Delhi 6: A Motley Microcosm

“Delhi 6″ tries to realize a lot of things as a film – and even though it succeeds mostly, this, in itself, turns out to be its nemesis. Rakeysh Om Mehra brings alive the eclectic and rich sights, aroma and flavours of Chandni Chowk through its characters and music. But for anyone who has yet not been touched by the diversity of “Purani Dilli” (Old Delhi), the movie might be little overwhelming.

As a story, it is the oft-repeated tale of an NRI boy coming to India and falling in love with the country and the country’s girl, but the script elevates the film to another level. Though, some sub-plots in the film tend to feel awkward at times, Mehra largely manages to imbue his story with the perfect hues that turn the chaos of Old Delhi into a visual splendour. As a director, he adds subtle touches of brilliance to seemingly ordinary proceedings, some of which would make you laugh, but some which you would just miss – as the scene in which the local politico barges in the middle of a Ramleela. Someone who has not attended the night shows of the local Ramleela is most likely to miss the satire behind the episode. In another scene towards the end, children throw the monkey mask onto the burning effigy of Ravan. It is an understated moment but symbolically, it says a lot. Mehra has these, and many such snippets, strewn throughout the movie, for which one needs to watch the movie carefully and be able to appreciate the localized influences.

The movie’s narrative relies heavily on the characterizations and the director must thank his entire cast for ably supporting him. Each of the characters lends authenticity to their part and though it is difficult to say who was the best, Divya Dutta gets my vote for her small yet powerful role as the fiery Jalebi. Deepak Dobriyal as Mamdu shows a great potential (I happened to like him in Shaurya as well) as he metamorphosed from a happy-go-lucky neighbourhood guy to a distraught fanatic. Watching Atul Kulkarni as the simpleton Gobar, it was hard to believe that he was the bellicose Laxman Pandey of RDB; truly a versatile actor! Vijay Raaz as the vile policeman makes you loathe him, which is proof enough of his superb performance. Waheeda Rehman has perfected the role of the affectionate grandma, and she seemed to be having a lot of fun along with the affable Supriya Pathak and co. Rishi Kapoor played his part with aplomb, as did veterans Prem Chopra and Om Puri. (It seems that I am just left with the pigeon Masakali and Pavan Duggal to say a good word about, so I shall move on…

Despite the huge ensemble of supporting actors, the lead pair manages to deliver impressive performances as well. Sonam has a stereotypical role which didn’t give her much scope to showcase her potential but she proves her acting prowess in many frames, particularly the “Masakali” track. Abhishek Bachchan, who has met with some criticism for faking an accent, doesn’t really deserve the brickbats. He brings out the initial apprehension of accepting India quite naturally; watch him as he dances with the woman folk in the “Genda Phool” track, cute.

A. R. Rahman’s score in “Delhi 6″ is notches above his Oscar winner, “Slumdog Millionaire”. The film’s music evokes so many emotions so much so that it becomes a character in itself. The “Arziyan” qawalli leaves you spellbound as the camera panoramically sweeps across the expanse of Jama Masjid – it is one of those moments that stir your heart. The divine invocation of Goddess Durga in the Aarti “Tumre Bhawan Mein” is soft and pious and is used to great effect in the film. Enough has already been said about “Genda Phool” and “Masakali” which are ruling the charts because of their musical merit. Being an ardent advocate of including more classical music in films, I must thank Rahman and Rakeysh Mehra for reviving the magical vocals of Ustad Bade Ghulam Ali Khan in the “Gujari Todi – Bhor Bhayi”; Shreya Ghosal does an outstanding job of rendering it as well.

Hand in glove with the music is the awe-inspiring camera work. The surreal song “Dil Gira Dafatan” is remarkable in its concept. In this masterpiece, the music and cinematography complement each other so well that it is hard to blink your eyes as you watch bylanes of Chandni Chowk mingle effortlessly with the streets of New York. The Ramleela sequences have been conceived and shot very well; and they have been juxtaposed effectively with the events running throughout the story.

The Black Monkey (“Kala Bandar”) urban myth finds prominence in the plot, but ideally I would have like the story treated differently. The film tackles communalism in a clichéd fashion, as is evident in the hasty and somewhat half-baked ending. But I’m ready to forego all that for the vivid portrayal of Old Delhi that “Delhi 6″ leaves on my senses.

“Delhi 6″ is a thought provoking film, which might not appeal as much on first viewing. In fact, it is tempting to write off the film as boring and preachy. But as you think about it, and there will be moments which will keep coming back to you even after you have left the theatre, it grows on you. I am already in a mood to go and watch it a second time.

Hollywood Bollywood – Slumdog Millionaire

It is the season of over-hype waves and things working by riding on them. An undeserving “Ghajini” becomes an all-time hit and now we have Danny Boyle’s saga of amchi Mumbai, “Slumdog Millionaire”, sweep awards all across the globe. Though the narrative of a slum-dwelling chaiwalla, Jamal Malik, holds your attention, haven’t we all seen better?

Boyle seems to have drawn his inspiration from Bollywood, which over the years has brought the poverty-stricken reality of Bombay/Mumbai on the screen through the likes of a “Salaam Bombay” or a “Satya”. The movie is a tell-tale of all that is wrong with India, only this time it is an outsider who brings to us the plight of slum dwellers, communal riots, the beggar mafia, the fleecing of foreign tourists, the prostitute business, the underworld, the abusive police alongside an eternal love and longing – all in Bollywood eshtyle!

I don’t understand the criticism that is being heaped on the movie about it depicting our country in a negative light. Boyle has presented what our filmmakers have been doing for decades. The film captures the darker shades of Mumbai but hasn’t everyone from RGV to Madhur Bhandarkar done it before. I would honour the director’s prerogative to not sugarcoat his subject, even if it means stringing in cliché after cliché.

Some of us have gone ahead and challenged the film for projecting India as a “Third World dirty underbelly developing nation”. In fact, I believe it is quite the opposite. Alongside all that is shown as wrong, there is an undercurrent of hope that flows throughout the film. The film manifests the much-talked about “spirit of Mumbai” through the resilience of the protagonist. The ability of the characters to survive against all odds, come what may, forms the fabric of the screenplay.

The premise of how a slum dweller knows the answers to all the questions in KBC (Who wants to be a Millionaire?) and goes on to win the show makes an interesting story. And it is in the answers that the story of Jamal’s life unfolds. Even though the film is in no way extraordinary, what is surprising is how Boyle churns out a potboiler that has Bollywood written all over it. In our typical “filmy” fashion, Jamal goes about finding his childhood sweetheart and expressing his love for her. I can’t believe a foreign director can see India this way! As an Indian, fed on a staple diet of Hindi cinema, this one barely seemed any different.

That the western audience has accepted the film in a big way and that critics are lauding it with awards is more to the credit of the marketing team behind the film. The publicists deserve every bit of praise for being able to package the film in a way no India-themed movie (no not even “Lagaan”, and I was too young to notice what stir “Salaam Bombay” created in its time) has ever been done before. I do hope it goes on to win the Academy Awards, at least for Rahman’s work (even though in the same breath, I should add that the musical genius has far better works that have gone unnoticed). 

And at a time when (borrowing a dialogue from the film) “India is at the centre of the world”, this is good news for Indian cinema. Going by the response “Slumdog Millionaire” has received, “the song and dance factory”, which Bollywood is commonly seen as by the world, can come up with crisper ideas and market them well to the world. Perhaps, a western audience is becoming willing to hear an Indian story, the Indian way!

THAT was Ghajini???

Ghajini only goes on to show what hype can do for a movie.

The movie may well be on its way to become one of the biggest grosser in Bollywood. But at best, it matches up to an above-average Sunny Deol flick. Had the movie not featured Aamir Khan it would not have been nowhere close to what it is now.

Bollywood has had a history where many a venture has sunk despite hype but what worked for Ghajini was a sustained and immaculately planned publicity campaign. That it was Aamir’s sole movie in the whole year, and was coming a whole year after his poignant Taare Zameen Par, already had the nation in good anticipation. This combined with the publicity given to Aamir’s (over-hyped) physique and supposed eight-pack took the hype to newer altitudes. The marketing team also made sure the bulked-up Aamir was visible in malls and public places. Days before the release, one could see the once-considered reticent Aamir giving interviews on every possible show on every possible channel. Newspapers and websites were flooded with Aamir’s 13 month rigorous training to get his look. Also, to engage a larger segment of the audience, romantic promos augmented the initial action-oriented posters.

The end result of it all had to be a bumper opening for Ghajini. Needless to say, all this wouldn’t have worked so well for another actor; but Aamir’s hysteria is unparalleled and his fan following spans all sections of gender, class and religion. The loose ends of Shahrukh’s “Rab Ne Bana Di Jodi” also proved beneficial for this film and the “thinking” audience thronged the halls to see if Aamir had fared better. For the rest, who weren’t really the star’s fans, they went anyways to see what all the hype was all about!

So how did I find it?

The film is loud and the background score louder. This morning I concurred with my colleague who told me that he left the hall with a heavy head after watching this film. Even the overall music, barring a song or two, is forgettable and below-average by Rahman’s standards. Majority of the songs stand out of the story and merely extend the length of the film.

If action happens to be your genre of choice, you will enjoy the punches and villains being banged on walls and windows. If not, then you’d be sitting at the wrong place for those parts of the movie. What however holds your attention is the narrative; the director manages to engage you through the entire film. When the gore goes heavy, a romantic flashback alters the tone and pace of the movie. In this regard, the editing is slick and crisp. So even if the film could put some of you to sleep, it won’t give you the opportunity to yawn!

In terms of performances, Asin wows with her refreshing act. She lights up the screen and (due apologies to Aamir’s fans) steals the thunder from right under the actor’s nose. It’s a pity she didn’t get her due with the superstar taking most of the credit. You wait for her to come on screen; be it simple acts of helping people around her or faking up her romance with the business tycoon – she portrays the character of affable Kalpana with élan. In fact, it is the flashback sequences in which she appears, that were most enjoyable.

It is surprising that Aamir, known for choosing his films very selectively, opted for this South Indian remake. Even though his character is central to the film, he doesn’t have too many dialogues. As a guy suffering from short term memory loss, he shows his frustration to a degree but doesn’t have much else to do than beat up anyone and everyone coming in his way. Perhaps, the director could have focused more on the confusion and tribulations he faced due to his problem. As the business tycoon in flashbacks, his witty act makes you laugh. But in one of the scenes when giving interviews to international media, he didn’t sound convincing as a magnate. All in all, his performance was satisfactory in the context of the film. He didn’t break any new ground with this, as some people claim. As for achieving the macho look, I don’t think with the support available these days it is such a Herculean task for an actor known for his sincerity and perfectionism.

As the bad guy Ghajini, Pradeep Rawat disappointed; he tried hard to mouth Haryanvi dialogues but was neither effective nor convincing. Perhaps, the movie would have been elevated to another level had the villainy act been more polished.

The cinematography by Ravi K. Chandran was par excellence. And be it the exotic locales of the Guzarish song or dark shots of the climax sequence, he has shot them all brilliantly. The action sequences have a South Indian influence even though some of them are executed well.

Ghajini, as a one time watch, was entertaining even for someone like me not particularly into action movies or Aamir Khan. But the cult status to which it has been elevated is definitely not justified. It is a clearly over-hyped and has garnered undue credit than what it is worth. I’m sure people had higher expectations from Aamir but for fear of being sounding different, no one wants to admit that.

Adi Ne Bana Di Jodi!

Rab Ne Bana Di Jodi is a commendable attempt by Aditya Chopra to provide the audience a wholesome family entertainer. But let me warn the viewers beforehand. In order for you to enjoy this film, you have to acknowledge the cinematic liberty Adi has taken – he wants us to believe that a wife will not recognize her husband after he shaves off his pencil moustache and undergoes a wardrobe change. But isn’t cinema all about bringing alive a make-believe world! So, just as we embrace a Spiderman or Krisssh, knowing very well that it is fantasy, I’d allow Chopra this expediency.

Through a not-so-long-back flashback sequence, we are introduced to Surinder Sahni who, least expecting, gets to marry the girl he has fallen in love-at-first-sight with. Only problem is, the marriage is a result of circumstances rather than love or even a pondered arrangement. The end result is two individuals, with very different love quotients, set up to live life together.

It is a very interesting premise and what makes it more so is the manner in which Aditya Chopra paints his characters.

Surinder Sahni is a person who is as diffident as it gets, and depicts a love so pure that it is almost incredible. Shahrukh, in this avtar, excels and is at his winsome best. Your heart goes out to him as he goes about his daily chores, or requests his wife to entertain his friends, if she can, he politely adds. In this another scene, where he gazes the lunch box, prepared by his wife, he leaves you in splits. This perfect look of naivety, love & admiration has King Khan’s signature all over it. This and many such brilliant moments etch out the ingenuous character of Surinder Sahni.

On the other hand is Taani, the once-ebullient girl, who is willing to forego her past self to a new life as Surinder’s dutiful wife. But even while she would pack his lunch, clean his room and entertain his guests, because she has “willingly” accepted this marriage, she can’t love her husband and tells him so. There is a real element to Taani’s character and Anushka Sharma brings forth her predicaments with a quiet confidence.

Also, praiseworthy is Vinay Pathak’s portrayal of the loud-mouthed yet sensitive friend of Surinder. Like all his performances before, Pathak makes his character believable. He has some good dialogues to boost of and he fits well in the method of things. It is he who helps Suri transform into Raj, so he can woo his better half by being the “hero” she craves.

This might seem a silly premise and it is actually that, but still Aditya manages to add some substance to it through his screenplay and dialogues. He has generously used SDIPA (Shiamak Davar’s dance school) and their actual instructors to take the story forward. I wasn’t whole-heartedly convinced of Raj’s character as it could have been depicted better from the over-the-top yet inadequate Jat that came across. Also Shahrukh’s performance of this manifestation pales in comparison to the taciturn Suri.
What I think Aditya wanted to show was a clash between the extrovert and the introvert and he was out to (predictably) make the underdog win it. And I think it is this bias that shows.

At a point in time, when I feared that the film would turn into another musical (Dil To Pagal Hai – II), Aditya carefully, and thankfully, steered the screenplay back to the main plot of Suri and Taani. What however, he could have done better was to emphasise more on Suri’s display of love (even though Suri mentions to Bobby that he wants Taani to see it on her own) which would have made the choice Taani makes more convincing. Perhaps Aditya wanted things to be more subtle and left it for the audience to fill in the lines. The end message that he wanted to convey is that, with time and patience love conquers all!

The music, which has always been the hallmark of an Aditya (or Yash) Chopra presentation, is surprisingly understated in the movie. The songs are situational and again far fewer in number in comparison to earlier movies. When I first heard the songs, I found them of a pretty low standard for an Aditya Chopra movie, but after watching the film, they grew on me. In the same breath, let me add that it is still nowhere near the high standards that Yash Raj has set for itself.

The predictable story could have been a damp squib had it not been for splendid performances. The screenplay keeps slipping but picking up soon after at many places. The cinematography is adequate and though there are no Swiss locales to be shot here, Amritsar has been captured well.

As director, Adi Chopra sparkles in a number of places. Consider the scene where Surinder places the rose on the table and then, true to his reticent self, puts it back, or the lunch box scene, or the heart-to-heart tête-à-tête between Suri and Bobby. And I’m sure thanks to Adi, a number of Amristari lads will queue up for being recruited in Punjab Power so they can propose to their girl in the innovative manner Raj does!

In this quite unlike Yash Raj film, the medley song “Hum hain raahi pyaar ke, phir milenge chalte chalte” stands out with high production value. It is a tribute to Bollywood’s yesteryear actors and you wish it goes on and on as one leading actress after another is serenaded by Shahrukh.

No matter whether or not, you like the movie, but please do stay till the end credits roll. Adi had saved the best for the last. Suri’s narration of their honeymoon to Japan is the high point of the movie, it’ll surely make you laugh and you’ll come out of the hall wanting more of the endearing Surinder Sahni!

“Raga On” Anyone?

“Rock On” seemed to have become a cult movie already within days of its release. The Monday late-night show in the neighbourhood multiplex (which usually isn’t jam-packed on a weekday) was proof enough that the curiosity had got the better of me & despite a tiring work day, I went on to see what all those rave reviews were about.

I couldn’t agree more to the fact that the movie managed to blend its soundtrack perfectly with the story, without any one overpowering the other. Now I’ve never been a rock fan, but my musical sense thoroughly enjoyed the rock tracks, at least in the context of the movie. What, however, impressed me more was the sincerity of the characters! Each performance in the film was first-grade and I can bet that this is what will keep the movie going. What stood out for me were the performances by Luke Kenny and Prachi Desai.

Luke’s Rob is perhaps the most understated of all the characters. He doesn’t have a wife or a romantic inclination and compared to the opportunities Farhan or Arjun had to show their prowess, Luke’s canvas was limited. And yet he not only stood on his own, his portrayal of a man passionately in love with his music and friends was endearing. Just watch him in the scene when he receives a call from KD (Purab). His eyes light up, his voice can’t contain the excitement and the ecstasy of a long-lost friend calling makes him rush to the balcony. It’s a brief moment, but one that shimmers.

Another one is Prachi trying to sing “Ajeeb Dastan Hai Yeh” – the hesitation, the innocence and the rough edges of her voice used to great effect! She brilliantly manages to bring forth her character, that of a dedicated wife who finally begins to understand her husband and his dreams, through this moment.

 (I will now completely digress from what I started with.) 

It was also this particular scene that got me thinking of why Indian Classical Music doesn’t bring about the same passion as Rock Music does. My guess is that the houseful multiplex would have been devoid of an audience had a similar film with Hindustani music as the theme been shown. I’m not trying to put any genre of music above the other. What follows are just some observations from someone who doesn’t get to hear too much of his musical taste in the public domain.

Though even in new age Bollywood, some songs are inspired by Shastriya Sangeet, the brilliance of our musical heritage is limited to a Sanjay Leela Bhansali’s Devdas or Mahesh Dattani’s Morning Raga (albeit it was more fusion than pure classical). I was looking forward to Jodha Akbar to recreate the Tansen era in its full musical grandeur. However despite good songs, it was a far cry from the expectations a classical music fan would have had from it.

I do not entirely blame the Bollywood fraternity from shying away from embracing classical music in a big way. They deliver what the public wants. I’m often surprised how very few Indians enjoy a classical raga-based bandish or a thumri. Most of the people around me think of classical music as a musical affliction, consider the case in point.

DD Bharati is Doordarshan’s endeavour to promote Indian heritage and, once in a while, it does beam some really good archival recordings of Classical stalwarts. But the channel is lost in obscurity in the sea of MTV’s and Channel V’s. And when I switch on this channel in the presence of family or friends, I get responses ranging to shock to repulsiveness and in almost all cases I have to flip the channel.

There have been attempts where popular artistes have tried their hand at trying to blend classical with popular music such as Shubha Mudgal, Pohankar father-son duo (Piya Bawari) or the recent “Classically Mild” album by Sonu Nigam. The success has not been overwhelming; in case of Sonu it was a let down, and this perhaps explains why such initiatives are far and few.

Organizations such as SPIC-MACAY have been doing their bit by conducting classical concerts, even though largely concentrated in metro cities like Delhi. At one such concert where Kishori Amonkar performed, I was amazed to an impressive crowd turn up. It was one of the few moments when I realized that I am not alone in my love for Hindustani Classical. But I had my sister along with me, whose stolid behaviour constantly reminded me otherwise. Perhaps Kishori ji read her mind when rebuked the audience, who were also getting fidgety towards the end of the hour long performance, that these days people were lacking the discipline while attending a concert.

I’m not sure if like the cyclical nature of all things, we would ever get back to roots of our muscial traditions. But I’m keeping my fingers crossed for a “Raga On” meeting with the success of “Rock On” and winning the adulation of a progressing India.

Bollywood 2007

Thanks to a friend who is a big movie-buff, the last 12 months saw me watching more movies than I ever have (Can you imagine I even sat through “Cash”, a movie where neither the cast and crew nor the audience had a clue of what was happening in it!). So it becomes natural to wrap up the year with my Bollywood moments of 2007.

A relatively unknown line-up of directors ruled the marquee in 2007, as the Yash Chopras and Subhash Ghais took a backseat and focused on their production houses. The debutante directors nurtured their nascent ideas into experiential (I’d rather use this word than the cliché “experimental”) films like “Honeymoon Travels Pvt. Ltd.” (Reema Kagti), “Bheja Fry” (Sagar Ballary) and “Taare Zameen Par” (Aamir Khan), to name a few. Even though they may not have raked in big moolah, they did get the attention of an audience who is developing an appetite for offbeat subjects which, in fact, are closer to life.

While 2007 brought many character artists to the forefront, the not-so-popular mainstream actors were not hesitant to play smaller roles. This was primarily because storylines moved from a linear format to parallel threads strung together at some points. “Life in a… Metro” is a case in point, where disparate episodes blended into each other against the backdrop of a metropolitan. The movie brilliantly captured the emotions of a changing world. Another such film which relied heavily on characterizations rather a mono-toned story was “Honeymoon Travels”.

Surprisingly, conventional romance was placed on the backburner in 2007. The exception to this was “Jab We Met”, which ironically coincided with the lead pair un-meeting in real life. The movie with its witty dialogues, captivating screenplay and sprinkling of family drama ensured that the audiences were entertained. It was one of the rare movies this year that made me revisit the theatre for a repeat show. In a year, where a movie and its music did not meet with simultaneous success, this movie again was an exception.

The lyrical “The Namesake” (even though not Bollywood) was one movie that warmed my heart with its theme and performances. Tabu’s poignant portrayal of Ashima could easily be termed as one of the best performances this year. Also remarkable was her character in “Cheeni Kum”, a cute romantic comedy. The hatke-love story, fortunately, didn’t meet with resistance in a country where the lyrics of a song can raise political emotions.

My taste of comedy came in the form of “Dhamaal”, a desi version of “It’s a Mad, Mad, Mad, Mad World”. Even though some scenes were straight lifts from the original, it was a funny movie. Especially commendable was Javed Jaffery’s performance, which deserves the award for Best Actor in a Comic Role. A so-called psycho thriller “Bhool Bhulaiyya” with its ensemble cast was a strictly one-time watch. “Om Shanti Om”, for all its hype and masala, was again just above average. Take out SRK from the film and I doubt if it will find any takers.

This year also saw the Yash Chopra clan churning out movies like RGV’s Factory, even though they were entertainers unlike RGV’s insipid cinema. However, the effect of mass production is visible on the quality of Yash Raj Films. How else would you explain their “Jhoom Barabar Jhoom”, a movie which was inanity at its cinematic best? Even though the movie had one of the most mellifluous tracks of the year – “Bol Na Halke Halke” as well as the groovy title track, the music couldn’t rescue the film. I however liked their other 3 family dramas – “Ta Ra Rum Pum”, “Laaga Chunari Mein Daag” and “Aaja Nachle” – even if expectations were higher. It is high time that Adi Chopra comes out of his directorial hiatus; he still seems to wonder how he can live up to DDLJ expectations after “Mohabattein”.

The path-breaking movie of the year definitely was “Chak De! India” which not only won critical acclaims but also set the box office registers ringing. However, I don’t see too many movies in the sports genre repeating its success because there is only a limited variation you can bring in to the subject of underdogs winning the final battle and comparisons are inevitable. “Dhan Dhana Dhan Goal”, which looked like a poor cousin to Chak De, sank because of this despite the fact that it was above average fare.

Also in the same league as Chak De, “Taare Zameen Par” went against conventional Bollywood rules. There was no heroine romancing the hero, no item numbers or grand sets, just songs which complemented the screenplay, and a meaningful story with a message. In both the films, casting plays a great role in ensuring their success. The research and vision of the directors and their conviction in their subject makes the movies the masterpieces they are. I sincerely hope that more such films continue to entertain us.

I missed out on quite a few movies but intend to catch up on these – “Saawariya”, “Gandhi, My Father”, “Dharm”, “Johnny Gaddaar” and “Manorama Six Feet Under”.

Bollywood is constantly evolving, new subjects are being explored and different genres being explored. In all this, I just have 2 issues.

One is the mind-boggling crores that our actors are beginning to charge for their movies. There is no rationale that the actors encash their superstar status in such a brazen manner. Eventually, it is the audiences that will have to bear the brunt by shelling out more money. And I think it is unjust for the movie-goer who has already seen a multifold increase in the ticket prices in the last few years.

Second is the constantly shortening shelf-life of film music. There was a time when songs reigned the charts for months (even years in some cases). Now all it takes is a couple of weeks for a song to be forgotten and get dumped into Gigabytes of never-to-be-heard-again songs. If there’s a flip side to the new wave of Bollywood films, it is that they don’t have permanence in music. And for someone for whom Bollywood music is the bridge to Indian classical, there is a dearth of semi-classical songs that Hindi movies were once replete with. I hope there are musically-inclined people in our Indian film industry that can tap the vast heritage of Hindustani and Carnatic music and fill this void.

Looking forward to an even better Bollywood in 2008!

Chak Diya!

Movies in the sports genre have been a difficult & relatively unexplored terrain for Bollywood filmmakers, and the few that have treaded this path have had the game more as a backdrop, than a focal point. Even Lagaan & Jo Jeeta Wohi Sikandar, the most successful of our sports-oriented films, did not manage to do away with the hero-heroine romances & song-dance routines. Others like Iqbal, which managed to get critical acclaim, were never considered mainstream cinema because of their limited audience.

When I first saw the promos of “Chak De! India”, I was skeptical whether a different subject like women’s hockey could be turned into watchable cinema. Infact even after it released, I had half a mind if I should see the movie. But 2 days back, I ended up watching “Chak De! India” which was, to simply put, “delightful cinema”!

The story of a rumbustious bunch of girls being transformed into World Hockey champions is refreshing in its treatment and director Shimit Amin deserves kudos for believing in the subject. He could have easily let the film slip into a boring documentary-like on hockey in the name of serious cinema. At the same time, the temptation, to have Bollywood’s leading actor romance a popular actress as his lady love (with a song and dance thrown in after a coaching session), must have been very hard to resist. Yet the director did not let his vision stray and so we have a male coach train sixteen females without him falling for anyone on the way. This is a definitely a deviation from predictable Bollywood.

The movie however does have its set of stereotypes, and the climax is typical Bollywood fare, but that is only to be expected. There are times when movie starts to move in a hackneyed fashion. Despite all its clichés, what works for the movie are its characters – the girls get an even-handed opportunity to share the screen with the mighty Khan. And they deliver – with their histronics, one-liners and emotions. The script carefully etches every character giving each of them their unique flavour – be it through language, mannerism, attitude or their background. Not surprising, it is these unknown names that make you sit up and enjoy this journey that has never a dull moment.

Shahrukh delivers a tailormade role with panache, and he manages to do so without overshadowing the others. The technical departments excel in what they do but again given the performances & witty dialogues, you don’t seem to notice anything beyond. Not even the relative lack of music or Bollywood mush. The film mixes patriotism (without being jingoistic) and entertainment, higlighting on the way issues like gender inequality and indifferent attitude towards sports in India.

All in all, “Chak De! India” is another feather in the “coming of age” Bollywood’s cap & the packed houses are a testimony to this. Must watch!

Lage Raho Rajkumar Hirani!

“Lage Raho Munna Bhai” is one of those rare movies in Bollywood which would appeal universally – one that would go down well with people of every age group or strata of society; Rajkumar Hirani has ensured that like its predecessor, LRMB delights you in every frame. His is a unique attempt at reviving the Hrishikesh Mukherjee genre of filmmaking but tailored to today’s times.

The success of the movie, very obviously, lies in its ability to package Satyagraha & Truth, mostly perceived as weighty or obsolete ideas, into popular milieu. I do not really buy the idea (which is floating around news channels & media) that this movie will infuse a new of wave of Gandhism in our country; people will watch it for what it is – a “masala” movie. However, I do feel that the film has thoughtful moments which question our responsibility as Indians, holding the mirror to us as to how we relate today to the ideals that were laid down by the Father of our Nation.

Whilst comparisons to Munna Bhai MBBS are inevitable, there is nothing common except for the characters of Munna & Circuit; it is definitely not a sequel. I guess, while MBBS did not have onus of preaching anything (except for general goodness) to its audience, this one does try to send across a message. But the treatment is definitely “hatke” as all proceedings are kept in a lighter vein, garnished with Bollywood “masala” fare. You do keep smiling, when you are not laughing, all through the film. The director blends all the genres of Bollywood & yet comes out with a product that is not a mish-mash. There’s the typical guy falling for girl & then wooing her, then there’s the band of elders who live life with zest, there’s this amazing camaraderie between Munna & Circuit, there’s also the bad guy with a human (and funny) side – all this against the backdrop of a fight for justice. The story, despite lots of sub-plots, is held taut with a remarkable screenplay. The songs flow with the film & one did not expect them to be the highlight of such a film.

Sanjay Dutt, as the protagonist, is once again in his “bhai” element replete with an innocence that is difficult to put into words. Boman Irani portraying the builder sardarji is commendable in his character. Vidya Balan as the beautiful RJ displays tremendous talent & elevates the movie with her performance.

But of the entire cast, it is Arshad Warsi as “Circuit” who is most endearing. You can replace any character from the movie, even think of someone else playing Munna Bhai, but the panache with which Arshad brings Circuit to life simply sets his act apart! His inane devotion towards Munna makes him the perfect sidekick; his comic repartee has you in splits all through the movie.

All in all, LRMB is wholesome Bollywood entertainment – one that should not be missed!

P.S. I do not intend to make this a movie blog. However, it does indicate that there aren’t many interesting things happening in my life

No Sick Directed Havoc!

When the controversy over the release of cinematic version of “The Da Vinci Code” was its helm, I was scared. I was keeping my fingers crossed that I get to watch the movie on the big screen because ever since I had read the book (which was over 2 years ago) I, much like millions of others, was terribly curious to watch the action unfold in front of my eyes. Much to my comfort, it was all set to be screened in India (even if some states banned it).

But as soon as the film got released, it got a severe beating from the critics. It was disturbing as I was expecting a magnificient film from Ron Howard, Tom Hanks & Co. Before I got to watching it, I had read enough postive & negative reviews to know that world had been divided into the two halves – one which was in love with the movie & the other sect which loathed it. I decided to watch the movie with an open mind – unperturbed by all the unkind words that had been said about the chemistry of actors, length of the movie, pace et al.

I dunno if it happens with others, but I am a very visual reader; I mentally picture the words I read, to the effect of visualizing the setting, the characters, the action. Specially while reading TDVC, it is only natural that with the kind of detail Dan Brown had put in his book anyone would have created The Louvre, the car escape, Teabing’s chateau, Isaac Newton’s tomb, the cryptx & countless others in their heads as they voraciously turned through the pages.

The best thing about reading a book, as enthralling as TDVC, is that it lets you wield the director’s wand yourself & your perspective etches the words into characters & settings the way you want them. Essentially, a book stimulates the senses to think & imagine, words are only suggestions (like raw vegetables & spices), a lot is left to the mind to interpret & visualise (cook, as an analogy). On the contrary, a movie is like a laid out meal; you can’t do much other than chew what is in offered to you & savour (or disdain, depending on your taste) it.

So coming back to my cinematic experience of TDVC…

As the reels rolled by, I could not help but juxtapose my imagination with Ron Howard’s vision. I enjoyed the movie, not in the same sense as the book; it was as close as it could get to the book but obviously a different experience.

As for the performances, I found them quite adequate; every role was well-defined & (more or less) loyal to the book’s characterisations. I’ve seen very few Hollywood movies, to comment if Tom Hanks lacked the panache from his previous movies & I believe this movie wasn’t really an actor’s movie. Much like the book, the film relies on the pace of events to deliver. The script was minimally tweaked though the essence of the book had been moderated to appease hardliners across the world.

If you have read the book, you are bound to make comparisions & movie will never match up there.

And if you haven’t, most of the events will not fit into context, the problem here being (as I mentioned on a comment on Vin’s blog, which was also this post’s inspiration) that Dan Brown’s work is far too dense to be cinematised in two & a half hours. There were a number of crucial moments in the book which have been depicted as few seconds of flashback. Only people have read the book can understand the plot & sub-plots & appreciate their context in the film.

The movie boasts of amazing cinematography – be it the grim crime spot at Denon Wing of the Louvre or the sylvan environs of Rosslyn Chappel. The closing sequence of the movie when Langdon stands over La Pyramide Inversée outside the Louvre & bows down with the camera moving from the stars above to the inverted pyramid to the tiny pyramid to the “supposedly” Holy Grail (Mary Magdalene’s tomb) was breathtaking!

Maybe, people outside India who are used to watching Hollywood flicks of two hours found it long, but an Indian movie buff like me did not find the movie lengthy or slack in its pace. Ditto for the dialogues which has been another cause for critics’ displeasure, I found them in synch with the flavour of the movie.

I’ve advised all my friends to only watch the movie after they have read the book. I feel the best way to enjoy the movie is by living the book along with the movie – to not compare & supplement the book with what they feel is lacking in the movie.

The best way to judge if you liked a movie is when you don’t realize how long you sat in the movie hall seat, and I’m not talking dozing off but actually, being so involved in the movie that you forget the world for that while. The Da Vinci Code film was just that experience for me.

P.S. For those of you who are wondering what the title above is all about, well go ahead & rearrange the words, it is an anagram!!!

The Da Vinci Code Rocks!