I remember getting a call from my mother well past midnight on 26th Nov, last year. ‘Take a look at the news, Mumbai is being attacked, again!’ The horror had just begun.

Leopold Café where I’ve ‘hung out’ as a fresher in the city was under attack. VT, the train station where I got off every morning at 9:50 to take the over-bridge to the old Lady of Bori Bunder (TOI) had been devastated. Taj and Oberoi were burning. Mumbai looked straight out of a conflict zone on tv. For the next 2 ½ days, I didn’t leave the news. Like everyone else in India. And perhaps, the rest of the world!

The front

For many reasons! This was a dream project – my first film commissioned by the National Geographic Network. Exacting editorial, taut story-telling, a sensitive approach, stiff timelines and most importantly – an unbiased narration of events! Expected of any journalist, but prejudices creep in when you are trying to document something as complex as 26/11. Here I was, an Indian, and someone who has lived in and loved Mumbai. Can I pull it off?

It began with miles and miles of newsprint, and conversations with several survivors, victims, cops, analysts and journalists. So many stories, so many people, so many places, so many theories! At this point 2 people became very critical to this film – the Associate Director Ramya Ramamurthy with a brilliant knack of finding people and cracking access, and a Mumbai crime journalist who is easily an Encyclopedia on 26/11. What do you keep? Who do you leave out? That’s when Niret Alva, the creative guide on this project told us, ‘There are 50 ways of narrating the same story. You need to pick yours. And stick with it’. A simple, but brilliant insight!

Jannat!

Soon we found ours – a complete story of the event, told through characters who were inside the action – the fisherman who saw the terrorists come ashore, an American couple who witnessed the shooting in 2 venues, a banker who came face to face with the attackers as he was taken hostage, a mother whose daughter was shot next to her, the police officer who first fired at them, security officials that engaged the terrorists, experts in defence analysts.

But what would be the tone of our film? It’s a fine line that divides an eye-witness account from a voyeur. And Empathy from schmaltz! We took a conscious decision to not dwell on people’s pain. We’d rather they ponder on the ‘What Ifs’ of their split-second decisions. Because often, that was the difference between life and death!

Our base was soon ready… we had found our stories, and our people…it was now time to connect the dots. But how do you re-create the attack all over again? We had hit a roadblock with the Taj, who didn’t want painful memories dredged up again for a film. We also had to contend with Mumbai’s monsoons – how do you match Mumbai in November with the wet Mumbai of July? That’s when I met Ashish Shukla, a young, passionate & aspiring feature film-maker in Mumbai. He had answers. So did someone I had worked with in the past – Hemant Bhalla, the DOP of the film.

The Story-tellers

Together, we worked out the style of shoot. We knew we wanted the viewer to be transported into the heart of the action. How do we do that ? We were working with a docu budget, not a feature film. So, we couldn’t go around building lavish sets. Our only hope was to get permissions to film at the real locations of the attack. It’s true. If you want something really bad, the forces conspire to make it happen. We didn’t get the Taj, but we got the rest – all the other scenes were filmed at real locations, from Leopold Cafe to Cama Hospital & BT Road to Chowpatty.

How do we match the scale of the terror attack? The only way to do it was to seamlessly integrate reconstructions with the archival footage. The treatment had to be edgy, hand-held & candid. As in-obtrusive as possible! Capture the action, the way you see it, as if you were in there. But this shooting style was risky – it could either look very amateurish and untidy, or very real and gritty.

I remember the night we were filming the Kasab capture scene – the cops who were involved in the original encounter on 26/11 were on duty that night at Chowpatty. We were trying to shoot a ‘nakabandi’ in action with our fake cops. Suddenly, a few of the real policemen there came up to us and volunteered to direct the action of our actors, to ensure authenticity. The scene turned out to be so realistic, that a local news channels rushed to film us for some ‘breaking news’.

Fake cops who capture Kasab

Realistic reconstructions meant hard work for our fiction team in Mumbai who painstakingly matched every aspect of production with the original – from costumes to props and casting. It was all about details – for instance, the terrorists trousers had to be just above the ankle, the Police Control Room in the film is identical to the real Mumbai Police Control Room including the software applications on their desktops, Leopold Café’s trademark Beer Towers were specially made for our shoot.

But I think ‘Kasab’ was a good accidental find. We spotted him while recee-ing at the Leopold Café, where he works as waiter. Incidentally, he was at the Café on the night of the shootout and had seen the terrorists in action. He agreed to play Kasab. Speaking of recees, we had a very interesting supernatural experience while recee-ing Nariman House in the middle of the night, but that’s another story for another film.

I discovered that Mumbai’s stunt masters are a breed apart. They speak a different language – where every line is invariably a combination of sound effects. ‘dishkao, dishkao… aur yeh goli lagi… dhoom, dham, yeh gira… phachak, woh glass toota… you get the picture’! I was amused by the costing – you are charged by the number of bullets you shoot. Or the bullet wounds you need. Or the number of glass vases you crack. Or the windshields you break! They liked scale. They liked style. They always wanted their stunt boys to ‘die’ in Bollywood style. It was quite a task to get them to tone down for some modest, realistic action.

Pack-Up!

We wrapped up a very tiring reconstruction schedule in less than a week. Our film was now in the hands of Sanjeev Nag, an experienced documentary editor. This is also when my co-director Chandramouli Basu joined the team. We began interviewing the big fish. Stories and conspiracy theories tumbled out. Intelligence and administrative lapses were revealed. Some on-record. But most were off-record and off- limits. Sub-judice videos, transcripts and interrogation reports came to us. We discovered how this attack was planned – how thousands of prospective young men were screened in Pakistan and almost like a reality show, through stages of elimination, the final 10 were chosen to execute the show.

We spent many days & long nights crafting our material. With developments in the story regularly, our final segment of investigations and analysis looked different everyday. But our interview of the Indian Home Minister turned out to be a coup – he was honest, forthcoming and candid, we couldn’t ask for anything more !

Story strands were drawn out, clipped, inter-played and braided, untangled, snipped, re-attached… fashioned and re-fashioned till they looked good to us and to NGC in Washington. It was a laborious effort, but the end was satisfying. Though, sadly we had to leave out almost 40 minutes of content. We always knew we were going to have a problem of plenty.

So, to cut a long story short, Inside: Mumbai Terror Attacks is now ready. It premieres on the National Geographic Channel on this Thursday 26/11 at 8pm and repeat telecast at 11pm. Does it make the cut? You tell me.

Inside Mumbai Terror Attack
A National Geographic Channel India (NGCI) and Miditech Production
Telecast Timings – Worldwide

Nat Geo India

11/22/2009 – 22:00

11/26/2009 – 20:00 & 23:00

Nat Geo Italy

11/19/2009 23:10

Nat Geo Latin America

11/22/2009 21:00

Nat Geo Germany

11/26/2009 21:10

Nat Geo Australia New Zealand

11/29/2009 20:30

Nat Geo Iberia

11/29/2009 21:00

Nat Geo Turkey

11/29/2009 21:00

Nat Geo Central Europe

11/29/2009 21:00

Nat Geo Asia Taiwan

11/29/2009 22:00

Nat Geo France

12/06/2009 20:40

Nat Geo Benelux/Africa

12/06/2009 23:00

Related posts:

1. Please leave a short story alone
2. Frigid – a short story
3. Cured – A Short Story

Are you making your One minute Movie for PFCOne 2010?

Ashish Shukla | Permalink |
© PassionforCinema, 2009.
Post tags: 26/11, Ashish Shukla, Documentary, Mayurica Biswas, Mumbai Terror Attack

Trailer

Trailer of Dvandva

Film Website

http://www.dvandvamovie.com/

My earlier Blog

http://passionforcinema.com/dvandva-duality-of-an-independent-filmmaker/

Genesis of Duality

My journey of Independent Filmmaking started with a lonely house. There I was learning to write screenplays. I started writing short screenplays which later I was planning to turn into short films. I was stuck, simply because I didn’t’ have resources and know-how to implement my “mind blowing” ideas. So writing short stories was most obvious thing. I took my first screenplay to a famous writer and he torn it into pieces. But I kept writing. It was tough for me because I was not a “born” writer and never wanted become one. But I desperately want to record my ideas, my visuals, and my hallucinations. I simply didn’t know how. I read Syd Field many times. It was about doing action. And the trouble was fear of doing it. Then I tried to draw the screenplay and wrote what I was seeing in the drawings. That’s how my first real screenplay was born. And I took it the same writer and he became very excited. He was drunk. But I really respect drunkards. And I started to write again. Process drawings visuals become obsolete and started recording my ideas directly on my laptop. Today I think that writing screenplay is toughest part of filmmaking, toughest in the sense of labor and pain.

Character of Pandey

So I wrote more and more, more characters, more plots, more stories and lots of experiments. Soon I observed that there is one common thread in all my stories that is the house I was living in. So I thought could I connect them? And to my surprise I also found lots of similarities between characters from my different short stories, Character of Pandey kept repeating and So was Rahul and Prashant. The place I was living became Kawabhai’s house. And then characters started to interact with each other. They were making connections with each other and few more were getting introduced. It was all happening in my mind. And it was complex enough to draw. It was too much for me to handle. I was new to screenwriting. The chaos and pain became unbearable. After certain point I simply couldn’t write. I packed the whole idea of turning these short films into a non linear narrative. But back of my mind was constantly interacting with characters; I was observing my characters in real life, noticing how they will behave and what should become part of them, and what should not. I even tried to play with different plot points and come up with a structure. I started narrating the idea, and giving narration helped me to improve storyline further. It went on for two years. It was excruciating pain and extreme chaos. But before I could realize I had a story for a feature film. Eureka! Short films finally connected with each other. Characters finally made relationship with one another. And there were plot points and so there was structure, of course nonlinear.

Kawabhai

But then I realized that when one feel Dvandva is a story of character X, it become a story of character Y, and when one finally one thinks it is the story of Y, it becomes story of Z and X and Y reappears and connects with Z. It was all against Syd Field. And I was scared, really scared. Will I able convince anybody to produce such kind narrative? Or will it remain as figment of my imagination? Even if I am able to make it, How people feel and relate characters and story strongly and more will they able to make connection?

I didn’t know answers then and even I don’t know now. Only future will tell.

In the meantime I was experimenting with camera and short films which made the idea even better and better. After certain point my mind gave up. And that’s where Aadil and Anurag came and took the screenplay to the next level. The process improvisation of narrative went on and on. We kept improvising till dubbing. Btw Anurag and Aadil were not only my co-writers but also producers of Dvandva and equal partners in the crime. They took big risk on producing such an experimental film. And I think without them “Dvandva” would never have been made.

Duality Improvisation

Helmet Cam

Any Process has number of steps or stages. Filmmaking process has its own, screen writing to mastering of soundtracks. When I made short film “Cheque of Death” I storyboarded it. I shot what I wanted to shoot. I compromised when I couldn’t do so. But I tried to achieve, what I visualized. Alfred Hitchcock says “Compromise starts when you go to shooting floor”. Very true. And soon I realized that you need good budget to get even in that position, where you won’t compromise and the budget is always remains a luxury, which I never had. Most of the short film makers never have that kind of luxury. In the Era of Hitchcock, it was studio filmmaking, I mean filming inside a studio environment. Today you go and shoot on actual locations, where you can’t control much. You don’t have means to control. Men and machinery rules the set. And both of them are costly, very costly. And hence I compromised when I was making short films.

Desi Jimy JIb

X

I don’t want to compromise.

Y

Between idea and reality falls the shadow.

X

So what? You take up “baby” and lit the shadow.

Y

But “baby” is not enough.

X

So you have option of shooting idea, shooting reality or shooting shadow. You can also shoot idea and shadow or some different combination.

Y

Or best way is to shoot everything or possible combination.

X

And when one have10 ideas and equal number of reality and shadows comes up, you go broke.

Y

Lets Compromise

X

No Compromise

Y

Stop making low budget films.

Who is Shooting Who?

X

We can’t. Because we have big “licky” (It is a tapeworm of Filmmaking) and it won’t let us sit quietly.

Y

So compromise

X

We will improvise; Let us open our mind to unknown number of ideas and reality and shadows. And choose what best or what you think is the best.

Y

Really

X

At least this is what I believe.

Creative Film Lights

Best thing was I could not complete my fancy 3D storyboards on time. And our ultra tight resources allowed 22 shooting days. We had to rush because Manson was rushing fast. It was 75 percent night shoot in short and hot summer nights. Casting was incomplete and problem with casting of only lady character due to nature of screenplay. Real locations were challenging. Crew was fresh and actors were inexperienced. We had Unknown and criticized format. There were no technical men to rule sets. No gigantic machinery to impress not so technical men. It was cinema 54’s first production and my first feature film and it is first film of all cast and crew, baring few. It was first feature film in Nagpur in 16 years.

Improvising Sets

That’s when I learned to process of improvisation. Simply because I didn’t want to compromise, neither producers and nor any of cast and crew of Dvandva.

Keep Reading Passionforcinema!

Related posts:

1. DVANDVA – Duality of an Independent Filmmaker
2. My First Tryst with Film Making
3. Honesty in Film Making

Are you making your One minute Movie for PFCOne 2010?

Chhatrapal Ninawe | Permalink |
© PassionforCinema, 2009.
Post tags: Chhatrapal, debut, Dvandva, Filmaking, Independent Filmmaking, Struggle

All the reviewers have suddenly raised the heights of the pedestals on which they keep their exhalted selves. ‘London Dreams’ is a mainstream bollywood film which promises to provide entertainment and intrigue. When did the maker or anyone else associated with the film claimed that they have made a cult classic? Why then review it with that scale? Does the film keep you engrossed enough to want to know ‘what happens next’? Yes, it does. Does it entertain? Yes, it does. Are the performances good? Yes, they are. Is the music good? Yes, it is. Are the production values and technical aspects good? Yes, they are. Then how does the film become trashy? Well, that’s the mystery!

No film is perfect. You can find faults with the most celebrated classics of the world cinema. ‘London Dreams’ is obviously not a classic and has its pluses and minuses like any other film. But, barring last few minutes, it is a decent entertainer. I wonder why the so called critics are just not ready to accept that? There are such contradictary observations made by them that it is difficult to accept them as genuine. People have different likes and dislikes and preference but how can people with similar sensibilities have such drastically opposite views on something? Read on some samples given at the end and you will know what I mean.

First and foremost, all of them seem to have made up their mind even before watching the movie that Ajay and Salman being 40 plus just can’t be rockstars. ( Though in reality,we have many 40 plus rockstars. And by this logic an actor need not play any character because he is not that character in real life.) In the movie, they are not 40 plus and they aren’t rockstars either. They are what you can call popstars. So, their music and their look and their concerts need not be what you think is classic rock.

Critics are unnecessarily slotting it as a ‘rock movie’ and comparing it to ‘Rock On’. There is absolutely no connection with ‘Rock On’ and this is not a rock movie. The protagonists could have been in any other profession. The point is the unfair distribution of passion and talent. As the tagline says, the anguish of seeing your dreams coming true for your best friend.

Most of them are complaining about the music and calling it a disappointment only because it is not what they classify as ‘Rock’. It need not be rock. It is pop or regular bollywood style music. It is undoubtedly good and serving the purpose. The way the music concerts are shot is something never seen in bollywood movies before. Even this is not going down well with them. How can an Indian band win the hearts of firangs in such a way? is what they wonder. A few years back, an Indian music director winning an Oscar would have been considered a fantasy and laughed at if shown in the film. But, it’s a reality today. In this particular story, this particular band is popular. So, what’s your problem? The story is not about how the band becomes popular but about what happens after that? But they are stuck on this.

They are very restrained in praising Salman Khan who has given another kick-ass performance after ‘Wanted’. He is charming and adorable in light hearted scenes but he is even more effective in the emotional scenes. All this, with great ease and without any pretentions. Ajay and Asin’s performance is also very good even though Ajay’s character seems a little underdeveloped. The film slips towards the end but overall, it is a film where everything is in place. Now, look at the ‘pearls of wisdom’ from critics -

Story -
Minty Tejpal, Mumbai Mirror – The film has accha, bura and bahut bura elements. The achha thing is the basic story.
Mayank Shekhar, HT – Don’t worry about the story-line. There is no writing.
Udita Jhunjhunwala, DNA – London Dreams is given a leg-up by a strong story but is let down in execution and technique. There are too many missing dimensions to the storyline and Shah falters to develop the situations and characters.
Nikhat Kazmi, TOI – The plot is completely simplistic and linear bordering on the implausible.(why dear?)
Sanjukta Sharma, Mint – There is a point in the story of ‘London Dreams’.
Our man, KM – finds the script childish.

Music -
Minty Tejpal, Mumbai Mirror – ‘Bahut Bura award goes to SEL. Except for the track ‘Ta ta thaiya’ the rest of the music is run of the mill, a huge flaw in the film about music.
Mayank Shekhar, HT – No direct comment. Just wonders “This random Hindi pop group of theirs is a wider mystery. At their mere sight on stage, London screams. They pack up stadiums across European capitals.”( How can they?)
Sanjukta Sharma, Mint – The music by Shankar, Ehsaan and Loy has variety as well as depth – one of the best this year. But it’s difficult to survive all 160 minutes of ‘London Dreams’ just because of it’s music.
Nikhat Kazmi, TOI – Shankar, Ehsaan, Loy’s songs are completley out of sync with the rock flavour of the film. Can’t remember a single foot tapping number other than the ode to Hanuman. (You have a memory problem, madam!)
Udita Jhunjhunwala, DNA – Considering the music is the pridominant theme of the film, the soundtrack is unexiting. (Really?)

Technical aspects and production values -
Minty Tejpal, Mumbai Mirror – The concert sequences are shot beautifully and the film has lavish production values.
Nikhat Kazmi, TOI – No comment. Doesn’t find it noteworthy.
Sanjukta Sharma, Mint – It is an expensive film made with around Rs. 80 crore and the money shows in sweeping sets.
Mayank Shekhar, HT – No comments but finds location and the lighting great. (What a minute observation! He seems to have missed the concert scenes completely)
Udita Jhunjhunwala, DNA – The film is hampered by poor sound (the concert feel is missing). The adrenaline of the live show and the authenticity of the sound are absent. Average cinematography. (whatever she means by this..what does she want?)
Our man, KM – Cinematography is top class. He finds the flagellating scene, ‘best technical accomplishment’ so far by Shah.

Performances -
Minty Tejpal, Mumbai Mirror – Salman has a likeable role which he plays to the hilt while Devgn fills his role with enough angst to turn villianous by the end.
Mayank Shekhar, HT – So, Ajay Devgn plays the quiet, brooding, jilted lover flagellating himself in private with his leather belt. Salman is the carefree, vivacious one. This is how hinterland ticketholders would like to see both. ( How are the performances, Sir?)
Sanjukta Sharma, Mint – Performances fall woefully short. Devgn is a fine actor trapped by his persona – the dark, brooding hero as we all know him. In this film, he is a caricature of that persona. Khan plays upto his real life image. That of a generous, impetous, comical star. If the film works, it would be largely because of the Khan’s star appeal.
NIkhat Kazmi – There is a lot that works in the film’s favour. Topping the list are both performances by Ajay Devgn and Salman Khan who once again share a scintillating chemistry. It’s the weight and wild combo of Ajay and Salman which imbues the film with most of its appeal and draws you into it with the strength of the performances.
Udita Jhunjhunwala, DNA – Devgn is unconvincing as the single minded, selfish singer who will forsake friendship to reach his goal. The character offers him a range of emotions but he carries it through with a single frown.
Our man, KM – Salman is dammit lovable. Ajay devgn is a miscast. He is far too senior to convince you that he is on the verge of a music career. Claims that Ajay flagellating himself are the most potent images of the film that stay with you and are enhanced by great lighting.
Sanjukta Sharma, Mint – Claims that people were laughing when this happened. ( Sounds highly unlikely. It’s really done well)

Parting Shots -
Minty Tejpal, Mumbai Mirror – ‘London Dreams’ is worth a watch though it could have been better.
Nikhat Kazmi, TOI – Nevertheless, watch it for Devgn-Salman thunder and for the simple reason that it is definietly one of Vipul Shah’s better films.
Sanjukta Sharma, Mint – It’s difficult to survive 160 minutes of ‘London Dreams’ just because of its music.
Mayank Shekhar, Mumbai Mirror – There is no writing. Merely good locations and great lighting. Wouldn’t shock me if it sort of lit up the producer’s balance sheet as well.
Udita Jhunjhunwala, DNA – You would have to be dreaming for 90,000 people to turn up at Wembley for a Hindi music performance!
Our man, KM – With all its mad flaws and inadequacies Shah’s enterprise still sees him going through beyond the klutzy rishtas and pishtas. If you think that is reason enough to buy a ticket, check out this London whippy whippy shake.

My worst critic award would go to Mayank Shekhar, HT. He just doesn’t know what is falling out of his keyboard. He has hardly reviewed the film. Anyway, that’s besides the point.

The above is just a sample. I hope, you guys are getting what I am trying to say. The members of this tribe (critics) have strong biases and a weak understanding. They coolly use their positions to make or mar a film. Don’t you think all reviews and endorsments of films should be strictly banned till the Tuesday after the releasing friday. So that, the films will get a clear four days for people to judge the films for themselves and whatever the true public opinion is, will prevail. Critics can later on keep on displaying their understanding, expertise and writing skill and people who want to go by what they say, can do so.

Related posts:

1. London Dreams
2. London Dreams – Is the Better of Bollywood Reality
3. London Dreams movie review : Rock Yawn!

Are you making your One minute Movie for PFCOne 2010?

Manjusha Anand | Permalink |
© PassionforCinema, 2009.
Post tags: criticism, London Dreams, sabotage

This only highlights the sorry state of affairs at  NFDC. Once considered as the messiah of independent and new age cinema and directors , NFDC has now been reduced to merely a pathetic organisation in the hands of some arrogant babus who are not even remotely connected or related to the process of movie making.  Remember the time when NFDC had produced a number of path breaking films such as Jaane bhi do yaaron, Salam bombay, Train to pakistan amongst others? It served a platform for aspiring and path breaking directors such as Kundan shah, Shyam benegal, Sudhir mishra etc. who had an urge to make films that were different from the usual bollywood fare.

Hindi films are going places globally. Bollywood is one of the biggest film producers globally and many of  our directors and their films are also gaining worldwide recognition in various films festivals around the globe.  But events like these sorrily remind us no matter how much ever our film industry is progressing , things are still the same. Like they say, “The more the things change, the more they stay the same”.

A Tarun Manuskhani or Sabir Khan may find it much more easier to break into the global arena thanks to the big production houses backing them. But what about the directors who don’t have the right contacts or big banners like Dharma productions or a Sajid Nadiadwala to back them??? Imagine how much difficult it must be for them to get the right break.  If it took a Ranjit kapoor and a Pankaj Advani almost a decade to make a Chintuji and a Sankat city respectively after being in the industry for so long. Imagine the plight of a dozen hopefuls who might be striving hard and waiting to get that one break to earn their moment of glory.  And when they do get recognition they have to face such humiliation and fight frustration before they can finally own what truly belongs to them. It is indeed sad that the filmmaker Shyam Rajankar had to use the route of RTI act to finally get his due and restore his dignity. And his cash prize of Rs 15000/- seems like a minor consolation compared to the unending struggle and frustration he had to endure to claim what was rightfully his.

Anyways, here’s hoping that things change in the course of time. Change is important because some aspiring film makers might be discouraged by such course of events and do not lose heart.

Here is the link to the article :
He got award after 17 years through RTI

Related posts:

1. Sorry State of Affairs
2. Shyam Benegal: Commitment Personified
3. Director is like a God walking on earth : Shyam Benegal

Are you making your One minute Movie for PFCOne 2010?

Aditya Savnal | Permalink |
© PassionforCinema, 2009.
Post tags: Dispute, nfdc, Shyam Rajankar

Yes, writing this post, I know I am going to attract the wrath of some friends in the industry. One of my earlier posts already referred to how and why should people exercise self-restraint when it comes to publishing reviews on larger platforms like a mainstream newspaper, magazine or a TV channel.

The question, here, is – should there be a criterion for the empanelment or appointment of film critics and reviewers with large newspapers and channels. I think, yes. But, why?

A lot is being said and written against the critics who have, of late, been receiving flak from the fans and film-makers alike. For the simple reason that the business of critique a la sensational news channels has come to harm the film business, especially post recession. Further, film critics’ business has also come to be seen as a method to methodologically killing films prematurely.

It has come to be believed by the industry insiders as if critics are confused between the process of critique and criticism. As if the two are synonymous.

But, my argument has a different locus standi. For that we should see beneath and find out who are the kind of people working as film critics with these channels and publications. Film critics are often people with good exposure to the filmdom, its people and techniques. They are given enough hospitality and respect by the industry stalwarts for obvious reasons. And, we have them in plenty now.

They are spilling worms at films the same day of the release. The love-hate relationship continues. As the ‘most hated critic in the film circle’ who has emerged is the veteran Mr. Khalid Mohamed who has attracted wrath of almost every director and producer ‘except a few’. The core of this post revolves around these “few” people who are bound to be spared from the critics’ axes. Fortunately and, as a saving grace, these “few” happen to be different film-makers for different critics. And that is how, we often hear good words from one-two corners about films, which are written off by other critics. The question, therefore, is why do critics spare some film-makers. Or, the other way round, how can every film-maker safely expect some breathing space from at least 1-2 critics when every other guy is out with death sentence? Trust me, if you try and figure out, you can observe a clear trend as to who is sparing whom.

The answer is much simpler though. Majority of these film critics happen to be part-time, wannabe or even successful film-makers themselves. At some point of time, either they themselves have had ventured into film-making or, would like to get a chance to do so.

On the Bollywood canvas, most ostensibly, Khalid has attempted it more than the rest of his clan. I liked Fiza in spite of all the criticism his films have attracted. He has written some award-winning movies and directed a few more, though most of them proved to be duds in box office terms. But, he remains at the top in that list of guys doubling up as Bollywood-Director-Critic and, generates more hate than admiration at the moment. Hope things get better for him. Next in line, we have Raja Sen, very active and highly applauded on the regional circuit and a more admired critic presently. Taran’s Bollywood adventures are yet to reach the heights compared to these counterparts but he has been a very successful producer and commands quite a following with his writing. Rajeev Masand achieved early success on television as a reporter, analyst and anchor to a level of following to the extent of starting his show after his name – ‘Masand Ki Pasand’. His Bollywood antics are yet to be seen or felt, if he is nurturing any. Let’s wait if and what kind of films he happens to make, provided he actually thinks of doing so, some day. So for Nikhat Kazmi, who probably happens to be the most widely read film critic, representing the Times Group. She has been one of the most stable critics in the last decade when we saw many of them coming, indulging into several adventures and attracting wrath. Among one of the veterans doubling up as filmmaker-critic we have Chidananda Dasgupta, a contemporary of the likes of the legendary Satyajit Ray. Among the present lot, we have others like Derek, Anupama and many more names we cannot accommodate all of whom in one place. Nor is the purpose of citing their names an effort in the direction of outlining their filmy biography. These examples are enough to present my cause.

The whole message is that the business of film critic is like that of a Jury Member in a selection process, a Judge in a proceeding or, an examiner in an examination. All of these responsibilities and roles require a total balance. That you belong to no one. Or, you belong to each side. That there is no relative, no friend, no enemy, no well-wisher and no foe. Simply, no personal or business interest.

Critics can maintain this line and have done this well till the writing business of theirs was mixed with the business of film-making. It is generally a myth that they take sides for monetary gains while trashing or favoring particular sides. But, yes, it is almost impossible to be neutral to all the films the moment one enters the business of film-making.

For the simple reason that film-making, unlike many businesses and industries is a collaborative business. Here, you need so many people in the entire value-chain of the film-making process. From a spot boy to the distributors and theater operators all are key stakeholders.

Now the paradox; the moment a critic crosses the line of being confined to writing and enters film-making business in any sense, one cannot be unpleasant to the producer who produces or is potentially going to produce his/her film. Even if you just did one film with the producer but the custom of returning favors has to be maintained. Then, maybe a critic may also double up as a producer for his film, but the distributors. Let hell break, no film-maker would ever like to displease the distributors. So can’t you alienate the theater owners.

The entire equation has quite a multiplier effect. Once a film-maker and associated with whatever producer(s), distributors(s), it is hard to trash their films unless for very obvious reasons. Once a filmmaker you remain a filmmaker. A lesser critic.

At the same time, however, in this age of sadist journalism, a writer needs to be as provocative, negative and sensationalist as Sansani (better call it horrow show) to be marketable. So, while the new demands of a critic’s role want him/her to be dipped in negativity and sadism for readership/viewership reasons, a filmmaker critic cannot be equally negative to all films with equal parameters. This creates doubts in the minds of the readers who can see the trend of judges taking sides in particular cases.

It is high time, those critics who don, have donned or plan to don the filmmaker’s hat, should also plan their exit from the business of film review and critique on mainstream media. Gracefully.

Blogs and microsites spared.

Don’t you agree?

Related posts:

1. Stop cribbing & start writing…the contest is here….
2. STOP PRESS – Indian film in Cannes!
3. Online Critics Society

Are you making your One minute Movie for PFCOne 2010?

Deepak Singh | Permalink |
© PassionforCinema, 2009.
Post tags: amita malik, Anupama Chopra, chidananda dasgupta, Critic, critique, derek bose, film critic, film review, Khalid Mohamed, Nikhat Kazmi, Raja Sen, Rajiv Masand, randor guy, Review, Taran Adarsh, vinayak chakravorty

Down the drain...

I didn’t want it to be one one of those, but anyways, here goes. I am deeply saddened by the way Islam was shabbily portrayed in Karan Johar’s supposedly coup de grace, Kurbaan, directed by Rensil D’silva. Mashallah, I tell you!

I am particularly very partial towards Advertising guys making their Hindi cinema debut, a trend kicked off by Rakeysh Mehra (ROM) with Aks, where the villain spouts lines from the Bhagwad Gita.

“Na koi marta hai, na koi maarta hai,
Aisa main nahin kehta, tumhare Gita mein likha hai…”

My faith gained ground with Sujoy, Shashanka Sir & was further cemented by Abbas Tyrewaala, only to be ruthlessly shattered by Rensil.

What was the whole freaking point? One explanation that wouldn’t irk my socks off (being a SRK mega-fan) is that this was a teaser promo to My Name is Khan. Even if Kurbaan was that, to hell with all you guys behind this sham of a film.

There were few women in the audience I saw, wearing ‘Hijaab’ and for a moment I thought they had a bomb in their bag and rightly so, isn’t that exactly the point K.Jo and ‘family’ ended up driving in?

WTF! Haven’t we had enough of this already? What’s new? Fuck what’s new, even the older ones seemed way too dignified & sensitive in handling the issue.

I thought Khalid saab & Padmaja mam were way too scathing in their reviews, but now I think they were being only too kind. It seemed like a sorry excuse for being called cinema. I was warned well ahead, but someone who knew my love for Nauheed Cyrusi, said she is in Kurbaan. So I kicked my ass.

It’s another story they killed her in it and made her look scarier than RGV on a bad hair day.

Some films have luck in their casting.

This is one such film, may be thanks to the Dharma Production banner, the cast & crew of great caliber nodded to be a part of this teaser for My Name is Khan. So much talent & sincerity gone down the drain? Holy hell, in many parts, Kirron Kher reminded me of FK Sr. (RIP). And Om Puri saab… what was he doing here. How can I even dare forget Kulbhushan Kharbanda? Everyone is on a ‘Talent Wasting’ marathon. Hell why?

Some Sundays have bad luck on them.

I wanted to Jim Carrey’s Christmas Carol, but as fate would have it, I never got the ticket and ended up with a blasted brain.

Fuck you Veejay, as he was the one who said before I left to watch Kurbaan “I hope they don’t chop off ‘that’ scene.” I guess they did :(

Some films don’t have a good scene in them.

Not one single scene which could make me happy for one single moment. OK, the beginning was cool and all that, but the beginning ended before I could spell KJo. WTF. It was a bloody curry of cliches. Even the Bhanumati from Bannerghatta, sitting behind me could out-guess what’s happening next. And me? Don’t even ask. Damn!

Some films just suck big time.

So Kurbaan was one of them. Worst part, the whole audience laughed their guts off, every single time something happened which they had already guessed. People dying, bombs going off, identities being revealed, shit happening, whatever odd… No damn scene or thing could establish the gravity of the issue. Mundu.

Anyways, I take this opportunity to share with you dear PFC readers, my sophomore attempt at writing drama. The first one, Ashwamedha, was trashed by even the office guy whom we bribed to get him to see. Drat.

Without much ado, here is:

Shit Happens...

Sahib Bibi aur Julaab
A Keyrun Rao original

Fade in

Day / int / appt.

Ashish is banging on the bathroom door

His wife Chaitanya is inside

Ashish is yelling “What are you doing Chaitu?”

She says “Go to hell”

Ashish tries to push the door open

Wifey says to stay off

Ashish is almost sweating now banging the door

He says that he is sorry but she screams from inside “It’s too late Ashish”

Cut to

Night / int / appt.

Ashish & Chaitanya at the dinner table

Ashish tells Chaiitanya that he is sick of her cooking

Chaitanya says “Why don’t you cook yourself”

Ashish says “Of course I do cook, but will you ever learn to cook anything remotely edible food in this lifetime?”

Close up of a burnt roti & thick lumpy paste like Dal

Chaitanya pushes her plate and walks out

Ashish gets up & walk towards the sink & throws up

Cut to

Day / ext / park

Montage shots of:

The love birds sharing an ice cream

Ashish & Chaitanya at the park whispering sweet nothings

Walking hand in hand

Sitting at a bench

Chaitanya says “But Ashu I don’t know how to cook…”

Ashish says “Don’t worry darling, I will cook for us… as long as you love me…”

Cut to

Day / int / appt.

Close up of a ‘Divorce Notice’ lying on the center table

Ashish is prancing throughout the room very impatient

He walks up to the washroom and yells “What’s with the divorce notice?”

Chaitanya says “You asked for it!”

Ashish says “To hell with the divorce, when will you come out of the loo?”

Chaitanya says “This is my revenge… why did you lie to me before marriage?”

Ashish says “I didn’t know that you will take it so seriously”

Chaitanya says “Well now you know Mr. Ashish Jaisingh”

Cut to

Day / ext / park

Ashish is proposing to Chaitanya on his knees with a ring in his hand

Chaintanya has tears in her eyes

They hug each other

Walk out of the park into the sunset

Cut to

Day / int / apptt.

Ashish is screaming banging at the door “come out you stupid woman”

Chaitanya says “yes, i was stupid to get married to a loser-liar like you”

Ashish yells “you know I can’t use the Indian loo”

Chaitanya says “Well, this is the farewell gift Mr. Jaisingh”

Ashish gets into the Indian loo and closes the door

Sound of the flush

Fade out…

SOME LOVE STORIES HAVE S*** ON THEM

Related posts:

1. Kurbaan : Trailer
2. Kurbaan
3. Kurbaan – Now Serving “Terror Concoction Vomit Curry”

Are you making your One minute Movie for PFCOne 2010?

Magik | Permalink |
© PassionforCinema, 2009.
Post tags: 9/11, Islam, Karan Johar, Kareena Kapoor, Kurbaan Review, Rensil D'Silva, Saif Ali Khan

‘Aam Aadmi’ is the focus of the present UPA administration in India. At least that’s how they spin it. In the Malayalam film industry, you had a man who imbibed this spirit a long time ago.

Sreenivasan, writer, director , actor and lately producer, is the person I am talking about. He has always portrayed a common man in his movies. He has always written and directed movies about them.

He has portrayed,

-          how a person suffers from mental illness because of jealousy, jealous because his wife is fair and he is dark

-          how a person breaks up his loving joint family due to pressures from his wife

-          how a lazy grown man , with wife and kids, can undo his life because of his fear of taking any responsibilities

-          how a communist worker who follows communism ideals blindly and has to pay a big price for it

-          how a politically minded son forgets all about his responsibilities in his pursuit of a career in politics

Do all the things I listed above sound serious to you? You will be surprised to know all the movies above are well regarded comedies in Malayalam with amazing repeat value. Most of them also have their stories, screenplay and dialogues written by Sreenivasan.

Why Sreenivasan is popular?

Sreenivasan has a great sense of humour. I would define sense of humour as a person’s ability to laugh at himself before laughing at others. Sreenivasan excels in that. Before making fun of any situation or any person, I think he imagines himself to be in their position. That is the strength of his writing, his characters. He understands the mind set of a middle class person and is able to see humour in the situation.

In none of his movies (which he has directed or written) are the characters extravagantly rich. They seem to be school teachers, barbers, unemployed youths, and small business owners (with a clear definition of what business). All of them are characters that the audiences can identify with. And that’s precisely what happened, Sreenivasan is a well respected figure in the Malayalam film industry; he is respected not just by his peers but also by his audiences.

Sreenivasan as a story, script and screenplay writer

Sreenivasan has been going strong for the last 25-30 years in the Malayalam film industry. In this time, among his contemporaries were world renowned writer directors like Padmarajan, Bharathan, M.T.Vasudevan Nair. But amazingly, inspite of such wonderfully talented competition, Sreenivasan has been able to carve a niche for himself in the hearts and minds of Malayalam film audience.

In part it is due to the comedic nature of his writings and movies, though he has portrayed a lot of serious characters in movies from directors like Adoor Gopalakrishnan , Aravindan , K.G.George etc, I don’t think he has ever written a character devoid of humour from himself or others.And in part due to the relevance of his movies, they may be comedies, but the audience can identify with each and every character in his movies. They may be like that or known somebody like that or vaguely heard of somebody like that.

As an example, I would like to present 4  synopsis(synposii?) of stories, screenplays or script that he has written. Check for yourself if you have known somebody like that, ( Please note all the title translations from malayalam are loose, may be off the mark, In case it is way too off, please let me know and i will be happy to change it)

Vellannagalude Naadu (Land of White Elephants):

A movie about socio-economic conditions of a small time civic contractor, played brilliantly as always by Mohanlal, the movie is a critique of an Indian bureaucracy, of how civil servants collude with private contractors to siphon money of various development schemes announced by the government. The movie, directed by Priyadarshan,(wondering how this has not been made into Hindi till now), had a host of characters, including a serious and honest Panchayat President portrayed by Sreenivasan who loses his life in the process, prompting Mohanlal’s character to become honest and bring the culprits to justice. The movie also had Shobana portraying a tehsildar.

The movie had a whole lot of comedic sequences , the most remembered might be the sequence where a road roller being pulled by an elephant goes out of control and rams into a house.

Sanmasilluvarke Samadhanam( People with goodness in their hearts are most satisfied) :

Remade into Hindi by Priyadarshan as ‘Yeh Tera Ghar Yeh Mera Ghar’ starring Sunil Shetty and Mahima Chaudhary, the remake was a poor imitation of the original. I wonder how Priyadarshan thought that Sunil Shetty can match up to Mohanlal from any angle. The movie follows a down on luck landlord trying to evict long time tenants from his house in the city. A sweet movie made memorable by superb performances by the lead pair of Mohanlal and Karthika and supporting performances by KPAC Lalitha, Sreenivasan and Thilakan.

Veravelppu (Welcome on arrival):

A brilliant movie by Sreenivasan-Sathyan Anthikad combination the movie follows a gulf returned malayalee ( Mohanlal) and his attempts to start a business in Kerala in face of rampant trade unionism. The movie was/still is a chilling comment on the negative aspects of trade unionism in Kerala.

Thalayanmantram:

How many times have you heard this story? A family very happy together was broken up because the girl he married did not like anyone in the family.A wife (brilliant Urvashi) wants better life for herself and her family consisting of husband Sreenivasan and a daughter. She feels she is not appreciated in the joint family set up of Sreenivasan’s family with his brother (Jayaram) and brother’s wife(Parvati) being more appreciated. Slowly her plan seems to work and Sreenivasan’s character breaks up his joint family and tries to lead a better life elsewhere. The movie also serves as a commentary on consumerism when the now nuclear family spends a lot of money on buying fridge, tv and car and other luxury items and end up with high debts which lead them back into the arms of the joint family.

Whatever your personal take on the story may be, you couldn’t deny that these things happen and many families have broken up due to these kinds of ego hassles. A well made movie with brilliant performances by every one but most notably Urvashi as the wife aspiring for a better future and Sreenivasan as the hen pecked husband.

A common thread in all these movies is, all the characters are common middle class people. The movie tends to put them in extraordinary situations and makes them react to the situations as humanly as possible. For example, in Vellannagalude Naadu , Mohanlal’s character being a practical person knows that bribing and flattering civil servants can get his bills passed. In ‘Sanmasilluvarku Samadham’ the landlord chances upon an old friend who is now a police inspector and tries selfishly use him to try and intimidate the stubborn tenants. In ‘Veravellupu’, Mohanlal’s character is easily misled by others, especially his family whom he supported by toiling the gulf.Imagine yourself in each of the characters above, I bet that you would also respond in the same way as the characters in the movie did.

Sreenivsan as a director:

Sreenivasan has directed only 2 movies. All these movies have been successful at the box office and are still remembered for unique messages in each of the movies

Vadakanokiya Yanthram (Machine that looks north (Compass)):

Sreenivasan’s directorial debut, the movie starred himself and Parvati. The movie starts off with Sreenivasan’s character writing a letter to a agony aunt/uncle column complaining that the girl he is going to marry is much fairer than him and what should he do to make his skin color fair.

This inferiority complex even after marriage sees Sreenivasan’s character going from bad to worse mentally, he loses all logic in his ever consuming jealousy and ends up alienating his family and wife.He finally goes to a psychiatrist and gets proper treatment.This must be probably one of the few mainstream movies in India to treat mental illness with the maturity they deserve.

A thread of movie is common day occurance, you wouldn’t have to look far to find a husband jealous of his wife in your daily life. Do all them lead to such situations as depicted in the movie, probably not, but then the movie acts as a cautionary tale on how it can end up.

Chintavristhaya Shyamala (Shyamala, who does not have any worries)

Sreenivasan’s character a school teacher who has a wife ‘Shyamala’ and 2 kids has been on a long leave from the school that he teaches in. He is a drifter who does not like any kind of responsibility and wants to achieve big things in life without knowing his limitations. At the start of the movie he absconds from his house to direct a commercial without understanding the basics of directing. The central character of the movie is his long suffering wife ‘Shyamala’ who runs the house with the help of Sreenivasan’s parents. After each of his escapades, lasting maximum of 3 days, he comes back with a set of excuses and tries to lead a normal life for a period of time before the itch to abscond starts again. After each of the escapade, Shyamala forgives her husband. At last he absconds for good, tries to become a swami by joining an ashram. Shymala gives up all hopes of his returning and tries and succeeds in becoming the bread winner of the house.

The movie ends with Sreenivasan’s character being thrown out of the ashram by the swami-in-charge for neglecting his family duties and his returning to his home to realise that everything runs smoothly in his absence and that unless he mends his ways he is in danger of losing out on everything that he has.

A lazy man, how familiar are you with one, I know I am, because I am one. The movie shows the dangers of abdicating ones responsibility to oneself, towards one’s family and to the society at large.

Why am I writing about Sreenivasan

Whenever people talk about malaylam cinema they talk about offbeat/artistic movies by Aravindan , Adoor Gopalakrishnan, they don’t talk a lot of the mainstream commercial movies expect for a few names like Padmarajan, a respected writer director who made some memorable movies in his short life. They talk about Mohanlal and Mammooty , brilliant actors, who have portrayed myriad of characters written by Sreenivasan. They talk about movies which have won awards, still do every year at the national awards, which may/may not be good.

They don’t talk about Sreenivasan. They don’t talk about the range of movies that he has done. They don’t talk about the characters he has written or directed which are still in the minds of the Malayalam cinema audiences. Sreenivasan made his mainstream career keeping within the parameters that define mainstream cinema. He wrote/directed successful movies which are still remembered for their humour and message. Malayalam cinema audience knows what to expect from a Sreenivasan movie, for them it is enough that it was written by Sreenivasan.

I am writing this because I believe Sreenivasan is a great talent who is one of the very few in India who can do writing, directing and acting with equal ease. Unfortunately he is unknown outside Kerala. His work might be known to Hindi cinema audiences through butchered scenes in Priyadarshan remake factory movies. I hope my writing this compels you to see a Sreenivasan movie next time you hear his name, or see him while changing channels. You may not understand the language, but I am sure you will understand the gist.

Related posts:

1. Kerala State Film Awards 2008 Announced
2. Aadmi azaad hai or ye hindustan hai tumhare baap ka ghar nahin
3. Malayalam Summer Releases 0f 2009- A Sneak Peek

Are you making your One minute Movie for PFCOne 2010?

Dhiraj Ramakrishnan | Permalink |
© PassionforCinema, 2009.
Post tags: Malayalam, Sreenivasan

Sorry for referring the genius as a blind man. I think he can see and innovate more than what the normal human being can do. He is an ode to the human spirit and also to something that we call ‘perseverance’. Its simply unbelievable to imagine that numerous melodies have been crafted by him. For the people who have not known his past, not known his knowledge, not known his creations, this is a short yet insightful post into the legendary music directors life and a tribute to his creations.

His Life:

Born in the university town of Aligarh, known for its art heritage and culture, Ravindra Jain was a musician by birth. He learnt classical music from ‘Prayag Sangeet Samiti’ and earned a degree called ‘Sangeet Prabhakar’. He is married to the poet Divya Jain, and they have a son Aayushman Jain who, like his father, also gained the Sangeet Prabhakar from Prayag Sangeet Samiti. Ravindra Jain has rightly been honoured with the titles ‘Sangeet Gyaneshwar’ and ‘Sangeet Samrat’.

His Childhood, Study and Interests:

He lead a normal childhood fully devoted to music. His father brought him a harmonium which inspired him to learn and understand music further. He was inclined to spiritualism since childhood, incidentally for reciting bhajans his father used to give him 1 rupee every day. He had a rather playful childhood where he used to wander over many places in Aligarh with his friends and often used to get beaten by his father for over indulging in play. His father was his first guru, teaching him discpline and behaviour. He would also participate in school anthakshari competitions with his friends and sister Laxmi and had won many competitions.

His music guru’s were Master Ghamandilal Jain, Pandit Janardhan Sharma and Pandit Nathuram Sharma. It was under the guidance of Pandit Nathuram Sharma he passed the ‘Sangeet Prabhakar’ examination. His interest was such that he learnt from many guru’s like Jain Kavi Daulatram Madhur Das, Dayanatrao and Budhjan in the future. Most of his guru’s were disciplined and showed keen interest in guiding Ravindra Jain to pursue a career in music.

How he got his first ‘Break’:

The first ever recorded two songs were in Bangla for H.M.V. for which he was paid twelve rupees. As a musician Jain got his break in N.N. Sippy’s Silsila Hai Pyar Ka in 1972 but the film never took off and his first released film was Kaanch aur Heera. In 1973 came his first musically successful film Saudagar, followed in the next year by two hit films: Chor Machaye Shor and Geet Gata Chal.

His Creations:

Some of the singers introduced by him are Yesudas, Jaspal Singh, Hemlata, Aarti Mukherjee, Suresh Wadkar, Chandrani Mukherhjee. Jain also has the rare privilege of working under the banners of R.K. films, Rajshris, B.R. Chopra, Ramanand Sagar and Sanjay Khan. Some of his excellent works in television are Ramayan, Noopur, Shri Krishna, Alif Laila and Jai Hanuman.

Ravindra Jain is credited with numerous wonderful albums on bhajans. Apart from bhajans in Hindi, he has also composed bhajans in Marathi and Bengali.

Awards:

A whole range of awards were won by Ravindra Jain. Ranging from State to National awards and International Awards. Check them
out,they are Raaseshwar, Sur Singer, FilmFare Award, Swami Haridas, Youth National, Ashirwad, Adhar Shila, Uptron, Priyadarshini, Jaycees, Lions, Indigo ‘90, Rotary, Bengal Film Journalists Association Award, Uttar Pradesh Film Patrakar Sangh Award, Sangeet Gyaneshwar Award, Almost Faqir and Sangeet Samrat.

Some of the great songs composed by the genius which I liked are:

Ghungroo ki terah bajta hi from Chor Machaye Shor

Gori tera gaon bada pyaara from Chitchor

Jab deep jale aana from Chitchor

Ankhiyon ke jharonkhon se from Ankhiyon Ke Jharonkhon Se

Sunayana..Aaj in nazaron ko from Sunayana

Ram teri ganga maili ho gayee from Ram Teri Ganga Maili

Sun sahiba sun pyaar ki dhun from Ram Teri Ganga Maili

Main hoon khush rang hina from Heena

Even now I get goose bumps listening to the songs ‘Jab deep jale aana..’ and ‘Sun sahiba sun pyaar ki dhun..’. Awesome music
director! He deserves more for his contributions.

Related posts:

1. Jai ho! geet sangeet
2. Quirk Gun Murugan Sangeet Alochana
3. Predictable don’t you think?

Are you making your One minute Movie for PFCOne 2010?

Sridhar Mayur | Permalink |
© PassionforCinema, 2009.
Post tags: Aligarh, B.R. Chopra, R.K. films, Rajshri, Ramanand Sagar, Ravindra Jain, Sangeet Samrat, Sanjay Khan

Most of the magic in this movie comes from the lead actor Mohammed Amir Naji and the camerawork. The former plays a simple, homely man called Karim who has a job on an Ostrich farm, loves his wife non-platonically and has three kids who he loves and scolds. All of that, however, is beside the point. He is basically an oversized kid who understands the concepts of responsibility and sex. He also has hair that magically reflects his mental state. Except that it’s not magical: every time, you can think of a perfectly good naturalistic reason for the state of his hair. His eldest daughter is deaf, and uses a hearing aid, which gets lost in a sludge-infested water storage that has been blocked for a long time when she is helping her brother (the middle kid) clean it up, so that he and his friends can start a goldfish-farm in it. He is an attractive man whose eyes are a match for those of the master of eye-expression – Toshiro Mifune – himself with a mysteriously endearing bulbous hooked nose. The number of shots of his face probably outnumbers all the other shots in the movie (I watched this movie last night, so you can make of this sentence what I will: that’s what stays on in my memory).

The face

The camerawork: this is one of those rare movies (only other I can remember is Three Colours: Blue) where you don’t feel the weight of the camera in the moments when you are looking at the camerawork. It is so simple – so natural, even – that… it looks it. I don’t know enough about movies and camerawork to be able to say any more. There is, in general, an alteration between close shots and beautiful long shots, used often to trick us and manipulate our feelings, but in a way that they aren’t manipulated to non-existence. Watch out, especially, for his last-ditch effort for finding the lost Ostrich.

Wait right here: I said “Most of the magic in this movie comes from the lead actor Mohammed Amir Naji and the camerawork.” This, the fact that they overshadow the story, is certainly the biggest compliment I’ve given Majidi and Naji. There’s an abandoned, blocked water storage outside his house, which is the one his daughter loses her hearing aid in. He, his son and his son’s friends find it, but it doesn’t work anymore. He finds out he has to go to the city, Tehran, to get it repaired or replaced. He goes to work and asks the supervisor – called Ramezan – for an advance on his salary and is refused. He lets an Ostrich escape, and goes around on his motorbike looking for it. He can’t find it, and is fired. He goes to the city, finds out he needs to either wait for four or five months (the girl’s exams are the next month) or buy it on the open market for an astronomical price. He’s sitting on the curb, on his motorbike, when he unwittingly becomes a bike-cab-driver. This is just the set-up. The really magical part of the story are the complications – Ramezan’s leaving for a pilgrimage, the increasing hedonism, his son getting the storage clean, the accident that happens due to his jealousy that makes him an invalid, the visit to the city after the kids buy the goldfish – and the end. I would love to reveal one part of the end, but since enjoyment of movie is more important than enjoyment of review, I won’t.

I should put in a word for the community in which the movie is set. It is the close-knit type in which everyone helps every one. I didn’t make it sound very charming, but I assure you it very much is.

And here’s the best part: I didn’t enjoy this nearly as much as I could have. I watched it on the Indian channel UTV World Movies which, despite being a blessing for people like me seeking exposure to undubbed world cinema, has a constant static in the background, a fact which makes every movie devoid of silence (further commendment for the channel: I watched it from beginning to end without any breaks).

Related posts:

1. The Changing face of Cinematic Beauty
2. The changing face of violence: Re-defined or just reflected By the Coen brothers
3. The RGV PFC… Face Off!

Are you making your One minute Movie for PFCOne 2010?

| Permalink |
© PassionforCinema, 2009.
Post tags: Majid Majidi, mohammad amir naji, Movie Review, persian cinema, The Song of Sparrows, World Cinema

Vishal Bharadwaj at the DVD release:

A few prize moments from ‘75 Crazy People – the making of ‘Frozen’ – co-edited with Shivajee by our very own Kenny DB

Related posts:

1. The ‘Frozen’ DVD Release Pics – Part 1
2. Shivajee is now Frozen on PFC
3. Frozen releases in Bangalore and Kolkata

Are you making your One minute Movie for PFCOne 2010?

Nikhil V | Permalink |
© PassionforCinema, 2009.
Post tags: frozen dvd release, shivajee chandrabhushan

Now that you are in the US, you don’t go about terrorizing the Americans right away. First you get a job teaching Islamic Studies at an Ivy League University and get yourself called a Professor (apart from giving you some pocket money, this job will make you a cool terrorist. [To get the job you will need to have an excellent academic, teaching and publishing record. Also, what about a working visa? But again please overlook these for the moment and stay with me]). Now as you do long hours at the University, you let your new wife slowly discover that you are, well, a terrorist (how do you do that – put her in a trance make her stupid enough to walk into the neighbours’ house in the dead of the night, and, once she’s is there, have the neighbours discuss some big terror plans behind closed doors but loud enough for her to hear. Make her really dim so that she believes them and not laughs her head off… and then you make the ‘Im a Terrorist’ entry!). Professor Terrorist Dude.

You realize you have done not much in the terror department since you left Pakistan; now you need to get on with it and terrorize people – so you start forking people to death (yeah! the cutlery) and as this much action does not seem enough you pick a dead body lying in your basement and drive it to dispose it somewhere (don’t allow anyone to say hey, hold on! why not dig a fcu*#g hole in the basement, bury the body there itself. Yeah make sure the neighbour-terrorists too are dim, very dim indeed). Give the wheels of the car carrying the corpse to a dimmest of them all, make sure he takes a street where there is police surveillance; on being stopped the driver must start to make alarmed faces leaving the Yankee officer with no option but to ask you two to step out of the vehicle. Your action part starts here, you kill a few policeman as a warm up to actual act of terrorizing the city. By doing so you would have given the police enough leads to have yourself and the terrorist neighbours nabbed. So trust your boss to come to rescue here – he decides to go for the kill right away.

What do you do – you botch the whole thing up. No one is going to blame you though; it’s actually your wife who does you in. You see, the night before your D-day, she needed to get her hands on some terror information. She could have easily walked a few paces to the drawers in the living room where the papers with this information are kept. Instead this well-meaning but going dimmer-by-the-day soul takes a long circuited route (mildly recalls your own Pakistan-to-India and Find, Seduce & Marry NRI Girl routine). She first seduces you into going to bed with her, and as you sleep all tired, she tiptoes to the living room and gets the papers. The terror information is leaked out and you, on the other hand, get reminded how much you love her. As a result, none of the bombs go off in a way to do any real damage and all your terrorists friends get killed one by one. Again, not all of this is your fault. Some of your friends were dimwits, remember. They just forgot to blow themselves when they could easily have done so. Instead, they kept clicking their heels till the police could spot them,and then made a run, get caught and get killed.

All of this should not worry you because when you reach the last fifteen minutes of the story no one is going to care any longer for the implausibilities on how you went about the job, they’ll be too absorbed just trying to catch up with the action. Only don’t let the climax action pause even for an instant for you would risk being tied in knots by the endless, gaudy contrivances that you story is filled with. Just one last thing, die smiling and we’ll make sure there is a massive publicity campaign supporting your story. Deal? Deal. Now go give it a try (may Allah be with you).

Related posts:

1. Terror in Mumbai.
2. Terror at the Drive-in Show (The Making)
3. Kurbaan Movie Review : Kuch kuch terrorism hai?

Are you making your One minute Movie for PFCOne 2010?

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