When a movie without special effects, exotic locations, huge stars and song and dance sequences is released, it tends to be classified in the art film category and is immediately slotted for an intellectual or purely regional audience. Gattu breaks the mould and brings us not only Indian entertainment but also simple and meaningful cinema.
Thursday, February 28, 2013
Thursday, February 7, 2013
A Wednesday was the first Indian film I believe I watched in India and without English subtitles. I still remember a friend translating for me the parts I did not fully understand and feeling how the plot was getting entangled and detangled in my brain. Such a stimulating film had me looking forward to acclaimed director Neeraj Pandey's Special 26 (aka Special Chabbis) and I am glad the waiting is over.
While the director might have been facing nervousness this week before the release, one has to say that a trip to the cinema this weekend to watch it is pretty well worth it!
Wednesday, January 30, 2013
Let us quote and interview of Johann Verheem, founder of a weight loss company who became famous overnight due to one of his infomercials: “It's not just that sex sells, but one of the other things very important in direct selling, in infomercials, is that a product looks different enough for someone to stop and watch it.” (Inc. magazine)
Verheem's expert knowledge of "what sells" completely matches my impression of Abbas and Mustan Burmawalla's Race 2, where a score of gorgeous males and females show off their tanned and chiseled bodies and brand clothes in luxurious settings while trying to appear cool by emoting as minimum as possible and handling uncannily humongous sums of money (plus the shroud of Turin!) throughout a plot that unfortunately keeps craving for an ending well before the intermission.
Sunday, January 13, 2013
Talaash screening to convince us we needed to watch Matru ki Bijlee ka Mandola. Seeing Vishal Bhardwaj's name appended to it convinced us further...
Though the plot has been analyzed and sometimes criticized by first-time viewers across the press expecting a mainstream movie with a dash of quirkiness or originality from Vishal Bhardwaj, I have to say I find most critics who were disappointed with Matru ki Bijlee ka Mandola have missed its point. In my very humble opinion, the movie's disjointedness and wackiness was written on purpose. One scene jumps to the next, the absurd creeps up every other scene and the plot includes a critical view of Indian village society while at the same time providing funny cracks. The film might not have the duality of Kaminey or the straightforward drama of Omkara; it might at times seem like Bhardwaj wrote a set of unfinished brilliant sketches for a set of characters he fleshed out in advance; but ultimately, the film follows a thread of veiled, surrealistic but effective critique of India that can absolutely not be brushed off.
Saturday, January 5, 2013
Bombay moviegoer's expectations were ablaze viewing the giant posters of Bollywood’s most masalaic hero pointing a gun at cars passing by on high avenues. The sequel to one of the cinema industry’s most recent box office monuments, Dabangg, was about to conquer the Indian psyche, or so it seemed...
While I am aware of the huge following Salman Khan has among Indians and while I do believe the icon he has become can become an acquired taste for those of us who did not grow up with masala as a run-of-the-mill method of storytelling, this blogger remains nonetheless underwhelmed with the result of the sequel to a very innovative and entertaining original Dabangg.