Tedha hain, lekin kisika nahin!

Tedhi-Medhi Kahaani!

Love's not Time's fool, though rosy lips and cheeks 

Within his bending sickle's compass come: 

Love alters not with his brief hours and weeks, 

But bears it out even to the edge of doom.

   If this be error and upon me proved,

   I never writ, nor no man ever loved. 

Mr. Kunal Kohli should have signed “Hence Proved” at the end of his latest venture. Inspired thematically, and of course heavily, form a Taiwanese film Three Times, Teri Meri Kahaani is a tried, tested, boring romance; "Thrice a Love Story"  that is a disappointment. 

Set in three different era, 1910, 1960 and 2012, in three different places, Lahore, Poona and U.K., the film touches upon the loves of two people who are in love. The film celebrates love and how the lovers unite, inspite of the social, moral and blah blah blah obstacles. The director understands love well and his last releases especially his Hum Tum and Fanaa bear testimony to his mastery in treating love. Here, unfortunately, “As flies to wanton boys”, so are Priyanka-Shahid to Kunal Kohli, he kills them in the hands of a weak screenplay, for his own fun. He has taken care of a brilliant production design, thanks to the Muneesh Sappel and this has been done meticulously. But seeing the trams on Bombay roads or watching Chaplinesque movements of the hero will not be able to save a faltering storyline and a lame script. A historical setting of 1910 Lahore and a well-crafted Poona and Bombay of 1960s are the master strokes of the production designers. But what about the content? Love, Love, Love, Alone., that will perhaps lead the director-saab to leave his throne.

Aradhana/Rukhsar/Radha, Priyanka Chopra is as lively as she can be in the three different roles of the damsel. Javed/Govind/Krishh, Shahid Kapur, with his articulated movements struggles not to be the "fly". Three eras and three contexts; sometimes capturing the Indian independence movement, sometimes the Hindi film industry and sometimes the Skakespeare's Fest at Stratford-Upon-Avon, the film has touches of a moving history. Yet, everything turns bland. There's no Midas touch to reconstruct the age-old love stories strewn together to capture the triumph of love. Kohli only subverts the concept of a runaway bride and replaces that with a runaway groom, who is ready to have his nikaah accomplished with a married lady.

Except (re)educating the audiences on the net-izens’ lingo, Lols, and Rofls, and significance of smileys, there’s nothing novel for Kohlito deliver. Sajid-Wajid’s music is the only respite. Wish we could have a little more of the pretty ladies, Prachi Desai and Neha Sharma!

The next time you bump into somebody, in a train, on the terrace or on the road, remember a kahaani might be in the offing.

And for the director sir,Thank you Mr. Kunal Kohli for not making the film a punar-janam tale, you were kind enough to think of your viewers! And I remember, long back in 1997 when you hosted Chalo Cinema on Zee TV, you had severely criticized Dil To Pagal Hain for the lack of “family members” in the lives of the three characters in the film! The film went on to become a super hit sir. What is your take now? Times have changed sir, Shakespeare’s Dark Lady is now replaced by the Youth. Make something interesting next time, a bromance perhaps will fetch a few accolades!

Obscene, Top-Scene!

Choli Ke Peechhe, Khalnayak

Is Iqbal Durrani to be blamed? 1994, Govinda-Karisma starrer Khuddar. The song, I remember created ripples everywhere. The censor board immediately clipped it and asked the producers to change the word before the release. My memory of the song is a CENSORED sign flashing across the television screen as and when the song appeared for the countdown shows. Sexy, sexy, sexy mujhe log bole, hi sexy, hello sexy kyun bole?  was finally changed to Baby,baby,baby mujhe log bole! Farcical, as always!

Bollywood’s obsession with double meanings and sugar-coated vulgarity has been an interesting topic for discussion.  For that matter, I remember a film, Kyaa Dil Ne Kaaha, (a Tusshar Kapoor-Esha Deol disaster!) where someone said, you need to add the word “Bistar pe” (as in, on the bed) before or after any Hindi movie name, and what you get is sheer vulgarity! And think of a Hum Dil De Chuke Sanaam, bistar pe or a Hum Aapke Hain Kaun, bistar pe or Kabhi Khushi Kabhi Gham, bistar pe or a more sophisticated, Guzaarish, Bistar pe!  Now that’s Bollywood for you!  But what cannot be cured, has to be endured, right? And surely, with all our criticisms and snobbery aside, we have always enjoyed the vulgarization in Hindi films.

The Not--so-coy-Mistress!

 Apart from the names, the tinsel town has always had a strange curiosity for the secrets behind a choli. After Khuddar, the song that had usurped the sweet dreams of the censor board members was Khalnayak’s Choli ke peechhe kya hain. Ila Arun (one of my most favorite moaners, of course!) and Alka Yagnik, Madhuri Dixit and Neena Gupta glorified, sensationalized and deconstructed the lifelong secret, with oomph. However, no major changes were allowed for the song and it still remains a chartbuster. But this had definitely propelled the onslaught of folk smut in the industry like never before. Arun’s rustic raunchy movements and intonations lured the music directors to use her earthly voice in the films, making the listeners go mad, although wrapped in royal fun. And then there was Main aathra baras ki ho gayee, main kya karoo? Meri chunri lambi ho gayee, main kya karoo? Meri choli chhoti ho gayee, main kya karoo? from Mamta Kulkarni’s Dilbar ; with the tailors having their share of fun, the song has now blurred into oblivion.

1994 was the historical year. After the stupendous success of Sexy, sexy, sexy, there was Vijaypath. A song in the movie goes, Kal saiyan ne aise bowling kari, raat bhar so nahi paayi; maine chauthi ballmaari, paanchvi main jhel nahi paai or Aankhen goes a level higher with the lyrics, Khet gaye baba, bazaar gayee ma! The lyricists and the music directors have never compromised their fun quotients and perhaps never considered the moral stance behind such lyrics. Indivar, Maya Govind and Sameer have always entertained the masses. And it had magically worked! The songs were banned from being played on AIR or national channels at that time, but it never dissuaded the people behind these masterpieces from composing them. Dalaal’s Chad gaya upar re, atariya pe lotan kabootar re, was hilarious. With pelvic thrusts and a gang of women lifting their sarees to the strategically placed cameras or an Amanat’s Subah ko leti hain, sham ko leti hain, kya bura karti hain? Yeh aapne sajaan ka naam leti hain worked wonders for the masses. 

The trend is not new. Khuddar used F.O. for its song. In Haathkaadi another abbreviation used was LML where the male voice goes, kya hota hain yeh LML? And the female voice answers, Let’s Make Love baby!  Years have passed by, technologies have undergone major changes, and the entire aspect of looking at a film has changed. But selling sensational tracks in the names of folk has not changed yet. And if you are aware, the latest hit from Rowdy Rathore is even more dangerous: Are pritam pyaare, banduk me na to goli mere, are pritam pyaare saab aag to meri choli me re, zaara hookkah utha, zara chillam jala…pallu ke neeche chhupake rakhkha hain, dikhdun to hungama ho, pallu ke neeche dabake rakhkha hain, dikhadun to hungama ho!

There are a number of songs that can make hungama any day. The list is endless. And with a liberal outlook in every sphere, even the censor board feels no need to clip the wings of poesy today. With the virtual world available to every human being, the lyrics of such melodious numbers surely mean no harm to the society any more.

Rowdy Roller Coaster!

The Rowdy duo

Rowdy Rathore has for its title Akshay Kumar. The Khiladi man is back to action after a long hiatus. He has unfortunately disappointed us with his comical disasters in the recent past but his Rowdy return to the action genre is indeed a pleasure. This man is the only one who makes the boat sail. Be it his comic timings, his angry looks, his action sequences or his romance, it is this Khiladi who can assure a safe run at the Box-Office. The film rests on a confusion of identities and how it is resolved till the roles are reversed for the evil to be punished and for the goodness to prevail. Shiv (Akshay Kumar) falls in love with Priya (Sonakshi Sinha). He chases her, she smiles. He steals, she smiles. He adores, she smiles. He sings, she smiles. He confesses, she smiles. Come a child in his life and his life is turned topsy-turvy. The truth is revealed and the second half is dedicated to a flashback, singing the saga of brave Vikram Rathore(Akshay) and how he had managed to dispense justice in a small town. The second half sees Akshay’s Shiva returning to the town to bring relief to the natives from the hands of tyrant. Witty dialogues and funny one-liners will draw accolades from the audience. The larger than life hero struggles against all odds to make his audience happy.Rowdy Rathore (the Faulad Ki Aulad, as the poster goes!) surely thrives on the three magic words, courtesy Silk Smitha: Entertainment, Entertainment and Entertainment (albeit, at the altar of aesthetics!)  Eternally suspended disbelief is the sole mantra for this Telegu rem

ake. The original Vikramarkudu has been reframed and remade in several other languages and the Bengali  version Bikram Singha is presently running at the city theatres. Prabhu Deva’s second Hindi directorial venture (after Salman starrer Wanted) demands that the audience never gets angry with the film. I have not seen the original, so it would be pointless to compare and contrast. But as far this Hindi remake is concerned; you can neither hate it nor ignore it. It might question your sanity yet it promises to intoxicate you with its absurdities, its incongruities and its madness. “Ek ticket main double dhamaka” says the posters of the film, and if you want that paisa-vasool feel, a morning show of RR won’t be of harm. But, be cautious; do not try to find a method for this madness.

Prabhu Deva scrounges the essence of the original movie and probably  moulds it for the Hindi knowing public. He perfectly blends every ingredient and creates a pot-boiler that is replete with vivid colours, rustic paints, melodious song and dance sequences, vibrancy and entertainment. The homespun product is an example of brilliant execution on the part of the director. There is no point critiquing the screenplay. Shiraz Ahmad maintains a taut screenplay and never fumbles. He is the chief cook who adds the exact amount of the masalas to every frame. The first half is fun but sometimes drags unnecessarily bordering on the romantic affair between the Rowdy man and his damsel. The second half comparatively runs faster. Prabhu Deva applies histrionic nuances from South and the fight sequences, the cinematography and the choreography talk of his mastery. Santosh Thundiyil’s cinematography is the treasure. Just imagine the camera zooming out of injured Akshay. It moves behind the clouds till it focuses on a large drop of rain from the clouds falling on our hero’s face, saving his momentary brain cells and giving him time to keep his word, “Jo main bolta hoon, woh main karta hoon”. And yes, there are so many of them! Akshay plays a double role (after Kukunoor’s Tasveer) and he ends up performing action, romance, dances and his comedy with elan. Sonakshi, with her cellulite-laden-baby-fat-figure, does justice to the screen time she has been allotted. The rest of the cast includes Paresh Ganatra, Nasser, Yaspal Sharma, Mushtaq Khan, Gurdeep Kohli and Darshan Jariwalla. Nasser as the antagonist is a delight and Paresh Ganatra as 2G is remarkable. The others adequately play their parts and yes, our Bebo in her cameo, shines like no one else!

Rowdy Rathore has its loose moments (countless, may be!) but the background score by Sandeep Chowta raises it above mediocrity. And Sajid-Wajid deliver a perfect blend of romantic numbers and hip-shaking melodies. Chin tata has already affected the masses and the brilliant choreography in Are Pritam Pyaare and Dhadang Dhadang adds feathers to the film. Rekha Prakash and Vishnu Deva leave no stone unturned to add to the spicy cuisine.As for the rest, Kumar Sanu sings for a film after a long time, there is a cameo by South superstar Vijay and the director himself and an epical dénouement which recalls Duryodhan’s fate. As good as it gets!

No pretensions, no false hopes, no effort to play with your grey cell. Rowdy Rathore is an entertainment package that makes you laugh and gives a scope to indulge in Coleridge’s best theorem ever written for Bollywood movies. Get Rowdy, grab Rathore!

A Delightful Tale!

A Poster of the Film

Thank you Walt Disney and UTV Motion Pictures for "The Untold Story of India’s Greatest Warrior"!

“Where there is truth, there is victory”. Arjun: The Warrior Prince begins with the dictum. The fact is, director Arnab Chaudhuri’s animated venture on one of the most sought after handsome hunks of the Indian epic is a film made from the heart and there lies its victory. The film however is neither a B.R. Chopra like never ending tale nor a multicultural blend à la Peter Brook.

The film begins in medias-res. The Bildungsroman narrative has for its narrator, a beautiful woman, who indulges in telling the story of a brave warrior Arjun to a little boy. The film captures the lives of the megalomaniac Kauravas and the victims of Fate, the Pandavas, and their lust for power. It is circumscribed around the character of Arjun, the most eligible disciple of Acharya Drona and the lessons he learns during his journey from innocence to experience. From being a mere prince who is afraid of bloodshed, he emerges as a courageous warrior, a dedicated brother and an avenger of his wife’s humiliations. Rajesh Devraj’s editing suits the need of the film and the abridged story telling is done intelligently not to meander unnecessarily, giving the film the much required crispy and edgy structure.

This animated version of the epic dares not to compete with its Western counterparts. The technology is brilliant as fas as Indian standards of animation goes and if you looking for a Madagascar, or an Ice Age or a Toy Story, I’m afraid, beware! There are a few scenes which talk about the superb efforts in technical departments. Arjun’s archery while shooting the golden fish during  Panchali’s swayamvara is a spectacular watch and so is the climax. The rich use of colours and  shades of grey are cinematographer Hemant Chaturvedi’s magic. Vishal Shekhar’s music is apt for a heroic tale and the melody of the voices of the characters adds to the flavour. Yuddvir Bokaliya’s Arjun, Sachin Khedekar’s Lord Krishna or Ila Arun’s Kunti are music to the ears.

Aimed primarily for the children, the film however shows gory violence and bloodshed on screen. The patriarchal world gains an upper hand in the narrative yet the director includes gender issues brilliantly. Look out for the intelligent mix of the ‘male’ bravery and the ‘female’ façade in the narrator. For an animated text that this film is, Arnab Chaudhuri merges several issues along with the stellar visuals to instruct as well as to delight his audience.

The narrative, both pre and post intermission is a mark of craftsmanship. However, behind the narrative and the treatment, the original essence of the epic gets somewhat blurred. For a tale of betrayal, revenge, deceit, love, passion and power that the multi layered epic provides, Arjun: The Warrior Prince fails to rise above the average. Apart from Arjun’s trajectory, nothing really evolves. Even the gallery of such brilliant characters of the epic remains somewhat stagnant. Except for a Gandhari who is taller than Dhritrashtra and a Machiavellian Shakuni mama, the other characters remain flat.

Arjun: The Warrior Prince is a refreshing change. Its faults and fissures can easily be overlooked considering the change it has brought to animation in the country. The film promises a visual treat and a thrilling dénouement, and focuses on newer dimensions in Arjuna’s portrayal, and these are reasons enough to see what it takes to be brave. Bravery is not embedded in the brawn but in the brain and this underrated animation brings this reality home.

Enjoy your stay!

Kolkata surely has lost her share of good English movies. With hardly a few movies running in the city theatres, we are not left with an option to hop theatres for a new English release. With occasional releases like The Avengers, Kolkata seems to say “That time of the year thou may’st in me behold” a good English film. Intermittently, of course, we come across such feel-good movies like John Madden’s The Best Exotic Marigold Hotel: for the elderly and beautiful. A tapestry of human relations, an exploration of old age and a saga of loneliness, the film delves into the hearts of the audience; and although it relies heavily on the exoticism of India, yet the portrayal is unpretentious. With a simple story, episodic lives, riot of colours and sounds and an ensemble that shines throughout, The Best Exotic Marigold Hotel is basically a celebration of love.

A “group of self-deluding old fossils” who have “outsourced” their retirement decide to visit a less expensive country like India, to have a slice of the exotic Jaipur. The hotel promises a luxurious stay when searched on the internet. However, when they arrive in Jaipur at the hotel, they face the worst. The photo-shopped images never revealed a  dilapidated building where phones are out of order. Even the platters of otherwise exotic Rohan Gosht kind of Indian dishes do not provide  any solace to their gastronomical disasters. In their struggle to cope with the adverse circumstances, masks unveil and relationships mature. Evelyn (Judi Dench), Graham (Tom Wilkinson), Muriel (Maggie Smith), Douglas (Bill Nighy), Jean (Penelope Wilton), Madge (Cilia Imrie) and Norman (Ronald Pickup) live under one roof till their lives intersect and they are ready to fight their own battles with themselves.

Evelyn has lost her husband recently only to survive his debts. Graham, a retired court judge, disappears everyday in the morning  to visist a particular place. Muriel, a retired housekeeper flies to India to have her hip replaced at a lesser expense. Douglas and Jean have waged their money for their daughter. Madge needs another man in her life and Norman still struggles for a date and either sees a sexologist or reads Kama Sutra. The film depicts how each of these characters evolve amidst the barriers in a new country. Evelyn takes up a job as a cultural advisor at a call centre to teach its employees how to talk to elders. Douglas soaks in the flavours of the city visiting temples and forts. A racist Muriel finally comes closer to her maid, an Indian woman who is supposedly ‘untouchable’ . The scene where Muriel talks about her own trials to the maid who does not understand her language is a master stroke. Even the Indian doctor who is supposed to translate Muriel remains silent and the audience realizes the pathos of these two women who  share a simliar predicament, irrespective of their colour, language and a social upbringing. Madge presents herself at a hotel as Princess Margaret, unaware that the Princess had actually died nine years ago, until the manager mocks at her effort. Her desperate efforts to find a man lands her up with Norman. Things do not materialise between them and Norman falls in love with Carol, (“as in Christmas Carol”, he says to woo her), played by Diana Hardcastle. Graham is a homosexual, “a gay more in theory than in practice” and we come to know how he had been brought up in India and how he had disgraced his lover’s family in his youth, which he still repents. As he confronts Manoj’s wife, he is astounded to realise how Manoj had revealed the greatest truth of their lives to her. They reconcile but Graham dies of a heart attack and Jean’s momentary admiration for Graham reaches newer heights. Jean doesn’t change, the only character who remains constant in her angst, her dislike for  everything good until she asks Douglas to return to Evelyn, with whom he had fallen in love. Jean realises the futility of their marriage and only in her arrival at the truth does she shine.

Sunny (Dev Patel) is the manager of the hotel. In his garrulous self, we find a man of conviction. He tries to make a man of himself, staying rooted in the hotel which had been started by his father. Unlike his elder brothers, he stays in Jaipur and dreams to make it big. Inspite of the constant railings by her mother (Lilette Dubey), he stands for his dream and chases his love Sunaina (Tara Desae). Muriel goes through the accounts of the hotel and talks to a businessman. She comes across as a Messiah who saves Sunny’s dream and his hotel and offers herself as the Assistant Manager. The film ends with Sunny and Sunaina riding a bike when they cross Evelyn and Douglas on a moped. Such a brilliant frame capturing the two generations united in love is the triumph of the film. It ends on a note of love and it promises a dawn for the elderly people who, in their quest for the best and the exotic, confronts the worst and fights their occidental ghosts.

The film is a riot of sights and sounds. Ben Davis captures Jaipur with her gamut of  richness and colours. The din and the bustle of the city provides a stark contrast to the lives of the elders. A fusion of the indian and wetern music by Thomas Newman soothes your ears and the Classical instrumentals in the background complement the essence of the film. The performers add to the verve and the Evelyn’s blog in the narrative functions like a tale told by an elder to her grandchild before the afternoon nap.

The film might seem to tread a stereotypical path in the depiction of India as exotic, but it treats the subjects with an  astute Indian-ness. Formulaic and sometimes clichéd, the film blends humour with the tragic, wit and irony, love-lorns with love(s) in a comforting scale. The performances alone are worth the two hours.

If love is what you seek, if love is what redeems, if love is what resurrects, go by my “advertisement” and trust me, you will not be lured into a trap. Book a room and enjoy your stay!

RGV, DEPART-MAN!!

Big B in Department

Shiva ushered in a director in Bollywood who would go on to change the definition of film-making in the country. Satya made him the one of the  leading no-nonsense directors of Bollywood. Ram Gopal Verma. The master mind behind such cinematic delights as Raat, Satya, Rangeela and Company surely should think of retirement; it’s time he lets go of his schizoid techniques especially his cinematographic details and should defintely wash his hands off as a story-teller. Department, the latest RGV factory product is another washout. Even the innovative cinematographic approaches can not help the film from dwindling into oblivion.

Think of every possible frames and shots that can be taken. Long shots, close-ups, jump cuts and intercuts might seem interesting in the first few frames but become so repelling for the audience as the film proceeds that you fear treading inside the zip of a goon or peeping into the cleavage of a roadside woman. With RGV, every impossibilty can become possible. These trysts  with cinematic techniques are a new addition to his films, sound being his earlier forte. Initially they look new, but as the story (as in, the lack of it) proceeds, it takes a toll on the audience.

Every performer in the film disappoints. Amitabh Bachchan (Sirji Rao), Sanjay Dutt (Mahadev) and Rana Daggubati (Shiv). Even the slitherines, Abhimanyu Singh (DK) and Madhu Shalini (Naseer) do not help. Vijay Raaz (Sawatiya) tries to shine in the ensemble, but the screenplay has nothing much to add to his credentials. And the two lady-loves, Anjana Sukhani (Bharati) and Lakshmi Manchu (Satya) do eaxctly what they are best suited to do, provide support to their counterparts and shower love. The cop-and-underworld story blurs the distiction between good and evil. But the actors are so non chalant, that the audience fails to decipher the essence of RGV’s vision.

M. Ravichandran Thevar, Siddhartha More, Zaryan Patel, Sapan Narula and Harshraj Shroff are the cinemtographers. They rock and roll and have a gala time moving the cameras according to the whimsical wishes of their director. The music department provides no relief either; Bappi Lahiri, Vikram Magi and Dharam-Sandeep, even the worst item song ever done, Dan Dan on Nathalia Kaur, goes haywire. And Vinay Abhijit’s editing needs no mention at all. Well, when the captain of the ship is self-obsessed, his crew can harldy sail.

Department is a royal pain. And only if you have an eye for fashion, look at the bell tinkling on the wrist of Bachchan. His fashion faux-pas is RGV’s delight and so can be yours! As for the rest of the things, do not even dare to sit through the DVD of the film. You would surely not like to put your physiological departments at stake!

Ram Gopal Verma, it’s high time, Depart-Man!!

Parmesan, grated and Cardamom pods!

Ishaqzaades of the season. Parma, Zoya, Atindra and Ela. A period film that goes talk-talk-talkie on discourses and counter-discourses on nationalism and patriotism with the two lovers in the centre while a Hindi pot-boiler that has a pair hurling abuses at each other,all for a political rivalry, till their hearts unite.  What remains, is Ma ja chhilen, tai e achhen. Tagore’s novella is a complex tale of metaphors regarding nationalism and enmeshed in the narrative is the story  of two hearts torn in conflict between the devotion to the nation, to each other and perhaps to the truth, they keep on seeking. The Hindi film focuses on a modern day tale of ma, maati, manush where a mother gets killed, Almore gets a heartless MLA and the common people remain victims to those in power.

Kapoor and Chopra

Habib Faisal’s love saga offers no new story and takes us back to our childhood days of Qayamat Se Qayamat Tak. But it definitely promises the rise of a new star! Parineeti Chopra is re-introduced (after her extended cameo in Ladies Vs Ricky Bahl) and she is stunning! As a rebellious and vulnerable Zoya, she adds to the otherwise hackneyed plot. As for the producer-son, Arjun Kapoor has a killer bad-boy smile and Parma suits him to the hilt. But what exactly is in store of him, will of course depend on his future works. There is one thing, however, so inspiring about him. He is supposed to have shed a number of kilos and that is an encouraging sign for  those like me, who can dream of atleast a toned family pack, if not a six!

Hindi films really have come a long way. There was a time when the actors changed their clothes thrice for one song sequence. Now, they are seen wearing the same clothes in different scenes. Realism is at its best! And yes, again a rustic hero who struggles to graduate and doesn’t feel the need to talk in English. Colonial hangover is finally coming to an end for the 'man' in Bollywood. The film flies on the wings of these two new faces and every frame is dedicated to promote the new talents, sometimes sadly at the cost of the screenplay. A refreshing face is that of Gauhar Khan whose Chand  is an amalgamation of mehtaab and aftaab, the loneliness of the moon and the scorching sun. Her presence, and her curves, literally make you go “jhalla wallah” .

Amit Trivedi’s score compliments the electrifying performances and Hemant Chaturvedi’s camera does justice in capturing imaginary Alomre. And after a long time, choreographers Rekha and Chinni Prakash make the leading pair as well Gauhar Khan shake their legs (and hips) to the refreshing dance moves. Pareshan has been picturized adroitly and so are Jhalla Wallah and Chokhra jawan re. The film sparkles through the DOP’s lenses capturing the rusticity and the rich colours symbolizing  the vibrance of the two lovers. The supporting cast has new faces and each character does justice to his/her role. The second half, almost like every other film, drags and again Aarti Bajaj, the editor, disappoints. What remains after the two hours of continuous chases and gun shots is the promise of power-house performances by Parineeti in the near future which will definitely make her audience “pareshan.” As for the story (Aditya Chopra and Habib Faisal), the first half is a Hate Story recall and the second, predictable.

If only Zoya could utter the last words like Ela to her Parma, the ending could have been dramatic indeed. What was missing in Ishaqzaade’s last scene was a lip-lock.(Or, may be Zoya would have never liked it; she had once complained about the khula-khula jagah.)“Shesh chumbon aj afuran holo Antu”; Elar Char Adhyay is another tale of passion. Ela’s passion for the land and her love. Bappaditya Bandopadhyay’s film fairly does justice to Tagore’s novella. For a philosophical text that Char Adhyay is, it is a mammoth task to adapt it on screen. Beware audience, if you are looking or sequential plots and dramatic moments, this is definitely not the film. This is neither Ray’s Charulata nor Ghosh’s Chokher Bali or Noukadubi. Here the characters talk, and talk in a language that becomes difficult for a large number of audiience to understand. The riddles and the metaphors, the discourses on patriotism and Ela and Atindra’s nature of love story do not promise an arresting audience. Kudos to the director for keeping the original dialogues from the text. However, the screenplay falters at times to capture the essence of the text.

Indranath (Indraneil Sengupta) looks rehearsed in delivering his part and so does debutant Vickram Chatterjee (Atindra). Paoli Dam as Ela is good but she could have been far better. Her zero-figure is a mismatch for a Bengali Ela. The film only thrives on its dialogues, the continuous talking that the characters engage themselves in and this where the film stands apart from the other Tagorean adaptations. The conflicts and the confrontations become the protagonists of the film. The characters merely fit into the plethora of discourses on motherland, patriotism and love.

Paoli Dam as Ela

The opening sequence is brilliant and it is indeed one of the finest beginnings seen in the recent past. Rana Dasgupta’s cinematography is top notch. Colours, rain,fire and the half done structure of the Durga idol are some some of the leit-motifs used poignantly making it poetic at times. There are a number of Tagore songs and each of them uplifts the film to a newer height. Sayak Bandopadhaya’s rendition of “majhe majhe tobo dekha pai” is the film’s USP.

Elar Char Adhyay needs patience. The dialogues are its necessary evil and if one has to enjoy the film, the talk-talk-talkie has to be endured. Love thwarted remains the crux for the both the films. The lovers are sacrificed at the altar of a power and pseudo-patriotism.  A cheroot smoking ‘mastermoshai’  in a suit talks of uprooting the British and two local groups of Almore fight for the MLA elections. All for the good of the country! And the fates of these Ishaqzaades are sealed forever! It has always been like that and perhaps will be. Both the films remain a document on factual as well as fictional historicities.

By the way, has anyone done Wuthering Heights in Hindi? Well, a Catherine and a Heathcliff are surely in the making!!

Pastiche!

It’s always good be back! I had a tough time getting my lappy repaired.. it hurt! It hurt my leisure, my zeal to write and most importantly, it hurt my pocket! All’s well that repairs well; and finally I am back to writing, penning down my thoughts as randomly as they occur to my mind.

For a long time I was dying to write about the few bad films that I had survived in the recent past. After all Hate Story and 8:08 er Bonga Local were such royal diappointments! The former is the third last offering from the Bhatt camp(the newest being Dangerous Ishq and as the name itself provides a statutory warning, I would better keep my hands off the Dangerous affair!) and the latter, an on-the-face-change-the-world Bengali movie. It is indeed interesting to see how the Bhatts are, pretty interestingly,naming their movies. They seem to  know the predicament so well ! Hate Story was hated by everyone and Dangerous Ishq is about to prove a precarious comeback of Zubeidaa. Not to mention the disastrous Kunal Deshmukh venture that refused to show the Bhatts a glimpse of ‘Jannat’ at the Box-Office!

For those who have not seen Hate Story, rejoice! For the plot is so stale that it would put the catering services at Duronto Express to shame! The only watchable ‘man’ in the film was our own Paoli D, who bared and dared to compete with Mr. Salman Khan at the take-the-sh(k)irt-off-at-the-drop-of-a-hat competition. What lovely eyes she has got, yet they fail to make any effort to raise the film beyond a soft-porn!

And 8:08 er Bonga Local! However innovative the name sounds, it failed miserably to take  the audience to the destination! The film stars Tapas Pal as a middle-class  government employee and a  ‘spineless’ man who suddenly raises his voice against corruption and almost every possible crime meted out to the common man by those in power . Awful editing,pre-historic plot and a didactic narrative created no ripples at the BO. Save the performances and the occasional background score by Tanmay Bose, the local ride proved to be a tiring journey.

 In the midst of these two venus fly traps, came one movie that stole the hearts. Vicky Donor was a sigh of relief. A novel concept (thanks to Onir though for a sensitive portrayal in I AM), a fantastic ensemble of supporting actors and definitely the ‘chemistry’ of the lead pair make this film one of the finest movies of 2012.Annu Kapoor, Dolly Ahluwalia, Kamlesh Gill, Jayanta Das and Swarupa Ghosh deserve special mention. Lajpat Nagar and CR Park add to my nostalgia, however short lived it may be! The film celebrates the arrival of a ‘new’ hero avataar in Bollywood post Band Bajaa Baraat; the leading man in the recent movies need not speak English, need not know etiquttes, need not to carry on a legacy of their forefathers and need not address their beloveds with “tum”.. “Tu” is in and Vicky (Donor) definitely gains its ceetes and taalis in the romantic spheres. A social issue, a love story and a beautiful tale on mother-in-law and daughter-in-law relationship make this film a must watch. Shoojit Sircar is surely to stay ‘Yahaan’, in the industry. Vicky Donor flaunts and celebrates ‘healthy’ sperms and digs at a society that perhaps fails to accept aberrations.  Here comes a movie, after a long time, that makes you laugh and cry at the same time. For those who have not seen it yet should surely give it a try. And for the producer, only if his acting career was as lucky as his debut as a producer  was! John, Ab-raham kar de apne directors par, be the ‘donor’ of such sensitive films instead!

I apologize for not putting my thoughts coherently. Let me have a look at the Ishaqzaade(s) of the season and I will be back soon. Till then let Parma fall in love with Zoya and Ela, aka Paoli D try her luck in Elar Char Adhdhay.

Do not torment me oh!

Saif Ali Khan: Aaj mere pass Bebo hain, Raghavan hain, Pritam hain.. tumhare pass kya hain?

Sujoy Ghosh: Mere pass ek ‘Kahaani’ aur ek Bidya hain.

Saif Ali Khan: Aaj mere pass, action hain, foreign locations hain, drama hain, style hain…

Sujoy Ghosh: Mere paas substance hain.

Saif Ali Khan: Aaj mere paas..

Sujoy Ghosh: Pata hain Sir, aapke paas Royal Stag hain and you have made it large. But, I guess, I have made it… larger!

No wonder, Kahaani is still drawing a ‘house-full’ crowd on a weekend and AV theatre remains only half-filled. And as for me, I wanted to watch AV for the ‘free gift’! “Dil mera muft (Muft! Muft!) ka”. I was enthusiastic about the song and Bebo. I had fallen in love with the Bolly lyrics after a long time (Caution: Amitabh Bhattacharyya is the National Award winner, who also happens to be the lyricist of the song), “Socha tumhara bhi dil hum khareedein/ Kya daam hai bolo kaato raseedein”. But, Fancy, why did you cheat us so well? I was lured into the trap. I katoed the tickets only to realize how the film tests your patience and tortures your sanity.

Agent Vinod (AV) borrows its name from a 1977 film, produced by, well, don’t be shocked, Rajshri Productions. And you always thought Rajshri could only make a Chitchor, a Maine Pyaar Kiya, a Hum Aapke Hain Kaun! or a Hum Saath Saath Hain! Anyways. Although AV pays a small tribute to the actor of the 1977 film, Mahendra Sandhu ,which happens to be one of the many names of the agent in the film, the old film really doesn’t offer much help to the new screenplay (by Sriram Raghavan and Arijit Biswas). AV plays with the names of the characters. The agent takes up various names and the characters too have screen names which are so unlike the regular Raj and Priya Malhotras. Apart from the intricacy of the names, the ‘few’ good things about the film are the retro background score by Daniel B. George, the performance of Adil Hussain (the man who played Srikanto in Anjan Das’ Iti Srikanto) and Muraleedharan’s cinematography. And, with bated breath, I am actually struggling to find out if there was remotely anything else that can be counted as good. Yes, our Vinod is good, but why did it seem to me that he was more of a producer than an actor? Raghavan’s Ek Haeesna Thi and Johnny Gaddar were so good, that here it seems that the director had left his chair to the producer from the Illuminati to ghost direct an entertainment saga. Kareena, with her weight on the positive co-ordinates of a graph, looks pale. One bad thing that has happened to this Chameli post Jab We Met is that she suffers from a trauma of getting into the Geet mode, time and again. She is otherwise an intelligent actor and the way she had managed not to fumble with Geet in Ek Main Aur Ek Tu was commendable. Here she is very conscious and much rehearsed, so unlike a natural actor that she otherwise is. Her romance with Chhote Nawab doesn’t ignite any fire. As for the rest of the cast, Zakir Hussain and Rajat Kapoor are wasted. The bad men Shahbaaz Khan, Prem Chopra, Ram Kapoor and Gulshan Grover play their allotted parts well. And Dhritimaan Chatterjee. It seems after Om Puri’s tailor-made Police Commissioner roles, he is the new found aristocratic villain in Bollywood. Time to take up new scripts Mr. Chatterjee. We have had enough of your Janus-heads in Ekti Tarar Khonje, Kahaani and now in AV. The young man who plays Jimmy (Anshuman Singh) somehow sparkles with his angst and the chill in his looks.

The story is all about a chase. Chasing a box which is portable a nuclear bomb and The Rubaiyat of Omar Khayyam is its detonator. The crew surely flies on the wings of poesy! And this chase continues around the world. By the time you know who is where on the globe, you actually forget the last locale. Afganisthan, Moscow, Morocco, Karachi, Somalia and New Delhi; you can avail a virtual vacation if you survive the torture.

Vinod is no Bond, for sure. This Indian version of a stylized action/suspense thriller is definitely not like its Western counterpart. It has its tit-bits of romance here and there, supposedly emotional moments but unfortunately some intolerable action sequences. Why ape English action? Action films in India have their own merit. But money has to be drained and talents, wasted! The encounters are easily managed and before you can blink, a villain gets killed. Vinod at one point in the film, expresses how he had wanted to be a painter, but somehow got stuck as an investigative agent and enjoyed being at the transitional point between life and death with every adventure.Wish he had been one and exhibited his paintings in Paris. It could have been a better career choice than being a victim of an action director, who makes a mockery of an Indian agent. Peter Heins, look back in anger!

Saif as Agent Vinod

There’s no fun in giving out a story of a film that apparently seems to be a thriller. If it’s a chase by an Indian agent, and if you are a regular movie buff, you know who is responsible for planning a blast in the capital. But beware, we have a twist. A serious issue is highlighted and a new perspective introduced on the part of the screenplay writers who never allow the film to end. It suddenly delves into a socio-political scenario, making the common men in the audience go blank. There are humorous moments in the film that stand out in the mayhem. But that doesn’t help the editor either. The film promises never to end and it changes its locations and events as you change your ringtones on the cell phone! It drags and by the time you actually come to the end, you know why the producers included the “Pungi” song (another ‘copy and paste’ by Pritam) during the final credits. Pity the audience!

A film may take two years to complete, but this can never be the product of a two-year ‘research’. Style has never been a substitute for substance. So it’s your choice. If you want to sit for almost three hours in an AC theatre and enjoy the confusion, AV is that dose of entertainment. As for me, if the Agent asks me, my answer won’t hurt him. I liked your shoes Agent, your cars and your efforts, bas “mujhe aapka film achcha nahin laga!” Yes, Sire, “They say His legacy is the one he made”. Now, with an AV added to your feather, they’ll say: it’s this dud of a film that he has also produced!

With Pleasure....

Mr. Ralph Spencer, the phoenix that arose from Jimmy Valentine’s ashes – ashes left by the flame of a sudden and alterative attack of love – remained in Elmore, and prospered. He opened a shoe-store and secured a good run of trade.

A Retrieved Reformation (for me, Jimmy Valentine) – O.Henry

I was fascinated by the idea of a phoenix when I had first read Jimmy Valentine. It rises from its own ashes and is reborn anew to live again. Wish we could all do so. Or, is that that we all have a phoenix in all of us? For some one who has seen the best as well as the worst of the times, rising from his/her own ashes is not a big deal. Troubled times are but passing moments, have faith in love, it just might resurrect you!

Finally, I had the pleasure of watching The Artist. Michel Hazanavicius’ The Artist. Jean Dujardin’s The Artist. The Academy Award winner, The Artist. I must admit, I have been bestowed with friends who appreciate my love for cinema and make ways, quite genuinely of course, to help me watch shows that are otherwise pretty costly. Thank you dear(s) for making my wishes come true and thank you all who encourage me to write! Now writing on an English movie, with a French director is Herculean task for me. But as I thought of it, I recalled a day, almost a decade back, when I had actually written a piece on an English movie! I.S.C. Examination and I composed an essay on Titanic as my favorite film, and readers, it is still one of my most cherished movies ever and I vow to watch it on 3D, April 2012, at a theatre, perhaps not so near to me!

The Artist follows the old premise of films-within-a film and takes us back to the late Twenties and early Thirties Hollywood with an acclaimed silent movie star George Valentin (Jean Dujardin) and a chirpy, beguiling young female lead Peppy Miller (Bérénice Bejo) at the onset of the talkies. The film makes the literal use of the proverb ‘pride goes before a fall’ as Valentin refuses to compromise. He feels no need to ‘speak’ to draw his audience. “If that’s the future, you can have it”, he ‘says’ to the studio boss Al Zimmer (John Goodman) and the producers, who watch a test-footage on screen. Miller rises as the budding star of Hollywood with her ‘Beauty Spot’ and the ‘young’ face, as well as the ‘sound’ of the new age cinema. (I wish we could have heard her once!) You can guess it right, Miller has been an ardent follower of Valentin and as she is accidentally pictured with her favorite star, her life begins to change. A hoofer that she is, her attitude (“Miller. The name’s Peppy Miller!”) as well as her talent help her in the journey of making it big in the tinsel town. Valentin produces Tears of Love but fails miserably as the talkies survive in the ballet of the fittest. Deserted by his wife (who had been trying to ‘talk’ to her husband for a long time) and left alone with the doggie (Uggie, whose presence heightens up the EQ of the film, somewhat Chaplinesque too) and Clifton, his secretary (James Cromwell), Valentin has a tough time living only in the resonating silent memories of the past.

He puts his old reels on fire, except ‘clutching’ the one which Peppy had her first role. An excellently captured footage of the two, dancing, is a haunting image of brilliance. His terrier saves his master and as we have thought, he is sheltered at Peppy’s house who is delighted at his recovery. For a man who has lived his pride, finding all his auctioned belongings at her place is not easy. He leaves her place only to return to his burnt apartment. As he contemplates suicide, our heroine arrives and his life is saved, the second time. For those who have not yet seen the film, let Valentin say the last word!

The Artist makes every possible move effective in its use of silence. Hazanavicius does not retort to silence because the film is set in the era of silent pictures itself, but he knows that sound and fury would only mar the magic. Ludovic Bource’s music captures it all and Guillaume Schiffman’s cinematography breathes life in every frame. What would our own Bharata say, if he was alive? The film is a triumph of the Rasas, the power of abhinaya: Bhavas, Vibhavas, Anubhavas, Sthayibhavas, Vyabhicharibhavas and Satvikabhavas and again the eight Sthayibhavas namely Rati (love), Hasa (laughter), Shoka (sorrow), Krodha (anger), Utsaha (energy), Bhaya (fear), Jugupsa (disgust) and Vismaya (amazement). These are the driving forces in the film. Colours are not celebrated here, only silence is amidst the backdrop of an astounding musical score.

The scenes where Peppy slides her hand in Valentin’s coat only to caress herself, or when Valentin watches and later joins to the dance-steps of Peppy from behind the partially-raised studio backdrop, or when he finds it painful to hear himself as the talkies replace the silent pictures, make you realize how powerful silence can be. The moment Valentin confronts his shadow on the screen is terrifyingly Jungian.

Valentin, like my Valentine in the beginning, rises from his ashes. And the director safely plays with a plot that might not seem very new, but makes monochrome look sexier like never before and reminds you of what a ‘picture’ as moving as The Artist is capable of doing.

Mr. Director, what’s your next? We shall wait, “With pleasure, Sir!”

Ghostly Fun!

There was a time when Bengali films meant the clinching fists of Prosenjit or Chiranjeet. Cheap and horribly shot dance sequences and the same background scores for all the revenge dramas. There were rare glimpses of a Mrinal Sen or a Budhdhadeb Das Gupta movie but they only appeased the critics and went un-noticed , except for a few shows at Nandan, thanks to the National Awards! Then was Rituparno Ghosh. “Unishe April” which brought the Bengali audience back to the theaters. And then there was no looking back; if a Rituparna-Prosenjit starrer “Shasurbari Zindabaad” allured the masses, “Dahan” and “Bariwali” attracted the classes. Result? A clear distinction between the so called ‘art’ films (antlamir ekshesh, for which I am still criticized!) and the ‘commercial’ cinema. Thankfully, the demarcations are blurred today. You have either good films or bad ones.

As I caught a show of “Bhooter Bhobishyot” today, I had an amazing experience. Just imagine, you are ten minutes away from the evening show at Highland Park. You have seen on the net that there are only 8 tickets left, two hours before the show time. Still you leisurely walk and stand at the queue at the BO ticket counter. Five minutes left for the show and a man comes and offers you two tickets for the same show, and that too, your favorite aisle seats!! What can you say? Perhaps,"Bhoutik”.

Parambrata is an ad film-maker. He comes for his recce at ‘Choudhury Bari’, a heritage building somewhere in Kolkata, accompanied by his assistant director Rinka and production manager. As he waits for his DOP Sumit da to arrive, he meets a man (Sabyasachi), who tries to help him find a good plot for his feature film, which Ayan (Parambrata) wants to direct. What follows is an intriguing take on consumerism and the director humorously brings out the pathos of the ghosts of Kolkata as they struggle for a place to survive. The ghosts have been deprived of accommodation as the consumerist approaches have resulted in the demolition of the oldest buildings in the city. The ghosts have not been able to find a suitable representation either in the government, or in the media, they have not participated in meetings and ‘michhils’ and they remain marginalized after their death! The ‘Choudhury Bari’ is their last hope which has not yet been demolished. So an interview board is set up and only the eligible ghosts are accepted as the residents of the house.

The ghosts include an old-time actor Kadalibala Debi, a ‘Bangaal’ patriot, a Kargil-martyr, a soldier from the Battle of Plassey, a Bhojpuri rickshawpuller, a wannabe rock star who had died because of a drug-overdose, a charming young girl who committed suicide (a spoof on a city love-story that made to the headlines, if you recall well!), an English civil servant from the East India Company and of course, the ‘Raibahadur’ himself, Darpanarayan Roy Choudhury. (Ray reminder!) National and international ghosts struggle for their existence but only the selected candidates are allowed to stay.

The ghosts celebrate ‘Bhoot Choturdoshi’ as they walk on ramp and sing their hearts out. The ‘Bangaal’ patriot being a true Bong, brings Ilish from the market to have it devoured, the rock-star strums his guitar to voice out his rebellious self, Kadalibala Devi attracts the Plassey-soldier and the patriot, the Kargil-martyr is vested with the duty of maintaining discipline in the house and by now I hope you can fathom the laughter riot that goes on the screen!

The actors Swastika, Samadarshi, Bishwajeet, Mumtaz, Paran and George Baker need no praises. Uday Shankar Pal as the Bhojpuri rickshawallah who mouths “hami to garib aadmi ache” continuously is a sheer pleasure to watch. But the man who needs a special mention is undoubtedly Sumit Samadder who plays the ‘bangaal’. His lust for Padma-r-Ilish even after death and his wrong usage of some obscene words are so brilliantly fused that he can any day become one of the most unforgettable characters of Bengali cinema. Saswata as ‘Hath-kata-kartik’ and Mir as the promoter ‘Bhut’oria are as usual screen-delights. Samadarshi is a comic-genius and after ‘Ichche’, he proves that comedy can be his cup of tea too! The way he criticizes bourgeoisie mindsets, corrects ‘Che’ as ‘Shey’ Guevara or makes Koel (Mumtaz) understand his romantic ideas are the funny moments in the film. The eternal battle between the Hindus and the Muslims or the ‘Bangaal’s and the ‘Ghoti’s attain newer heights, all for fun sake.

The film takes off very well but the pace sometimes falters in the second half. But that’s forgiven. Anik Datta blurs the real and the absurd and the climax is indeed ghostly! The most enjoyable moments in the film are the ones where the ghosts speak in rhymes (remember Rekha in “Khoobsurat”?) I loved it! Only if the director had taken special care to continue it for the rest of the film!

The ghosts unite to have revenge on the human beings who are trying to bring the heritage buildings down for their own commercial needs. Do they succeed? If so, how? You need to watch it for the answer. I hate giving out the story, you know!But do watch out for 'Spookbook' the official social network site for the ghosts, you never know you might land up with an 'item girl'!

Abhik Mikhopadhdhay is the DOP of the film and after a long time, he is back with his shades on screen. Raja Narayan Deb, who arranged music for Rituparno’s “Noukadubi” is the music director here and harmonizes well. But the background score somehow reminds you of Satyajit Ray, but since the director makes a spoof, he takes the liberty. Anik Datta comes from an advertising background and the music is just the kind you would expect from an ad-man.

“Bhooter Bhobishyot” is one of those rare movies, which cannot be given any particular dictum of an art or a commercial movie. It aims at pleasing the audience and perhaps, making the producer happy with the returns! The layered narratives on the socio-political scenario and a message on the demolition of the heritage buildings for the ‘malls and mutro’(!) are conscious efforts on the part of the director who merges pleasure and purpose to make you laugh as well as think.

If you want some crude jokes, if you want to see a beautiful Swastika, if you want some fun and if you want to revisit an historical past, this pot-boiler spiced with passion, emotions, an item song, a crisis and a resolution should be a treat to make you forget the fever and the fret. Go, pay a visit to the future of the past and enjoy this "chhaya" chhobi!

Bingle-Bog!

The best thing about a blog is that you get a scope to scribble down your thoughts. When I started writing mine I had no clue what exactly what I wanted to write about. I had just wanted to capture few moments of my city and make it available to the readers. Readers?! I still wonder if it is read. But the greatest achievement has been my four religious ‘followers’ and the two readers who consistently comment on my non-sense prose. Good, at least I am read. Well, if I had wanted to write a personal diary I would not have created a blog. If you do not have readers, you are not encouraged to write. You want people to read you, love what you write and criticize your views. Although I haven’t come across much criticism yet, I would love to face some. May be, when I write, I wear the mask of a ‘good’ person, quite unlike the ‘monster’ that I have lately turned into, well almost!

Today, I felt the urge of writing again. As I was scratching my head, I realized I was getting bald. My salon-man, Sunil keeps on complaining that I go for a hair-spa. But, he has no idea about my financial conditions right now. I assure him that I’ll have it asap. He is convinced. Thank God, I do not need to say, “Aap convinced ho gaye, ke main aur bolun?” Anyways, as I was sitting with my laptop, the very LCD screen gave me a shudder. My father, an essentially good man, keeps on scolding me for my lappy’s present condition. Yes, I know I am responsible for it, but then everyone’s not that careful. My lappy is my best friend at the end of the day. It knows what I write, it knows what I edit, it knows what I publish and it very well knows what I delete. And it is actually my 3a.m. friend, so why try to keep it clean and make it look new? Let it be as it is, for all good relations do come with an expiry date!

I kept on thinking, what I write tonight. I wanted my readers to give something new to read. Let’s say, talking about the latest political heart-throb Akhilesh Yadav. Or may be the railway budget massacre! But then you know, I am not a politically aware person. I mean yes I know it’s so very important to be politically aware of the situations around, but I feel I lack the acumen to pen down my thoughts if I have to write my blog on serious matters. I would perhaps sound like a nouveau blogger trying to cope with a situation he is hardly aware of. So I decided to discard the thought. Let my blog be a sheer reflection of my own thoughts, the ramblings of an unsound mind. Politically, I mean. Now does that make me an irresponsible citizen? May be. But I have surely known to care and not to care. Eliot promish!!

And now, when I am yet to begin my blog tonight, I see a few paragraphs already being framed. What have I written so far? Don’t know if they are coherent; don’t know if they make any sense. Well, you know by now that I have no intention to make my writing sensible!

And before I sign off tonight, one slice of life. While I was returning home today, I witnessed a car almost hitting a man, accidentally of course. The driver comes out of the car and hugs the man. The victim, showering curses at the driver, tries to break free but the driver insists, “Ami jokhon korechhi, ami thik korbo. Apnake ami chhere debo apni jekhane jete chan. Sorry.” The driver cajoled him and took him to his car. I boarded an auto and was gone.

Hug someone. Someone needs it. But be sure, you have acquired the art. Don’t fake it.

Bon Nuit!

Scripting narratives, Searching truths!

You can rise from your own ashes and make the world realize that you have not accepted defeat. Sujoy Ghosh, the director of Kahaani precisely does so. Remember his last offering, the miserable Aladin? If you don’t, it’s good for you. Perhaps for him, the Genie has fulfilled his wish, finally. Vidya Balan. Remember how she was severely criticized for her extra pounds and her fashion faux-pas in Heyy Babyy? But how those extra pounds of flesh and a little cleavage here and a little moaning there paved her way to the National Awards, through the dirty alleys of Bollywood!

Well this one was serious. Now imagine a packed theatre, where the audience suddenly burst into laughter as the credits thank “Miss Mamata Banerjee, Hon’ble Chief Minister of West Bengal”!! Kolkata is bizarre, “Ami shotti bolchhi”.

A pregnant woman arrives in the city, is almost forced to hire a cab and the cabbie turns out to be a real sweetheart, giving her his contact number as he reads her “discomfort”. He turns out to be a true friend and Usha Uthup goes, “Chhote se chhote ho koi yahaan phir bhi dil hai bada/ Khara bhi khota bhi har type ka bondhu milega yahaan”. After a long time, here comes a song that celebrates the true spirit of the city and its “double role” status. “Ami shotti bolchhi.”

Shakespeare has been so wrong! “What’s in a name?” Trust me Mr.Bard, there’s so much in a name. I have a name that make people go mad and although I have a “bhalo naam” and a “daak naam”, yet the variations make me feel I should have remained nameless! And imagine Vidya Bagchhi’s trials as she just tries to make people around the city realize that she is V-idya and not B-idya!! I hate distortions in my name, and it’s a confession. “Ami shotti bolchhi.”

The film takes off with a ‘kahaani’ of a poisonous gas-attack in Kolkata metro and as it proceeds, we go on knitting stories within stories and one ‘kahaani’ follows another and so on. Crimes unfold, blood sheds and the tapestry is woven around one woman, here called Vidya ‘Bidya’ Bagchhi. God knows, if her career graph grows in this way, how many more adjectives would be attached to our own reel-Silk! And Vidya, makes you so comfortable. As a stranger in the city, she never complains about it, unlike many of our contemporary films, and we know why she calls Kolkata her ‘second home’! It shows on screen. Her knight in the film, Parambrata is a perfect companion. Not only does he make a six-month -old police man look convincing but also plays his part pretty well. And we recall the duo in Balan’s debut, “Bhalo Theko”. Time flies, talent ferments. “Ami shotti bolchhi”.

Vidya Bagchhi, aided by Rana/Satyoki (and these several identities!) (Parambrata) leaves no stone unturned to unfold the mystery behind her ‘missing’ husband. During her search, they come across who’s-who of the state apparatus: Government employees, Investigation Bureau chiefs, Police inspectors, Teachers, HR recruiters and of course, the two cha-boys, Bishnu and Poltu! Khan, played brilliantly by Nawazuddin Siddiqui, is a show-stealer. They make and unmake their own ‘kahaani’s to revisit a two-year-old heinous crime and in the process ‘uses’ Vidya Bagchhi to reach their ends. I am not here to unfold my ‘kahaani’ and spoil your interest, so let this much be the gist of Sujoy’s ‘kahaani’. I will not divulge an iota of the taut screenplay, any more. Again, trust me, “Ami shotti bolchhi.’

Let chill run down your spines, let the flavours of the city of joy be soaked in your veins, let the continuous background scores of R.D. intoxicate you, let the oh-not-so-new metaphor of Durga maa divulge newer dimensions for you. But here again, I can not but bring in Rituparno’s Utshab. Remember how the director had deliberately avoided any visual of Durga puja in his film? We could only know decipher the five days of the puja from the loudspeakers that served an excellent background score in the relationship saga. Here Sujoy Ghosh mixes and matches the festival according to his own wish and the way he makes use of the Puja days is brilliantly captured by the cinematographer Setu. Brilliant work, Mr. Ghosh! I am sure, you’ll love this treatment, “ami shotti bolchhi”.

The entire ensemble is from Kolkata: Dhritiman Chattrejee, Saswata Chatterjee, Kharaj Mukherjee, Shantilal Mukherjee, Kamalinee and even in a cameo, newcomer model-tuned actor, Pamela. Everyone seems to fit in their roles to the T as if they could not have asked for a better exposure in national cinema. And how can the director forget his Genie? “Ekla cholo re” in Big B’s baritone and his narration at the end of the movie add to the seriousness of the film. And by the time you arrive at the truth, you know, to be weak is never a miserable thing! Ah, Rupam and Anupam, “shotti bole shotti kichhu nei”! “Ami shotti bolchhi”.

Few questions remain unanswered to me. Or may be, I am answered. I still don’t know, but they are open to interpretations and that’s exactly what this Kahaani is all about! You keep on interpreting, you keep on being teased and you keep on guessing till you know, dusting is not a bad habit after all! “Ami shotti bolchhi”.

Let there be kindly light!

We have it all. And this leap year, with an added day, well, Amen! I am talking about the special days. Three more days to go and you have one of the most awaited days of the year: Valentine’s Day ke din main, keh doon unkaheen..!

Two days ago, the florists were on a high. Rose day and then there you go! Friends, Lovers, Countrymen and yes, you too, bought roses for the near and the dear ones. Roses, roses, roses everywhere and not a petal to smell (ah! for me), but it was a delight again to observe people walking with a stemmed rose, red mostly, yellow and white as the pockets permitted. You could almost sense that the V-day was near. Then let’s take yesterday. Jodi-makers’ and breakers’ day perhaps. And they called it “A Proposal Day”. Many of you must have proposed: to your lovers for the handcuffs to be tied this year, to your bosses for a raise, to your maids for adding that extra pinch of salt to your food, to your parents to let you grow up finally, to your government for letting you be more vocal on Facebook and awaiting with an unending list of several other proposals.

Today. Beat it if you can, it’s a “Teddy Bear” day! Looking at those steeply priced soft toys at a ‘mall nearest to you’, you might wonder how to spend the ‘mehnat ki kamai’ on your beloved and your loved, buying them teddies. The teddy would make them fall for you, your love won’t!

Oh come on, how cynical is this, isn’t it? Let it be, we only need an occasion to celebrate, one more reason to show we care, one more moment to feel yes, am alive. It’s only when the morning newspapers show that a widow with a kid by her side has been shut out by her in-laws and shunned by police, has spent the entire night in an open, you might wonder that the little boy might deserve a teddy or a rose and the mother, a decent acceptance by the society and her loved ones. One incident alone can question your civilization, and what’s the point if we do not consider these things and only announce days like your-most-loved day or your-most-despised-people day or say, or as gross as a no-potty day?

Celebrate, Spend but think! Exchange shoes and re-think!

Paving a new ‘path’!

The lights go off and the regular advertisements pop up on the screen. The censor certificate unfolds and ah, the wait is over. The year’s first Dharma Productions’ release. But what’s this? The Dharma logo is seen but where is the musical refrain from KJo’s Kuch Kuch Hota Hain? Instead, there’s a devotional score by Ajay Gogavale, ('Deva Shree Ganesha' the filmi invocation that is), which is also a song from the new film itself. They have changed their music this time and for the devout followers of the Dharmas, like me, it is pretty disappointing; the KKHH music had been haunting since 1998 and then suddenly there’s a leap. Well, that is precisely why we adore the phenomenon called Karan Johar. No cribbing about the excess use of glycerin to activate the lachrymal glands of the audience by this producer/director. He has had his share of criticism since his debut in 1998 but you can not ignore that his films get the cash registers ringing at the BO. Agneepath is his leap, his brain-child and his strategy. This is the mark of a true artist today. No wonder, when he made his K3G, he was criticized heavily for this family melodrama. But no director, (since Ramesh Sippy’s Sholay), could bring together an ensemble of Big B, Jaya, SRK, Kajol, Hrithik and Kareena on the silver screen with aplomb.The critics barked but the money flowed in. And if you ask me, when shown on the television channels today, it still is able to arouse the EQ to such an extent that tears run down the cheeks. My dear friend, Chanchal Roychoudhury would surely second this (Chanchal, I acknowledge you! :) What I would like to say is making a commercial film is a harder task than say, adapting literary works. They have to cater to a greater audience and KKHH, K3G, KANK and MNIK have all just done that.

Agneepath (2012) is all about changes. Apart from the background score during the production logo, the film alters the original script of the 1990 ‘cult’ movie too. Besides these, the film changes the definition of a commercial revenge-action genre. In an era when we talk about the changing scenario of Indian films, with a Dev D, a Delhi Belly, a Dhobi Ghaat or a My Friend Pinto, Dharma’s latest offering is like putting the same old wine in a new bottle, but how!! I will not write about who did what, what happened and what followed. What I want to share is that I am not an ardent follower of violence on screen, especially Hindi films. The Salman Khan fans might assassinate me, but what we have seen in Ready, Dabaang or Bodyguard were either remakes of other regional movies or simply worked because of the man himself. But Agneepath differs. Not only does it portray violence in a stylized form à la RGV school but also combines a few aesthetics to enhance the complexities of relationships.

The first forty five minutes is a treat. The child artiste Arish is an ‘actor’ to watch out for. The expository scenes are brilliantly shot and the film prepares you for a ride through the known alleys of a Shakespearean tragedy. The lust for power and the father-son relationships kept reminding me of Macbeth and King Lear. While watching Mandwa I kept thinking could it be like the island inhabited by Prospero and Miranda in The Tempest? Such was the magic-spell of the two legendary cinematographers Kiran Deohans and Ravi K. Chandran and they have captured Kaancha and his ‘Lanka’ in dark colours with ‘thunder, lightning and the rain’. (I know it is a bad habit of mine, but I can not keep the bard at bay, his works haunt me, even if I am watching Saawariya or Saat Khoon Maaf or Rajneeti.) As the film proceeds in the first half, characters evolve and the power-plays take their courses. Agneepath is a ‘man’ film, and therefore it celebrates fatherhood in significant aspects: the relationship of Vijay (Hrithik) with his father, Rauf Lala (Rishi Kapoor, in a bravura performance) with his two sons, as well as Vijay and Kaancha’s (Sanjay Dutt) with his father are perfectly blended in this gory drama.

The second half comparatively slows down but our own Vijay Deenanath Chauhan, Hrithik performs the magic again. His histrionics, the anguish and the angst in his eyes make him a perfect choice for the tailor-made role. The supporting cast is no less. Of course, now we know that Om Puri, as an honest police commissioner is unbeatable. He plays it with élan and although he has played it for years, no one else perhaps would be able to put himself in his shoes for a more convincing portrayal. Putting oneself in another’s shoes has been captured well, literally and metaphorically.

I do not want to compare the original with the remake. The genre was a favorite among the film-makers during the late 80s and early 90s but no one dares to remake such unreal movies these days. The Karans have done that. The use of colours, the shuddering camera movements, the monstrous Kaancha and a well-scripted revenge play, Agneepath makes you fall in love with the absurdity called Bollywood.

Few things however never change. Priyanka Chopra is wasted. The film gives an adrenaline rush but it still fumbles with the portrayals of a ‘ma’ figure, a ‘behn’ (recall, The Dirty Picture) and the supporting pillar in the beloved. Piggy Chops delivers well but you want to have her more on screen. And yes, the production house has again changed another known format; the music director duo,Ajay-Atul are new to the camp and the producers have deliberately avoided their favorites Shankar-Ehsaan-Loy. The background score is good although one can vaguely recall Vaastav’s score if one carefully notes.

Agneepath is a masala movie. The hero (anti-hero!) sheds tears, sings with his beloved, dances, prays, loves, avenges and dies. The heroine reciprocates, the villain grunts and the police chases. The formula, tried and tested albeit the techniques are new. Only if the editor Akiv Ali could have used his pair of scissors more judiciously for the second half, things would have been just perfect. And yes, the driving source of the protagonist, the poem ‘Agneepath’ by Harivansh Rai Bachchan has been deftly used in the climax.

All said and done, I am still wondering why did the producers use the rippling-tattooed biceps of Dutt for a film set between 1977 and 1992. And however she tries, Katrina Kaif can never arouse that ‘chikhni chameli’ oomph; she is too polished to look that. Yes, Shreya Ghoshal sings an item number for the first time and instead of the statutory warning in the beginning, “Cigarette smoking is injurious to health” flashes on screen as and when Kaif lights the cigars dangling between the lips of her “bhookhe shers”. Changes, again!