & Taliban are operating? # How valid is it to interrogate these prisoners debunking all legality & Geneva Convention & torture them in such a way that leads to organ failure or the death in certain cases? # What about the dignity & morality of human life for an innocent person held as a suspected terrorist without any confirmation? # How to remove this dark side from the minds of chaos stricken military?
"Torturing people is not the best way to get information. Breaking down the barriers between you & them, getting their confidence is the best way to get it", admitted retired Judge Advocate General John Hutson. And that's where I like to corroborate.
Ratings- 9/10
Born Into Brothels: Calcutta's Red Light Kids (2004)
deeply moving one...
'The men who enter our building are not so good. They are drunk. They come inside shout & swear. The women ask me, "When are you going to join the line?" They say it won't be long. I worry that I might become like them." It's deeply penetrating confession of 10 year old sweet girl named Puja living in dark underbelly of Kolkota's Sonagachi Red light area.
This 2005 Oscar winning documentary raised really a shocking question- What is the future of children like10 year old Kochi, Suchitra or beautiful Puja? Will they get education & be something on their own or they will also join the same line their mothers & aunts followed- end up in the streets & be Prostitutes.' The children really want to learn something, they want to join school & be a good citizen of country but who cares damn about them. They have to write their own destiny in the most adverse circumstances against all odds. As it's also a disturbing reality of our social system in India that no school will avail the education & boarding facility to the children of sex workers. It's almost impossible to photograph in the red light district. Everyone is terrified facing the camera. It's whole separate society no matter how much you avoid or turned your face down. Watching this documentary is disturbing & equally thought provoking because it raised the question Mira Nair shot in her shocking semi-documentary film 'Salaam Bombay'. To make the documentary as realistic as possible the director Zana Briski stayed in brothels handling a workshop with the children of red-light & teaching them photography. Watching brothels from the eyes of children who are the product of the same ugly reality & peep into the lives of them is deeply agonizing & moving life experience. Director Ross Kauffman & Zana Briski have saved this documentary becoming too dark & made it in one of the profound humanitarian way & that's only possible when you perceive the sensibility among upsetting reality through the eyes of women film maker like Zana Briski. And its not only filming a documentary images but Director's appreciable humanitarian attempt of getting them find better education which becomes the soul & solution of the subject. She toiled really hard struggling with almost unfunctional Indian Government & other Institutional system to raising fund money back in Manhattan by selling the photographs taken by these children with the help of NGO like Amnesty International or Sotheby's auction. Zana has set a whole new paradigm into the lives of these children & it's literally bringing them the HOPE out of their dark corners; whether it's sending few kids to boarding school or made possible to fly Amsterdam for exceptionally talented Avijit to attend World Press Photo Exhibition. But its heart wrenching to know that it's only Kochi who stays at the Sabera School & she's happy & doing well. She's the only tree of HOPE that survives.
I specially like to recommend this documentary to all thinking Indians to watch this hopeful mission of education & a humble attempt to provide them a chance to know a world exist outside the red light area for these children. It would be really humanitarian mission if we all do some effort in whatever limited way we can to save these poor souls & sponsor them a chance to get education & provide them chance to better future.
Ratings-10/10
13B: Fear Has a New Address (2009)
an awesome thriller of the year...
My two thumbs up for Director Vikram Kumar who made this gripping thriller. First one for his well written script & second for his crackling & detailing direction. I've read that Kumar was keen to work with R Madhvan & had approached him earlier but he rejected his offer & demanded a better script. So Kumar spent two years to come up with the story idea & four to pen down a hardbound script of 13B. Love's labor was not lost & ultimately Madhvan loved the script & instantly signed the project. The film was then shot in 40 days flat. & Kudos to that brilliant script which makes you hooked in the edge on the seat second half. So what's 13 B? Well, it's a jinx number. A family messed up in their newly purchased flat. The first half is just average which projects focus on several unimaginable incidents in their flat- a lift refuses to function, disfigured images taken by mobile cam, milk splits everyday, nobody can hit a nail in the pooja room & jarring & suspicious television serial which resembles with the lives of the family members. And I thought for a minute- Am I watching some superstitious crap nonsense or what???
But hey, the film bowled me over in the second half. It's really intriguing & successfully kept the tension rolling for the audience with twists & turns of the story. The revelation of suspense is just awesome. And I 'm not going to spoil it by revealing anything further. Madhvan always do selective films & most of the time he comes with bingo performance. He has an expressive face & natural body language which suits his roles perfectly. Watch his expressions of fear in this & you will agree with me. Rest of the players has also played their parts as naturally as possible but I specially like to mention the performance of Deepak Dobriyal, who has acted the role of Ashok in the film. He's really a revelation. (Remember the actor who was guided by Saif Ali Khan in 'Omkaara') Technically also the film is faultless & successfully enhances the thrilling effect for the audience. The only thing which I would like to edit in the film is cutting of those two songs in the first half.
A Strong recommendation of the week but it's my humble request to watch it in theatre. No piracy for this sort of talented & promising director's film please.
Ratings- 8/10
The Silence of the Lambs (1991)
Dr Hannibal the Cannibal will stays in memory forever
Its brilliantly made dark psychological thriller which gave one of the most dangerous character of Hollywood cinema - 'Dr. Hannibal Lecter. The movie is a screen adaptation of best selling novel by the same name written by Thomas Harris. Clarice is FBI trainee goes to interview Dr Hannibal the cannibal to solve the puzzling serial killer Buffalo Bill who skins his victims & keeps them in a pit in his basement. The current captive is US senator's daughter & Dr. Hannibal is the only available clue of the case. Its interplay between Clarice & Dr. Hannibal which made it unsettling thrill ride of 2 hours. As he helps to solve Buffalo Bill case, he digs deep into Clarice's hidden psyche. Every technical aspects of the film are just immaculate & gives you thrill feel from the beginning to end. It's waste of words if I say much about the performances since the film swept the Oscars, winning Best Actor (Anthony Hopkins), Best Actress (Jodie Foster), Best Director (Jonathan Demme), Best Picture, & Best Adapted Screenplay (Ted Tally). This is the third film who won Oscars in all 5 major categories; the other two were- 'It happened one night' & 'One flew over cuckoo's nest'. Hopkins won the Best Actor despite being in the film for about 30 minutes, may be the shortest screen appearance for any best actor winner & that itself proves that Anthony Hopkins has delivered his best in it. I have watched 'Red Dragon' & 'Hannibal' made in the same legacy of this one but after watching this today I must say this will remain matchless classic.
Ratings-9/10