Like  every  one  else,  yours  truly  dabbled  in  blogging,   switching  between  half  a  dozen  blogs,  but  not  taking  it  too  seriously  enough.  It  was only  since  2007,  that  i  started  to  put  all  my  articles  on  one  single  blog,  and then  in  2008, i  came  into  PFC,  and  as  the  cliche  goes,  “things  have never been  the  same  again”. Putting  together  the  list  of  my   favorite  movies  of  the  Noughties,  was   quite  a  task  for  me.    So  what  i  have  decided is  to  put  together  a  series  of  posts  on  my  favorite  movies,  of   each  year  of  the  decade,  till  the  end  of  the  year,  starting  off with  2000.  So   if  you  are  wondering   why  X  is  not  there  in the  list,  the   reason  could  be  a)  Its  not  of  that  year  b)  I  have  not  seen  it  c)  I  really  did  not  like it. This  is  a list  of  movies  i  have  liked  personally, so  chances  are  that  you  may  not  find  that  much  acclaimed  award  winning  movie,  or  you  may  find  the  name  of a  movie  that  was  either   slammed   or   not  too  well  known.  I  start  off  with  Y2K  aka  Year 2000,  or   Year 00,  the  year  a  certain  George  Herbert  Walker  Bush  Jr,  entered  the  Oval  Office,  in  the  most  controversial   election  in  history,  while   the  much  anticipated  Dot  Com  revolution,  ended  up   Dot  Bust,  throwing  the   economy  into a  tizzy.   So  here   goes  my  list  in no  particular  order.

Hey  Ram:  For  me  this   would  remain  the  best   of  the  year,  and  I  would  rate  this  movie  as  one  of  my  favorites  in  this  decade.  Sure  the  movie  had  it’s  own  flaws,   it  was  way  too  indulgent  at  times   with  Kamal  appearing  in  almost   every  other  frame,  the   “smooch-A-thons”   between  Kamal-Rani   and  Kamal-Vasundhara  just  went  on,  and   some  of  the  surreal  imagery  did  not  really  fit  in  the  movie.  But  this  was  a  movie,  where  the  positives  far  outweighed  the  negatives  for  me.  It  was  a  wonderful  depiction  of  the  title  character  Saket  Ram’s   transition  from a  sheltered,  blissful  life,   to  one  of  revenge,  when  his    wife  Aparna,  is  killed  and  raped in the  pre  Partition  riots  that  rocked   Calcutta  in the  30’s.   The  Hindu  fundamentalist  leader  Abhayankar, provides  Mahatma  Gandhi  as  the  scapegoat  for  all  the  troubles,  claiming his  policy  of  Muslim  appeasement  is  what  led  to the  situation.   Unlike  what  some  critics  made  it  out  to be,  the  movie  was  not  anti  Gandhi, it  merely  depicted  how  an  individual  who  had  lost  everything,  was  made  to believe  that   the  Mahatma  was  the root  of  all  his  troubles.   It  was a  movie  that   probed,   questioned,  made  you  think,  and  end  of  the day, you came  back  with  some  unforgettable  moments.   It   was one  of  the  few  movies  in  the  Noughties   where  we  got  to  see  Shahrukh Khan  the  actor,   rather  than  the star,  especially  in  one  memorable  scene,  where  he  pleads  with Kamal  to  save  the   lives of  the  Muslims  around.  And  yes  it  was  the  first  time  i  saw  a  certain  Atul  Kulkarni, in  one  of  the  finest  on  screen  performances,  as  Abhayankar,  and  from  then on  been  one  big  fan of  his  acting.

Almost  Famous: Cameron  Crowe   took  his  own  experiences  as  a  teen  writer  for  Rolling  Stone,  interviewing  rock bands  like  Led  Zeppelin,   Eagles  and  translated  them  on  screen,  in  an  endearing,  comming of  age  tale.  The  movie   in  one  way  traced  the  growing  up  process  of  the  15  year  old  lead  character  William Miller(  Patrick  Fuget)   who  has  to  deal  with  an  overbearing  Mom( Frances  Mc Dormand)  and   pressure  to get  better grades  at  school.    Miller  seeks  a  refuge  from  his  home  life,   by  working  as  a teen  reporter   covering  the  rock  and roll  scene.  His  friendship   with  the  Stillwater    band’s   lead  guitarist   Russel  Hammond( Billy  Crudup),  and  his  subsequent   growing  up  process,   including  his  love  for  Penny  Lane(  Kate  Hudson),  one  of  the  groupies.  Though  set   against  the   70’s  rock  music  scene,  the  movie   was  more  about  William’s   journey  from   a  gawky,  controlled  by  Mama  teen  to  a  adulthood,  including  moving  out  of  his  over  protective  Mama’s   care.  Crowe  takes   a  nostalgic,  affectionate  look  at  his  own  teen  years,  not  really  focussing  much  on  the  darker   side  of  the  rock  world.   What  works  for  the  movie  is  the  smart  and  witty  dialogue,  fabulous  performances  by  Fuget,  Frances  Mc Dormand(  first  rate  as  always),   Crudup  and  Kate  Hudson,  and  also  the  classic  70’s  rock  soundtrack.

Cast  Away: Not  too  often  does   a  movie  where  a  major  chunk  of  the  action  involves  a lone   man  and  a  volleyball   grab  one’s   attention,  as  Cast  Away  does.   Coming   together   after  Forrest  Gump,  Robert  Zemeckis  and   Tom  Hanks,   come  out  with  a  tale  of  a  modern  day  Robinson Crusoe,  marooned  on  an  island.  The  irony  is  that  Chuck  Noland,  Hanks  character,  is  some  one  obsessed  with  time,   and  schedules,  as  a  Fed  Ex executive.  And  one  fine  day,  he  finds  his   entire  life  turned  upside  down  literally,  when  his  plane  crashes  in  the  Pacific,  and  he  is  left  stranded  on  an  island.    It  was  not  just  the  theme,  but   director  Zemeckis  treatment,  that  makes   this  movie  truly  one  of  my  favorites.    Not  much  of   BGM,   no  fights  with  sharks  or  native  tribesmen,  nor  any  eye  popping  special  effects  of   thunderstorms  or   exploding  volcanoes.   The  narrative  goes  at  a leisurely peace,   showing  Chuck’s   struggle  for  survival  on  the  island,  his  conversations  with  the  volleyball  Mr. Wilson.  The  most poignant  scene  for  me,  Chuck  comming  back  from  the  island,  attends  a party,  looks  at  the  table  laden with dishes,  picks  up a  piece,  and  puts  it  down.  No  dialogue, no  VO,  but   it  conveys  so  much,  of  a person  who  experienced  scarcity,   now  having  to  deal  with  excess.

Crouching  Tiger,  Hidden  Dragon:   If  not  for  anything  else,  the  fact  that  this  movie   introduced  me  to  the  Wuxia  style  of   martial  arts,  should  be  a   reason  good  enough  to  put  it  in  the  list.  But   beyond  the   spectacular  cinematography,  the   breath  taking   martial  arts  scenes,   are  the  multiple  layers,   in  the  story   that  puts  this  movie  firmly  in  the  classic  status  for  me.  Be  it  the  deeply  etched  out  female  characters,  and  their  comment on  the  patriarchal  Chinese  society,  their  place  in  it.  Or  the  clash  between  the  value  systems  of  Confucianism,  Taoism  and  Zen  Buddhism,  represented  by the  3  female  characters.  The  symbolism  of  poison  as  a means  of  cowardice,  or  that  of  bamboo  to  represent  the  inner  self.   And   to  add  some  fabulous  performances  by  Chow  Yun  Fat, Michelle  Yeoh,  Zhang  Ziyi.  The  Wuxia  martial  arts  genre  has  been  one of  my  favorites,  not  just  because  of  the  colors  or  the   action   scenes,  but  also  the  layers  of  complexity  involved  in  the  stories.

Erin  Brockovich: Never  really  been a  big  fan  of    Julia  Roberts,  but  she  manages  to pack a  wallop  in this  Steven  Soderbergh   feature  about  a  feisty  single  mom  who  takes  on  the  energy  giant,  that has  been  polluting  the  water  supply  in  her  town.   Its  the  classic  legal  tale  of  a  David  taking  on  the  Goliath,   the  underdog  vs  the top  dog.  The  difference  is  Soderbergh,  here  ratchets  up  the  tension  and   drama, not  from  any  shady  conspiracy  hi  jinks   nor  does  Erin  herself  receive  any  threats,  but  from  her  interactions  with  the  local people,  her  digging  into  the  cases,   her  fight  against   cash  rich  Gas company,  that  could  buy out  the  entire  legal  system.  Nor  does  Soderbergh  get  into   the  trap  of   having   the  mandatory  climax  courtroom  speeches,  nor  any  big  courtroom drama.  In  fact  if  you  are  looking  for  a  fire  and brimstone  Hollywood  style  legal  drama,  Erin Brockovich is  certainly  not  it.  But   what  works  for  the  movie  is  the  smart  writing,  the  witty  dialogues  and  basically from Erin  herself.  My  favorite  quote  ” I just went out there and performed sexual favors. Six hundred and thirty-four blow jobs in five days… I’m really quite tired.”

Gladiator: I    was  initially  skeptical  about  putting  this  in my   favorites  list.  For  most  of  the  second  half,  the  movie  looked  like  an  extended   WWF  slugfest,   with  heads  rolling,  blood  squirting  around,  and  after  some  time  the  combat  scenes  got  tiresome.   But   then  again  the  positives   were  numerous,  the  opening  battle  scene,  as  rousing   as  it  gets,  “At  my  command,  raise  hell”. But  more  importantly,  the  entire  sequence  between  Maximus(  Russel  Crowe)  and  the  aged  Roman emperor  Marcus  Aurelius(  Richard  Harris),  where  he  decides  to make  Maximus  the  leader.  And  then  the  murder,  intrigue  by  Aurelius  jealous son  Commodus(  Joaquin  Phoenix),  which  results  in  Maximus  turning into a  slave  and  then  a  Gladiator.   Apart  from  some of  the  combat  scenes,  the  dramatic  confrontations  between   Maximus  and  Commodus  have been  well  picturized  too, and  also helped  by  some  solid  acting  from  Crowe  and  Phoenix.

O Brother, Where Art   Thou?:   3   escaped  convicts from a  chain  gang,  hidden  treasure,  whacked  out  characters  all  over,  small  town  Rural  South  America  in  the  Depression, and  the  allusions  to  Homer’s  Odyssey  throughout  the  movie.   One of  my  favorite  Coen  Brothers  movie,   and  to me  not  many  movie  makers  capture  the  pop  culture,  small town  rural  America,  better  than  these  guys.  Mixing  up  Klansmen, Missisippi sharecroppers,  chain  gangs  with  a  hero  named  Ulysees, a modern  day  Cyclops,  the  3  convicts   being  seduced to sleep  by sirens,  it  to me  again would  be  one  of  my   favorite  movies  of  this  decade.  Add to it  some  fab  acting by  George  Clooney  as  Ulyssess, John  Turturro  as  Pete  and  Holly Hunter  as  Penelope.

Requiem  for  a  Dream:  Dark, unsettling,  holding  back  no  punches,  Darren  Aronofsky’s  Requiem  for  a Dream,  is  a  mirror  to  the  lives  gone  waste  from  drug  addiction.  No  sugar  coating, no  sermonizing,  what  Aronofosky  does  is  stick  a mirror,  asks  us  to  take  a look  at  it,  as  is,  and  the  picture  ain’t  too  pleasant.  The  movie  follows  the  lives  of   4  different  characters,  each  of  whom  takes  to drugs  for  their  own  personal  reasons.  Harry( Jared  Leto)  and   Tyrone(  Marlon Wayans) are  two  stringed  out  junkies,  hoping to  open a  fashion  store  that  would show  case  the  designs  of   Marion(  Jennifer  Connelly), a junkie  herself. The  other  person is  Harry’s  mom Sara( Ellen Burnstyn), who gets  hooked  on to  drugs,  while  trying  to  undergo  a weight  loss  program, that  would  help  her  appear on a  Tv  show.   It’s  a movie  that  is depressing,  as  we  see the  characters  going  down  into a  spiral  of  self  destruction,   with  no  redemption  in  sight.  And  of  course  brilliant  acting by all  the  4  principal  players,  makes  this  memorable.

Snatch:   Guy  Ritchie  follows  his  obsession  for  the  low  life  scum  of  the  London Underworld,  after  Lock Stock  and  2  Smoking  Barrels,  this  time  though on  a more  larger  canvas,  and  interweaving  numerous  storylines.  The lowlives  here  are  the  narrator  Turkish(  Jason Statham),  a boxing  promoter,    Franky  4  fingers( Benicio  Del Toro)  the  diamond  thief,   the  Irish  “pikey”  Michael O Neill(  Brad  Pitt),  ex  KGB  agent  and arms  dealer  Boris  The  Blade  and  the  bounty  hunter  Bullet  Tooth  Tony.  And the  usage of  jump  cuts, quick edits,  as   Guy  Ritchie  moves  at  a  furious  pace,  connecting  the  numerous  stories  to  the  single  point,  the   hunt  for  a 84  karat  diamond,  that  has  been  stolen. And  an  ensemble  cast  featuring  Jason  Statham,  Brad  Pitt,  Benicio  Del  Toro,  Vinnie  Jones,  Dennis  Farina   adds  the  icing  on  the  cake  perfectly.

Traffic:  One  movie  that  would   make  it  to  my  Top  10  Movies  of  this  decade.   Stephen  Soderbergh’s  on  screen  adaptation  of  the  TV  series,  that  explores  the  entire  spectrum  of    the  drug  mafia- from  it’s  origins in  the  poppy  fields  of  Pakistan-Afghanistan,  it’s   distribution  across  the  West  and  it’s  use.   The  movie  takes  a  look  at  the  drug  world,  through  3   different  interwoven  tales,  a   Mexican cop  Javier  Rodriquez(  Benicio  Del Toro) used  by  a  high  ranking  Mexican  official  to  apprehend  a notorious  hitman,  working  for the  cartels.  A  conservative  Ohio  judge   Robert  Wakefield(  Michael  Douglas) leading  the fight  on  the  drugs,  at  the  same  time  having  to  deal with  the  fact  that  his  daughter  is  a junkie  herself.  And  a  pair  of  undercover  agents  in San  Diego,  trying to  nail a  powerful   drug  lord  Carlos  Ayala,   and   his  wife  Helena( Catherine  Zeta  Jones) trying  to  subvert  the  trial.  Soderbergh,   takes  us  straight  into  the  world  of  drug  trafficking,  as  we  get  to know  the  various  persona,  the  side  characters,  the  players  involved. Liked  the  use  of  different  color  tints   based on  the  backdrops,  and  also  the  personal  conflicts  among  the  lead  characters.  The  ever   dependable  Del  Toro  is  brilliant,  as  is  Michael  Douglas  as  the  Judge,  torn  between  duty  and his own  family life.  Catherine  Zeta  Jones,  shows  there is much more  to her  than  just  a pretty  face.

Unbreakable:  For  me,  this  remains  to date  my  favorite  Shyamalan  movie,  much  ahead  of   The  6th  Sense.   While  the  6th  Sense,  for  all  it’s   surprise  shock  ending,  was  a  Ghost  tale  simple  and  straight,  i liked  Unbreakable  more  because  of  it’s  look  at  the  concept  of   the  superhero,  the  way  the  protagonist,  begins  to  discover   his  super  hero  qualities.  The  relationship  between  the  physically  fragile   Mr. Glass aka  Elijah  Price( Samuel  Jackson),  and  David  Dunn( Bruce Willis),  the  lone  survivor  of  a  train crash,  that  killed  131  passengers,  Elijah’s   attempts  to  convince  David  of  his  own  superhero  qualities   is  what  drives  the  entire  movie.   The  twist  in  the  end  though,  however  looked  a bit  too  forced  for  me,  did  not  really  fit  into  the  story.

Some  other  movies   with  a Honorable  mention  in  2000

Hera  Pheri-  Cracker  of  a  performance  by  Paresh  Rawal,  one of  the  best  Hindi comedies  of  this decade,  and  a welcome  relief  from the  David  Dhawan  stuff.

Rythm-  A  movie  that is  somewhat  of  a rarity,  in  Kollywood, a  love  story  that is  mature,  understated  and subtle.    Vasanth’s  take  on  the  love  between  a  widow  and  widower,  their  lives  coming together,   is  done with a  sensitivity  that  is  quite  often  hard  to find in  mainstream  Indian cinema.  Arjun  and  Meena  are  excellent  in the lead  roles,  and  this  has  to be one  of  A.R.Rehman’s  best  musical  scores  ever,  every  song  a  winner  in  it’s  own right.

X-Men-  One  of  my  favorite  super hero flicks,  it  works  because  of  the  way  each  character  is  finely  etched  out,  both  the  mutants  and  the  humans,  and  add to it  some  eye  popping  special  effects,  and  excellent  performances  from  Hugh  Jackman(  Wolverine), Anna  Paquin( Rogue),   Hale Berry( Storm),  Rebecca Romjin Stamos( Mystique).

Remember  the Titans: Predictable,  feel  good  sports  flick,  that  works  well.  Excellent performance  as  always  from  Denzel  Washington,  as  the  coach  who has  to  deal  with  racism,  as  well  as  motivate  his  team to  win.

Related posts:

1. Amitabh Bachchan: After 2000
2. Welcome to the world of Coens
3. One Scene Character

Are you making your One minute Movie for PFCOne 2010?

Ratnakar Sadasyula | Permalink |
© PassionforCinema, 2009.
Post tags: 2000 Movies, Almost Famous, Cast Away, Coen Brothers, Crouching Tiger, Erin Brockovich, Gladiator, Hey Ram, Hidden Dragon, O Brother Where Art Thou, REQUIEM FOR A DREAM, Snatch, Traffic, Unbreakable

Every evening show at his Prithvi theatre, he is wheelchaired in, he watches every play and when the place is emptying, waves bye bye, nods, or just smiles tiredly.

I waved to him last week after a show of Veenapani Chawla’s Tortoise and the Hare, and he smiled. And to think there was a time when he’d be sparring with me about a review or chatting genially in the course of a drive through the outskirts of Bengalaru where Utsav was being filmed. Before the unit lunch, he’d check if the mishti dohi he had ordered specially from Kolkata had arrived. Of course, it had.

Lately at the MAMI film festival, he was honoured with the Lifetime Achievement Award. And the fan in me just had to reflect and write..

That his influence  has been undervalued. Those who do not thunder, bellow, hubble or bubble, carry out elaborate death scenes, are not viewed as great actors. He didn’t participate in any of those acting tricks, he just made every little emotion – love, hate or something in between – so darn effortless, that he was to a camera born. Casual, cool, collected.

Shashi Kapoor was my hero, I-wish-I-was-like-him poster boy of the 1960s. Terrific looks, coiffed  and cologned, a jagged but disarming smile, neatly turned out. He  advanced a fashion statement with those flapper collared silk shirts – floral printed! – and bell bottoms. Many of his films credited wife Jennifer with the costume designs; below her credit, there would be the name of the Taj Mahal Hotel boutique, Burlington’s. The boutique is still there, you cannot walk past it without thinking of Shashi Kapoor.

Angrezi ka mausam

Shashi Kapoor with his wife the late Jennifer Kendall

When you look at today’s actors, there may be inheritors of the Dilip Kumar-Raj Kapoor-Dev Anand styles – but there’s no one who comes quite close to the Shashi Kapoor charisma which was always equated with the “western..angrez” stereotype. Nasir Husain, who directed him in Pyar ka Mausam (1969), once said that his hero’s appeal is essentially to the urban audience, but added, “When he leaves all his questions and doubts at home, then he appeals to all, be it to a college student or a truck driver.”

Indeed it was facile to call Shashi Kapoor “westernised”, and unfairly sourced in his personal life, since he had a ‘memsahib’ wife. Also his roots in the theatre craft of the Kapoor clan as well as that of the  Kendals’ Shakespearana made him an oddity of sorts. Hey, here was an actor who had travelled abroad extensively, believed in the Bard and literature, and actually spoke in his interviews about his elaborate English breakfasts on Sunday. And what do you know?.. Jennifer Kendal Kapoor and he even had a library with books that were actually read! And there was that music system playing Mozart, Bach, Beethoven.

For a starry-eyed boy studying in a Bombay school – the Cathedral and John Connon — where other students considered Hindi films infra dig, Shashi Kapoor was a guilty pleasure of sorts. When the Shakespareana troupe arrived at Cathedral one afternoon to stage excerpts from A Midsummer Night’s Dream, he was royally ignored. Or perhaps other students had not heard of him yet. Because Ivory-Merchant’s The Householder (1963) had arrived and vanished, faster than breeze, from a handful of cinema halls.

In that, he portrayed a man very babu and lower middle class in his values. Just the opposite of what he was in real life. Earlier, his B R Chopra film Dharm Putra (1961) had tanked, since it dealt with the serious issue of communal strife. Both The Householder and Dharm Putra were black-and-white, he wasn’t a glamour-exuding star yet. That afternoon, I was the only one who asked him for his autograph which he gave with much ceremony, asking me my name, where I live, and how come I knew about him.

Chat amiably with a boy who’s been tracking him, and the actor has him hooked for life. Years later, I was to tell Shashi Kapoor that I had written him a fan letter but had received no reply, a snub which can snuff out adulation immediately. “Naaaah, come on,you didn’t,” he laughed. “You are not the type who writes fan letters.” Well..

Fan..tastic!

The fan in me surfaced for Shashi Kapoor. He was so likeable in Jab Jab Phool Khile (1965) as the poor Kashmiri who falls in love with swanky Nanda, and its songs were so marvellously picturised, that I couldn’t miss a single movie of his, and it had to be seen first-day-first-show.

I ended up liking his films, which are hardly on the recall file today: Mehndi Lagi Mere Haath (1962), Mohabbat Isko Kahte Hain (1965) and  Neend Hamari Khwab Tumhare (1966), all teaming him with Nanda, and a slick whodidwhat titled Aamne Saamne (1966) opposite Sharmila Tagore. Shashi looked best with La Tagore but was  more successful with Nanda, forming a ‘hit pair’ in the magazine terminology of the time. With Hayley Mills in Pretty Polly (1966), he cut a sharp, saturnine figure..but the film was not up to scratch.

There was a lull in his career, ascribed to that ‘western’ personality. The return came with Sharmilee (1971), a womancentric thriller in which Shashi Kapoor carromed between the double roled Raakhees. Occasionally, there would be the odd movie like Dil ne Pukara (1967) in which Rajshree had to make a choice between him and Sanjay Khan. I remember a reader’s letter in Filmfare, then, in which a woman reader wrote, “But where’s the competition between the two? Which woman would not opt for Shashi, eyes closed?” The lesser-known work of the actor is also his most appealing, as in Suhana Safar (1970), Abhinetri (1970) and Paap aur Punya (1974).

Shashi Kapoor, Nirupa Roy and Amitabh Bachchan in Deewar

I am not sure whether I liked him playing second fiddle to Amitabh Bachchan at all. Bachchan got all the powerful scenes in Deewaar (1975) but there’s that silver lining here. It was Shashi Kapoor who delivered that classic line, “Mere paas maa hai.” But take Do aur Do Paanch (1980), what the hell was he doing, not quite putting on a convincing show in a project that required a zany approach. The actor’s  flair for comedy, sporadically evidenced in  movies like Pyaar Kiye Jaa (1966) and Shaan (1980) was never quite exploited completely.

Although the  wizard of madcap comedy Manmohan Desai did cast him in the nondescipt Suhaag, it was Bachchan and Rekha who were given all the crowd-pleasing footage. Before that  the director had cast Shashi Kapoor in the more ‘serious’ Aa Gale Lag Ja (1973), absurdist but narrated with a straight face, like the finale showing our hero going haywire  on roller skates.

Producer ka Junoon

With time, alas, in mainstream commercial cinema Shashi Kapoor was typecast in nice-guy roles, be in Namak Halaal (1982) or Ghungroo (1983). Shashi Kapoor was accepting the backseat, presumably because he didn’t relate to the leads being offered to him, and because he was shifting gears towards the production of films of the sensible kind. Monetarily, those films burnt him. Still that was his most admirable phase, as the producer of Shyam Benegal’s Junoon (1978) and Kalyug (1981), Aparna Sen’s 36 Chowringhee Lane (with the performance of a lifetime by Jennifer Kendal), Girish Karnad’s Utsav (1984) and Govind Nihalani’s Vijeta (1986). Perhaps, he was hoping to break into the international market, an idea that was far ahead of its time. Junoon fetched rave notices in the international press and was much-sought-after at international film festivals.But that was it..

Shashi  has not been able to take criticism easily though. My review of Junoon raised his hackles and at our first face-to-face meeting at a film festival in Kolkata, he was anything but cordial. Subsequently, he thawed and how. If I was interviewing him, he would insist, “Listen ask me tough questions..or I’ll fall asleep.” He didn’t fall asleep.

Those films didn’t fetch him money. And the only film he directed Ajooba (1991) shoved him to brink of bankruptcy. The film industry spoke about him in whispers. This did affect him. Compounded with the loss of Jennifer to cancer, he appeared to have lost his love for life and cinema. Never have I see a man turn from an Adonis to a corpulent figure overnight, the excess weight and disinterest were there as if to say, “Who cares?”

Gradually, he perked up and the dazzling smile returned, but it was evident that he had withdrawn into a shell, spending his quality time with his grandchildren.

All the world’s a stage

At his home in Atlas Apartments on Malabar Hill, there was a small waiting room which the household laughed was the “chamcha room.” There the flatterers and the gainseekers would congregate when Shashi Kapoor was in the gravy. Today, he has shifted to an apartment in Juhu, adjoining the Prithvi theatre. The theatre has been maintained for decades by Shashi Kapoor under the helmsmanship of his daughter. The hub of the city’s theatre activity, it is a magnificent gift to the city by the actor, in memory of his father Prithviraj Kapoor who straddled the worlds of theatre and cinema.

Almost withdrawn from the entertainment world, Shashi Kapoor still talks fondly of the late Ismail Merchant, a producer who could sell the Buckingham Palace. The collaboration between the producer, the actor, director James Ivory and at times, author Ruth Prawer Jhabwala, are an entirely different subtext of his life and career. The films are a delectable assortment ranging from the moodily elegiac (Shakespearewalla, 1965) the playful Bombay Talkie (1970), the yearningly nostalgic Heat and Dust (1983) and In Custody (1994) which showcased him as an aristocrat gone to seed. This performance, in the latter phase of his career, is remarkable for its implosiveness.

Mr Elegant

Out of the Ivory-Merchant fold, New Delhi Times (1986) sees him in an unforgettable performance, as real as it incisive about the machinations of the media.There are countless performances I can open out from the vaults of my heart right now, but suffice it to say that his early films especially catch him at his subtlest, like Bimal Roy’s Prem Patra (1962) and Benazir (1964) And he has that ability, too, to snatch an entire film away from under the nose of the leading man – as in Ijaazat (1998), an elegant punctuation before the end.

Of the three Kapoor brothers, Shashi was the youngest and the most boyishly endearing of them all. Raj Kapoor directed him in Satyam Shivam Sundaram (1978) but everyone looked uncomfortable before the half-clad Zeenat Aman gambolling across in 35 mm.

Shashi Kapoor, born, Balbir Raj could have retained his Peter Pan looks but chose not to. He would have been so right in a Satyajit Ray film, so right in Seemabadha and Shatranj ke Khilari, for instance. Yet he made no pitch to the master.

That certain smile

Today Shashi Kapoor, at 71, accepts the popping flashbulbs of the paparazzi with visible bemusement. He doesn’t accept awards. I had fallen at his feet to accept the Filmfare Lifetime Achievement Award, and he had just smiled an inscrutable smile. There was another occasion to request him to accept another  Lifetime Achievement Award. The request was made to him on board an aircraft. And he said, “Naaah, you know how I am, sweet of you but…now behave yourself..go fasten your seat belt.”

I don’t exactly know why he has been allergic to awards, but I was thrilled that he consented to accept the festival’s award.He’s not so stubborn after all.

And for that I would like to write him a fan letter once again…to say, “Thank you sir for your art..and for being my poster-boy of all time.”

Related posts:

1. Mere Paas Maa hai…
2. Halla Bol: Mere Paas Gurda Hai
3. Mere Angne mein – Is She a Male ?

Are you making your One minute Movie for PFCOne 2010?

Khalid Mohamed | Permalink |
© PassionforCinema, 2009.
Post tags: 36 Chowringhee Lane, Jennifer Kendal, Junoon, Kalyug, Shakespearwallah, Shashi Kapoor, Utsav, Vijeta

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2. Tribute (and a kick) to Oz
3. A Hard Kick in the Solar Plexus

Are you making your One minute Movie for PFCOne 2010?

Nikhil V | Permalink |
© PassionforCinema, 2009.
Post tags: comic book, Mark Millar, Matthew Vaughn, Trailer

Source

Check out Sourabh’s blog on PFC here

Related posts:

1. Blast From The Past – Meeting Usha Khanna
2. Peter Gaya Kaam Se : Poster
3. Aamir: Rajkumar Gupta take a bow

Are you making your One minute Movie for PFCOne 2010?

Sethumadhavan N | Permalink |
© PassionforCinema, 2009.
Post tags: Rajeev Khandelwal, Return Gift, Sourabh Narang, UTV spotboy, Vaastu Shastra

Rensil - Karan : the makers

Kurbaan from the beginning was marketed as a film dealing with terrorism (& if I’m right it was even supposed to be titled ‘Jihad’ before better sense prevailed upon I don’t know who..!). It’s a thriller format but the content too is constantly played up (‘socio politico thriller’ if you may want to call it that), though neither is accomplished enough. My problem with the film is that it’s not about terrorism, it’s about the supposed ‘Muslim lifestyle’ & the terrorism coming out of it. Wife beating, women in hijab, women not allowed to work outside, patriarchal household. I don’t mean these problems doesn’t exist in the community but its not exclusive to the Muslim community & moreover they are separate issues & not necessarily directly linked with terrorism. So, either the makers were trying to be too ambitious or they themselves are not aware of their own prejudices. Yes, there are the essential representations of ‘moderate’ Muslims in the film – Riyaz (Vivek Oberoi) & Rehana (Dia Mirza), but they are as stereotypical in their conception as the characters representing the other extreme in the film. To be moderate, Rehana, a journalist, must wear business suits with its top shirt button open , must have a boyfriend & thus show no sign of her ‘Muslimness’ as Salma, Anjum or Saeeda are shown having by wearing hijab. Thus, hijab (once again) becomes the symbol of suppression by the males of the household rather than a symbol of faith.  Mr. Riyaz Masood, again a journalist & Rehana’s boyfriend must only be concerned about ‘the American point of view’ of the news & should prioritise his identies – of whether being a Muslim first or an American first, according to his father (typical RSS/MNS ideology..should Tendulkar be an Indian first or a Marathi first..no surprise that Karan Johar readily apologises on being threatened of militant activities by Raj Thackeray’s MNS). Also, Riyaz’s father’s  (played by Kulbushan Kharbanda) concern for thousands of innocents dying in Afghanistan/Iraq should be met with a contemptuous/indifferent look on the face of his ‘moderate’ Muslim son while the same son argues the same point later in the film. The difference – a bearded Muslim speaking about the Muslims is of a ghetto mentality & again, a Muslim with no sign of ‘Muslimness’ speaking of the same issue is a ‘moderate’. This is the line of thinking that the Talibans & the VHPs adopt as well.

I know that Kurbaan is just another not-to-be-taken-seriously Bollywood potboiler but I believe even if the popular forms of entertainment take up topics as serious as terrorism/religious extremism, it should at least do so responsibly. FANAA was a film very close to KURBAAN storywise & though it was regressive too but it never got political or debated religion in the context of terrorism. It remained a love story for most part & never made sweeping political/religious statements. Whereas in Kurbaan, Saif Ali Khan’s character, Ehsaan Khan teaches Islamic studies/Muslim identity probably at a reputed American University (how the film manages that & many other such things is a question that a viewer of the Hindi films must not even bring in his mind). Anyway my point is that a terrorist is teaching Islamic studies/Muslim identity in an American University & while he is in the class he is shown to be open minded. That sends out misguided message. Another instance is the scene at Bhaijaan’s (Om Puri) home, where Ehsaan announces that “agar bhaijaan ka bas chale to wo sabke haath mein Quran de dein”. Replace the word ‘Quran’ with ‘Hathyaar’ in the sentence – it’s a dangerously written line! These two instances are not just twisted in their thought but offensive to Muslims. I, as a Muslim take offence of that (no no I’m not going to vandalise or plant a bomb at Dharma Productions !)

Terrorism of the Muslim extremists have been in the forefront internationally since the 80s & after 9/11 everyone, wittingly or unwittingly made sure it becomes synonymous with the menace. I don’t want to doubt the intentions of the makers  of the film (Rensil De Silva & KJo primarily) because that would be foolish but yes, it is irresponsible filmmaking & poorly researched/written film. Terrorism &  identity politics have been the most burning issues of our time so it’s only natural that the popular culture also addresses it in its own way but please don’t make subtle versions of Gadars & Indians.

I have a grouse with Anurag Kashyap as well who has co-written the dialogues for Kurbaan. He always have had strong opinions about politics & society that’s evident by his films & his interviews. I really want to know why he agreed to become  a part of such regressive storytelling?  Because, as his fan, it makes a difference to me.

The story of Kurbaan is written by Karan Johar who’s next directorial is the SRK starrer ‘My Name is Khan’ which most probably again is an issue based (read terrorism/Muslim identity) film wrapped warmly in a love story coming to a theatre near you in the winters of February.

I hope he hasn’t f****d that up!

Related posts:

1. Kurbaan
2. Kurbaan Movie Review : Kuch kuch terrorism hai?
3. Kurbaan : Trailer

Are you making your One minute Movie for PFCOne 2010?

| Permalink |
© PassionforCinema, 2009.
Post tags: Anurag Kashyap, Dia Mirza, Karan Johar, Kareena Kapoor, Om Puri, rensil de silva, Saif Ali Khan, vivek Oberoi

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? Thankfully, I had 17 years of Miditech’s documentary experience backing me.

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

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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, Video

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