Showing posts with label Cinema. Show all posts
Showing posts with label Cinema. Show all posts

Sunday, July 29, 2012

Cocktail - Foreign Made Indian Liquor


Long before the days of Imraan Hashmi and Mallika Sherawat, the only source of titillation for the urban adolescent was the late night show on MTV called Grind. A bunch of scantily clad crowd swayed to some music which, I am sure, no one has ever heard because everyone watched it mute to avoid waking up their parents. But, as Paulo Coelho proclaimed, the entire universe conspired and I finally got to hear that elusive music when I watched Cocktail. The first hour of the movie appeared like a marathon MTV Grind. Seeing DP jumping from one table to another dancing in dimly lit night clubs and prodding men to palm her derriere, I thought she was a bar dancer. Just when I expecting that she would graduate from the table to a pole, she appeared with a camera announcing that she was a photographer. So she belonged to the tribe that goes pub hopping on ladies night when drinks are on the house for the fairer sex.

To give her company we have our very own old retard who wants us to think that he could forever floor females with his facial contortions. They were once funny, but repeated overuse has set in motion law of diminishing returns. The only thing new about his face is the wrinkles. If that wasn’t boring enough, you had a third lady - the new DP. She would consistently keep her gaze to the floor, speak in whispers and trot the streets of London in attires tailored in alleys of Chandini Chowk. While older DP tortured you with her endless prattle, the newer one stimulated the experience with her silence. With a permanent apology plastered all over face, she was just as lost as the remaining two. And so were we, with absolutely no clue where the movie was heading.

While people on screen was desperately trying to entertain, those in the theater showed the same interest reserved for an air hostess demonstrating safety instructions aboard a delayed late night flight. The quick repartees were lost into eerie silence. The funny antics were greeted with sneers and snorts. Even when DP callously striped down to her itsy-bitsy bikini, we just look at our watches wondering how far the interval is.  May be DP forgot that only after we had enough of her as a bikini pinup she got clothed for her bollywood debut which, ironically, had peace in its title but left the audience restless in the theaters.

After what seemed like an eternity, the interval arrived. As I tried to make my way to the aisle, a guy in the adjacent seat lunged towards the knees of his date and pulled them closer to prevent any accidental brush with my calves. In his reflexive concern for the knees, he has, quite literally, scaled new heights of foot fetish. Argh, I had to contend with morons not just on the screen but even before it. I pitied the lady for dating a guy whose knowledge of erogenous zones is entirely erroneous.

The popcorn at the kiosk could have been the best part of the movie. However, I wisely avoided because it was always better to watch a nauseating movie on an empty stomach. I dragged myself back to my seat and got ready for the remaining serving of the drivel. It proved to be worse than the first half. The best props in the movie were alcohol and sex with no strings attached. That gave way to more melodramatic elements like love, relationship, marriage etc. Sudden absence of alcohol started showing withdrawal symptoms in the older DP.  She made a quick crossover from a new age multiplex heroine to a single screen heroine whose dreams were woven around fidelity, family and vermillioned forehead. A lady who invited unknown females to her home and unknown males to her bedroom was suddenly mouthing constitutional rights like right to dignity, right to marry, right to family life etc. The rest of cast was talking about mutual consent, exploitation, social service etc. I never knew that such complicated politics existed in one night stands. The conversations became progressively unbearable. The characters, who wallowed in confusion when the movie began, were now steadily slipping into severe existential identity crisis. Finally, when both the decibels and rationales became unbearable, the younger DP walked out of the house. I too thought of leaving the theater but my masochism came in my way. I was determined to test my limits of endurance.

On screen, our eternally young real life nawab was also was getting his endurance levels tested. The older DP got hit by a speeding car when she staggered on the road and proved that drunken walking could be more dangerous than drunken driving. With one lady untraceably lost and other on crutches, the philanderer who, supposedly, left no skirt, saree and sarong unwrapped, had his libido left in lurch. Even when the lady finally got back on her legs, she declared that she wasn’t going to spread them for him. The mutual consent was withdrawn with immediate effect and until further orders. However, taking pity on his receding hairline and increasing facial lines, she decided to patch him up with the other DP.

Of course, that did not happen before some schmaltzy acts and agonizing songs. But we were spared of the other clichéd ordeals like stopping planes and popping pills. When I came out of the theater, I realized that this Cocktail was actually foreign made Indian Liquor a.k.a Daaru Desi. It left me stirred, shaken and brutally shattered.

Friday, February 02, 2007

Animal Harm

Post-Rang De Basanti, there has been an increasing awareness on the use of animals in movies. I, therefore, wondered if “Veerasamy” had obtained the mandatory permission from Animal Welfare Board of India (AWBI), before using an unusual animal, Sloth Bear, for its title role.

Rule 7 of the the Performing Animals (Registration) Rules, 2001 issued by Ministry of Social Justice and Empowerment says that:

Prior information for use of performing animals in films : -

(1) Every owner desirous of hiring out or lending a performing animal in the making of a film shall give prior information in the format as specified by the prescribed authority for this purpose to specifying the kind of animal, age of animal, physical health of the animal, the nature of performance to be done by the animal, the duration for which the animal shall be used for such performance, the duration and method of training of the animal for such performance and justification for the use of such animals in the film and such other information as may be required by that authority.

As a The Hindu-reading responsible blogger, I decided to verify the facts before making a post. I filed a RTI application with the AWBI and was glad that the movie had indeed obtained prior permission from AWBI.

The copy of the application seeking permission, which was given to me in response to my RTI, is reproduced below.

Kind of AnimalSloth Bear (Melursus ursinus)

Age of Animal – 18 Till I Die

Physical health of the animal – Fight, Flight and Dance Worthy

Nature of performance to be done by the animal – Acting, Story, Screenplay, Dialogues, Direction, Music, Lyrics, Editing, Audiography, Art Direction and Cinematography (when he is not acting)

Duration for which the animal shall be used for such performance – Till the camera runs out of raw stock

Duration and method of training of the animal for such performance – NIL . It is a born genius

Justification for the use of such animal in the film – Self-employment

Sunday, December 24, 2006

Jockey - Idhi Chaala Pedha Rod Guru

Everyone thought that Krishna Vamsi had lost his touch and Anthapuram was the last of his impressive movies. NTR Jr was similarly written off after the failure of successive movies like ……., ……., ……. (Please fill the blanks). But both are back with a fatal vengeance and unfortunately it is not just on their critics. Krishna Vamsi tries to do a Shankar – packaging socially relevant themes in a commercial format. We therefore have an unbearably powerful movie. So powerful that the crowd is thrown off their seats into restrooms, corridors, staircases etc. The theaters are sealed during the show to prevent any damage of adjacent buildings.

Jayakrishna, fondly called as Jockey, has a fetish for undergarments and is a strong votary for their public display. He is pained by the society which reprimands skimpily clad women, especially those flaunting their undergarments from their no waist, I mean, low waist jeans. He is supported by one sister and two girl friends, one in-house (Maradalu) and one next house. The former is fair and fat (Charmee) and the later is fair and flat (Ileana). Towards the end, fat makes way for the flat. A metaphoric depiction of upholding the socialist principle of haves making way for the have-nots.

The films is extravagant from the word go. More characters than that can fit on a 35 mm film. More dialogues than you can possibly hear. More songs than you can remember. In short, the first half of the movie is a walk in the clouds. Aimless, directionless and meaningless. It has everything other than a story. If you find that the interval is no where in sight then it is not your fault. You need to beg, bribe and finally bash up the operator in the projector room before you get that much needed relief. But before that, the doting sister of Jockey dies of a fire accident caused due to her sari catching fire in the kitchen. He solemnly vows that he would not rest till he liberates all the Indian girls from the clutches of traditional dress and attains them the freedom to bare themselves in bikinis. With that, the director leaves you to take a break and get ready for a second dose of gang bang. Let me again remind you that the theaters are sealed and you cant run away.

In the second half, Jockey takes inspiration from the Swadeshi movement and decides to burn all cloths except undergarments. Such is his obsession that he doesn’t care even if the cloths are on someone’s back. It is here where Krishna Vamsi slightly, very slightly, loses the grip over the script. The director seems to have got confused between serial killing and mating of lions. (When mating, the lions copulate every 20 to 30 minutes for 4-5 days) Nevertheless, the manner in which Jockey seamlessly travels across the breadth of Hyderabad and kills 40 persons in a single day would serve as a case study for traffic and time management.

Since, Jockey is a guy for the women, by the women and of the women, the police department gets a hysterical women police officer, Suhasini. She often shrieks in such high pitch that the theaters had to install temporary noise reduction devices to prevent damage to the speakers. You should keep in mind that this sound is a supplement to Jockey’s angry verbal spews. You now know whom Spielberg hired for giving voice to Tyrannosaurus Rex in Jurrassic Park.

Finally, mercy dawns on Jockey and he decides to surrender. In the court, he asks the judge for two minutes before the judge pronounces his verdict. When you eagerly start your stopwatch, you realize that he meant two minutes on Pluto (whose 1 year equals to 248 earth years). By the time he completes his harangue on the socio-cultural, economic, political, psychological and historical importance of undergarments, any amateur can easily complete all the 18 holes on a golf course.

The climax, like the rest of the movie, is equally powerful. Prakash Raj, the judge in charge of delivering verdict, is blown off by Jockey’s commitment to the cause and immediately resigns and disrobes himself, endorsing Jockey’s cause. He further takes a solemn oath that he wouldn’t cloth himself till the highest court of the land acquits Jockey. Thankfully, we are not exposed to the execution of the oath.

The film closes with Jockey telling a huge crowd of women how the most powerful men, He-Man, Superman and Batman, always proudly displayed their underwears. Thus the corollary, greater you show, the more powerful you grow. He emotionally appeals that we should live in such a free society where there would be no necessity for another Jockey. For once, everyone watching also agree with him.

Every department of film-making has scaled new heights in this movie. The music stands apart and even tears you apart. During the crucial scenes, Narayana Murthy (of Dandorra and Erra Sainyan fame) renders an inspiring hip-hop number in the background. To prevent piracy and reuse, all songs have been remixed with suitable phrases like “Come on Baby”, “Yes you can”, etc. The result - A nostalgic remembrance of Mayadari Maisamma at the engineering college festivals.

Krishna Vamsi, not just emulates but outbeats Shankar is all areas. In logic, he outbeats even Stephen Hawking. The clinical precision with which he burns scores of people without even a speck of soot on him is something that would keep physicists thinking for another two decades. The vividness of colors used by him in the sets of songs is forcing Bill Gates to contemplate on a 512-bit true color version for windows desktop. The graphics used to picturize burning sequences has put to shame the animators at TNT Cartoon Network.

If such is the technical strength, then can acting be behind? NTR Jr’s expression of shock and anger is something which you might have never come across - that of a eunuch deciding between which restroom to use. Illeana, in an extremely sensitive portrayal, sobs more than the guys’ drool during the songs. Charmee, with her obstinate obsession for perfection, has chosen to dub herself. The consequence is a perfect telugu in a neutral accent. Never mind her village background and never mind that the words come out at the rate of one word every 30 seconds.

The movie is a must watch for all those guys who are tormented by their spouses’ eternal question, “Does my butt look big?”. However, a word of caution. Answer that question while looking at NTR Jr and not Ileana. Else you might end up in dog house for the rest of your life. To conclude, Jockey is a thought provoking movie that forces you to think on a serious contemporary issue that confronts the liberal urban women – the right to reveal your underwear from a low waist Levi’s jeans. So watch it if you are bold enough to discuss such issues. It is definitely not for the weak hearted escapists.

P.S: NO. I did not see the movie. I swear I did not see the movie.

Friday, November 24, 2006

Hazaron Khwahishen Aisi.....

Banu: hi
Me: hi
Me: saw the movie?
Banu:
yeah man
Me: kaisa tha?
Banu: Nice .. hard hitting in the sense of what happens so fast to Vikram Malhotra
Me: doesn’t the song now seem more beautiful?
Banu: yeah. its good
Me: he is truly a baawra
Banu: exactly..
Me: the way he rests his head on her shoulders in the end........and still persists with his love … baawra bawre se iss jahan mein bawara ek saath ho, iss sayani bheed mein bas haathon mein tera haath ho… He has actually left the sayani bheed of Delhi…….
Banu: haha... he still persists with his love...
Banu: she knows he loves him from the first moment but she never accepts his love
Me: hmm
Banu: and even in the end, she doesn't love him but cares for him
Banu: and dammm people help each other in such conditions of distress
Banu: I liked that
Me: hmm
Me:
but Sid was the sickest of the lot....
Me: the way he ditched Vikram
Banu: yeah.. he tried to do something but always looking confused
Banu: I don’t think he ditched Vikram...
Me: the way he looked to his dad when he was checkmated
Me: he was the weakest of the lot
Banu: yeah.. that was very bad.. and also the way he flew off to England or someplace leaving Gita right there
Me: As some one correctly remarked somewhere........... he talked the talk, but could not walk the walk
Banu: She came to Bihar because of him
Me: Gita and Vikram messed their lives just because of him
Banu: and he leaves
Banu: exactly
Banu: both of them got messed up
Me: When you look back, they were much better. They are very clear in their thought.......anything for their love/friend
Me: and though they do not commit, they always went out of their way
Banu: haha.. they always stood up to their love/friend..
Me: exactly raa..........i loved that
Me: ultimately what did sid contribute?
Me: It is very clear that his contribution to society would have been done by someone if not by him
Me: but Gita’s and Vikram's contribution for their friends was irreplaceable
Banu: he actually destroyed some students life
Banu: yeah...
Banu: and Sid calls Vikram ‘asshole’,‘comic’, ‘foolish’
Me:
and it is the other way around
Me:
though silent.......dumb-looking......and selfish........Vikram is more selfless and more courageous.
Banu: not to say selfless..
Banu:
more courageous? yes
Banu: helping a friend out of the way... is it selfless?... a general question
Me: He might have had an ulterior motive in saving Gita....... but why should he save Sid?..... He knows what Sid did was self-inflicted
Banu: why did he go to help him..? big question
Me: Did u notice something in the movie? The relation between Sid and Vikram is mostly through Gita. Personally, he doesn't seem to have any big equation with Sid.
Me: So I wonder if they were really friends in the true sense.
Me: They actually just seem to be acquaintances.
Banu: Yeah. I notice now.
Banu: dammm
Banu: now this is selfless
Banu: dammm
Me: He is truly sweet.
Banu: Yeah, he looks like a crook to all but he is sweet
Me: And look at Sid........
Me: for sex, he spoils Gita's marriage by meeting her slyly
Me: when in trouble, he disturbs his ailing old father
Banu: yeah
Me: then leaves Vikram, when he knows that the police can do anything. Remember how they beat up villagers accusing them of killing a cop, when all along the cop was drunk and went missing.
Banu: I think he was brought up with riches and hence was confused.
Me: Even after seeing what has happened to Vikram, he goes to England to study Medicine. Very confused. Wonder why he suddenly decided to learn medicine. I guess Medicine is just a pretext to escape from his overwhelming internal conflict.
Banu: coward and etc..
Me: It seems that he doesn’t really care for the society. Just his ideals, with stress on the word "his" and not on "ideals"
Me: To fulfill his ideological ego, he used society. Just as he used Gita to satiate his sexual ego.
Banu: He should not have done what he did to Gita. I feel bad about it
Me: Oh Man, Chitrangada is really really beautiful.
Banu: Yeah man. Totally awesome. And she looks sooo telugu (or south indian)
Me: yeah
Banu: how can she be a Singh in the first place
Me: You can see her feminity when she surrenders to sid, at the same time, u can see the maleness, when she fights for him and with him.......even when that feminine coward leaves and runs away.
Banu: yeah
Me: A right mix of Yin and Yang.

Related Links: Ghalib's Hazaron Khwahishen Aisi, Baanwra Man by Swanand Kirkire

Thursday, June 08, 2006

Godavari - Celluloid Sweetness

A movie that deserves more than one post. I hope to make atleast one detailed post in the near future. Actors, photography, music, lyrics and background score - all merge as harmoniously as the waters of Godavari, the Paapi hills, the hues of sky and the rays of the sun. Veturi’s lyrics are truly beautiful. When a lyrically challenged guy (me) could understand and appreciate (though not completely) the song “raama chakkani seetaki...”, it shows how beautiful the lyrics could be for those who can understand them fully.

eDama chaetanu Sivuni villunu...ettina aa raamuDe
ettagalaDa seeta jaDanu taaLi kaTTe vaeLalO

That Rama who could lift Siva’s bow with his left hand
Can He lift Sita’s plait when he ties the Thaali?

I would love if someone can post the rest of the lyrics. Or atleast give me the links. If it is with transliteration it would be good and if it has translation (even selected lines would do), it would be great.

Thanks Shekar Kammula & the team for not letting me down.

Check out the lyrics and the song here

For a more beautiful description (not review), check these Ramblings on Godavari

Monday, March 13, 2006

From Scars to Stigmata.....A journey in solitude

It seems strange that of all movies “Anand” gives Him so much peace. He always knew it was a feel-good movie. But never thought that it would become such an important movie in his course of life. He remembered how much it healed him when he first saw. That day too it helped him to calm down and find peace and empathy. And now, when he required more healing than ever before, it has quietly scaled up its healing powers than ever before. He found himself truly blessing her when he sees this movie.

He can identify with that particular frame when Anand sees Roopa for the first time at her marriage. The smile on his face says it all. Yes, one does find a gleam of attraction for her in his eyes. But before he can fully let the joy of beauty seep into him, he remembers that it is her marriage and that lovingly reassuring smile lets us know how happy he is for her. May be those 15 seconds is the best visual essay on His experience. If someone wanted Him to share his experience with her, then the most succinct, yet the most realistic, description would be those 15 seconds. He met her, got attracted, went ahead, but then suddenly realised that she was not his and now, he is just smiling and truly blessing that she should find happiness in whomever she chooses.

He now feels that he should watch Anand again and again. It helps him to come out from the miasma of hatred in which he is putrefying. The simplicity of Anand teaches him to look for beauty in small things in life – splash of rain, early morning winter sun, chatter of kids, company of friends, joy of music etc. But above all, Anand showcases that immense beauty of life limping back to normalcy from a disaster. Or may be that is what is appealing the most to him in the movie. He now understands. That day, he saw the movie from the perspective of Anand. Now, he feels the movie through the heart of Roopa. How her life slowly begins to get better. It is like the beautiful sunrise, where the sun slowly attains its golden luster. How horrible would it be if the sun rose in five minutes?

Life is always good when it moves slowly. May be, that is one reason why He doesn’t have great inkling for the fast-paced American lifestyle. Life in slow motion helps you catch a glimpse of every subtle gesture, every little expression and every small incident. After all, the bliss of life lies in these momentary nuances, which might be lost into the eternity of time if we bat our eyelids. These are the moments, which rekindle in us humility, love and forgiveness, the divine traits which often get shrouded by human emotions and undue attachments. This slow limping back is a catharsis into itself. A catharsis that washes every corner of his heart. A catharsis that makes him aware of those impurities in him. A catharsis that fills him with sublime joy of life.