Photographer

It is hard to make a realistic film with Mohanlal these days. His superstardom is the stumbling block, especially when it is the younger film-makers who is directing him. That is what happened to Ranjan Pramod. He is not a Shaji N.Karun to make a Vanaprastham. I am not comparing the talents of two directors, but the age and the experience which prevents Shaji N.Karun go weak-kneed infront of the star power of Mohanlal is absent in the younger, first time director. Under such conditions, what results is a fiasco like Photographer.

Mohanlal is a freelance photographer, Dijo John, whose photos have made it to the pages of big name magazines like National Geographic. He married a Brahmin girl against his family's wishes and has a son. Like many of the recent movies which has cashed in on the plight of Adivasis, this movie makes use of the infamous Muthanga Incident of Feb 2003, where Kerala police and the Adivasis of Muthanga(Wayanad Dist., Kerala) clashed in a bloody battle. In the film the Dijo John happens to be in the adivasi village on the fateful day and ends up saving his tribal guide, a little boy named Tami. Tami's father is shot down by police bullets right infront of their eyes and there is no news about his little sister.

This personal link leads Dijo to get involved in the volatile issue which had taken on immense political proportions by then. So far so good. The problem I have with Mohanlal films these days is, no matter what the social standing of the character played by Mohanlal, the rest of the cast act in a way that conveys utmost reverence to him. The final nail on the coffin is driven in by the director himself who gives long, weighty dialogs tailored for Mohanlal - the super star, but is no way justifiable to the character he portrays. This is not exactly his flaw, but it ruins the film. Photographer is just one in a long series of movies with this fatal flaw, but I am sure it is not going to be the last one.

Dijo John, the photographer has loud conversations with God himself. The God of Malluwood 'hotlining' to the God of the Universe. The Central Govt. has its own designs on Dijo and doesn't like him playing God to an adivasi kid and secretly takes him into custody and he disappears from the scene for a while. As if the thousands of movie-goers across the state of Kerala cannot languish in a Mohanlal-less void for any length of time during a Lal movie, the director springs a twin for Mohanlal - Joe John, a planter, writer and a totally uncalled for character. Except that through this double role of Joe John, Mohanlal gets a chance to live unleash his star power, which was kind of restrained in his former character, Dijo. Stunts, cheesy jokes, a beautiful maiden in the wings, exaggerated acting are all part of the Joe John package.

There are a lot of half-baked parts - Biju Menon, the Forest Minister, Ganeshan(ex-transport minister of Kerala) who plays an investigating officer, Manoj K.Jayan as an evil incarnate police officer who disappears without trace from the script in the second half and what was the role of Saranya Bhagyaraj(daughter of Malayalam heroine of yesteryear Purnima Jayaram and Tamil actor-director Bhagyaraj)? It felt as if the director lost the sense of direction midway through the movie and ended up wandering in circles in the forest, like the character of Dijo does in the second half. The redeeming aspect of the movie is the camera which lets the audience take in the beauty of Wayanad's forests and the script when Mohanlal was not mouthing the lines.

Despite all this I'd consider Photographer one of the better Mohanlal movies to hit the screens in the recent past, because of its toned down version of the actor. Probably that was why it didn't sit well with the Kerala audience who have placed Lal on a pantheon with their other personal Gods and ended up being a mega-flop.

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Black Friday

A lesson in contemporary Indian history that no self respecting Indian should miss. Anurag Kashyap's Black Friday starts a few days before the fateful Friday in March(12) 1993 when the city of Bombay was blown apart by extremist bombs and follows the subsequent police investigation that solved the case. Based on S.Hussein Zaidi's book of the same name, Black Friday, despite being a feature film is the most realistic and comprehensive account of the infernal Bombay blasts that I've ever seen.

It is hard to believe it is a movie and people are acting. It feels like there was a hidden camera recording the actions of the real people as they planned and schemed and died and fled and bled through those gruesome days. Anurag Kashyap wrote the script of Ram Gopal Varma's much acclaimed film about Bombay's underbelly, Satya. This is his second film as a director, although I believe Black Friday reached the public(despite a two year delay) before his first film Paanch did.

For a large part, the movie reminds me of trying to see the world from the other-side, like a German movie about WWII or a Soviet film about the Cold War. Getting under the skin of the character and breathing his air, you realize why people did the things they did. The credit goes to the director and script writer - in this case, Kashyap and the writer Zaidi for providing the original well researched content which the director built upon. Kay Kay Menon plays Additional Commissioner of Police Rakesh Maria, Badshah Khan(played by Aditya Srivastav), one of the accused in the bomb case, represents the pawns, who in the hands of terrorist master minds, Tiger Memon and Dawood Ibrahim becomes a terrorist. Pavan Malhotra plays Tiger Memon and Vijay Maurya, who was also in Paanch, plays Dawood Ibrahim.

An important slip that Kashyap has avoided is that it doesn't become another Satya, especially considering Kashyap scripted both the movies and both are about the darker side of Bombay. Black Friday appeals to me because it is hard to come by a powerhouse of a feature film loaded with information and details about contemporary event(s) depicted in a truthful manner.

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The Angrez

For Hyderabadis, Of Hyderabadis, By Hyderabadis - that is the short version of the Angrez. There has been so many movies about Bombay in this vein and probably many of us can do the Mumbaiyya slang without ever having to travel in local trains during Mumbai's rush hour. The Angrez is a tribute to the life and lingo of Hyderabad, an amateurish one, but entertaining nevertheless.

The life of the movie is Salim Phekku(Mast Ali), Ismail bhai(Raju Shrivastav) and the old city gang along with their Hyderabadi Deccani Urdu mixed Hindi. Delivered by true blue Hyderbadis, the movie you takes you on a romp through the Hyderabad of the locals. When you take a movie about the city that makes a living minting NRIs at a record rate, it has to be about NRIs. Nikkil Kunta(the director of the movie) and Ganesh Venkatraman plays the two NRIs who have come to India to become partners in a software company. Nikkil Kunta draws from his real life experiences as an American returned desi and two years of roaming around with his handycam in the Old City of Hyderabad capturing the life and lingo.

If you exclude the Old city guys and their antics, what remains is mostly half-baked, especially the NRI part. I am not sure NRI vocabulary is limited to sh*t and its variations. The last scenes of the movie which involves a girl crying over, what in my eyes, is a very decent way to propose a marriage could have been avoided.

Chudi bazaar,Bonalu prasadam, Banjara Hills, Hyderabadi Biriyani, Ganesha pooja and the quintessential NRI - the raison d’être of this movie was to showcase Hyderabad and it did that successfully. The rest of it could be forgotten, because if somebody had taken a movie about my home-town in this manner I'd have loved every minute of it, no matter how lousy the story.

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Dor or Perumazhakkalam

What I watched yesterday was Dor(a thread, a connection in Hindi), from the NRI turned RI director Nagesh Kukunoor. If Hyderabad Blues - his path breaking first film was a true original in Indian 'movie-wood', Dor cannot be called so. The story is based on a real life event and first time it hit the screens was in 2004, away from the Bollywood spotlight, when Malayalam director Kamal, made a movie out of it by the name Perumazhakkalam. Perumazhakkalam went on to win the National Award for the Best Film on Social Issues in 2004 and numerous awards for its two leading protagonists played by Kavya Madhavan and Meera Jasmine. Kukkonoor supposedly bought the story from the Malayalam film makers. There is still a lot of controversy surrounding it.(Read Here.) I'd say better he than anyone else, Priyadarshan might have cast Akshay Kumar and Suniel Shetty as the two leading female protagonists who happen to be behroopiyas(person who takes on different roles/costumes to make a living aka an actor) and gotten away with it under the cover of a few kaleidoscopic dance numbers.


What Dor has going for it is the finesse, Kukonoor has certainly evolved as a director since the amateurish Hyderabad Blues(despite being a big hit of the times.) Technically Dor is a cut above the usual Bollywood films. Then again I am wrong in two counts. First, Kukunoor is not a usual Bombay masala movie-maker, he is from the contemporary alternate cinema in India, he just happens to be successful(which is a quality that sometimes evades parallel cinema makers.)Second, Bollywood is not what it used to be. Most of the Bollywood movies now have a certain level of perfection which places them far above the majority of mediocre regional flicks. Money could be an element here, but whatever it is the grade of the Bollywood end-product is commendable these days.

Gul Panag and Ayesha Takia have the leading roles in Dor. Gul has the more stronger character and she is the right actress for it. Ayesha Takia is ok, but something is amiss, I cannot point my fingers on to it, but it is there. Shreyas Talpade is funny, a very likeable guy, although he falls a little short of the Rajasthani behroopiya. He'd have been great if he was a Maharashtrian or a Hyderabadi. It looks like he had immigrated to Rajasthan in his teens and could never quite cut-off his central Indian roots. Oh..and the cameo by Kukonoor, is a total misfit. I couldn't take the clean-shaven, too well-mannered to be corrupt Nagesh as the scheming lecherous Chopra Saheb. I mean Nagesh Kukonoor could be a lot of things but he cannot yet copy the flitting evil glint of Gulshan Grover.


Perumazhakkalam on the other hand had an excellent choice of actors. I saw it a couple of years back and my memory is getting rusty befitting my age. So I'll start off with what is easiest to recollect, the title. To captivate the Kerala audience who feast on tears, the title of the movie aptly means the Season of Incessant Rain. The rain is one of the important characters in the film, so much so that it is over-used and you can really make out that most of the rain is coming straight off a fire hose. Kavya Madhavan won the State Award for the Best Actress of the year(2004) for her restrained and teary-eyed performance. Same award cannot be given to Ayesha Takia who plays her role in the Hindi version.

There are no beharoopiyas or Chopra Sahebs in the Malayalam version which is truer to real life. Cannot blame Kukonoor for making Dor a li'l vibrant because the film should be packaged to suit the tastes of the audience. Where Keralites pride in their work horse tear glands and prefer the exact portrayal of the grittiness of real life on screen, Northern Indians fancy fantasy and colorful scenes. Dor is set in two of the most touristy destinations in India - the green snow capped mountains of Himachal Pradesh and the stark, sandy and colorful Rajasthan. Had Kukunoor gotten this 'original story idea' from T.A.Razak(the story and script writer of Perumazhakkalam) before Kamal got hold of it, he might have won the Best Picture award for National Integration, bringing together the Muslims of northern-most Northern India and the Hindus of the cow-belt - Gujarat, Rajasthan, UP region. Alas, original happens only once!

The story of Perumazhakkalam is about a death(or a murder?) which happens in Saudi Arabia and involves two young-men(one is murdered and the other one ends up accused) from India who had gone there to work. Saudi court rules death penalty for the accused and the only way the sentence can be reduced is if the wife of the victim forgives the accused. With the males in the story killed or imprisoned, the film takes on a feministic edge, because the females has to do all the work, like in real life. Gul Panag(Dor) / Meera Jasmine(Perumazhakkalam) is the wife of the imprisoned man. Ayesha Takia(Dor) / Kavya Madhavan(Perumazhakkalam) is the Hindu widow. The untimely demise of her husband has the widow in charge of a super power - the power to give or take the life of a human being(one particular human being, her husband's supposed killer.) After that it is the power play between two women of two contrasting cultures - Hindu and Muslim, translated by two different film makers(Kamal in Malayalam and Kukonoor in Hindi) for two widely differing sets of audience.

Perumazhakkalam is a mature take on the subject for a grown-up gallery who doesn't know or care much about Shah Rukh Khan. Dor is for a congregation of devotees who had just finished watching a King Khan movie, on bended knees and have worked up enough courage to watch a 'really serious' Hindi movie. Both movies, I believe, hit the right spot with their target audience.

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Aayirappara

Aayirappara literally translates to 1000 'para', where 'para' is a unit for measuring rice, one 'para' equals 7.5 kgs. In the movie it is a reference to the Aayirapara paadam(the field that yields a thousand paras or a field of bumper harvest.)

Directed by Venu Nagavalli, the film is set in the rice trough of Kerala - Kuttanad, incidentally it is also his native place(Ramankarry). The movie dabbles in history, it is a period piece, my guess is the story is from the early 1960s, around the time when the first Communist ministry came to power in Kerala.

Madhu and Narendra Prasad in Aayirappara

Aayirappara paadam is owned by the benevolent landowner, played by Narendra Prasad and his faithful servant, Pappi. - a role veteran actor Madhu carries of with ease. The central character in this movie is the colorful Shauri, Pappi's son, played by Mammootty in perhaps the only Venu Nagavalli(directed) movie where Nagavalli chose someone else other than Mohanlal to play the lead.

The film portrays the tumultuous period of economic and social change in Kerala, where the land and the earnings from the land started to be distributed more democratically, religious tolerance increased albeit as a result of numerous sacrifices from the people involved. Actress Urvashi has the female lead, as the daughter of the landlord. Music is composed by Raveendran and one of the songs 'Yathrayaayi' is quite a melodious number.

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Cheeni Kum

Thanks to the presence of the oldest angry young man in Bollywood, sixty plus guys have finally received the green signal to go ahead to fall in love and marry women half their age. If not for Amitabh Bachchan, Indians could not have been persuaded to sit and watch such a 'sacrilegious' movie(lol.)

Cheeni Kum has the sixty four year old, sharp-tongued, restaurant owner-chef Bachchan wooing Tabu, a woman half his age. Tabu with her carefree elegance is just the right person to match up to the sarcastic and proud Bachchan. Thankfully Zohra Sehgal is still live(let her continue rocking us with laughter forever and ever) which is good news for Jaya Bachchan otherwise she could have been called to play his mother's role. Let us not forget Paresh Rawal(Tabu's Dad in the film), he has evolved as a comedian so much so that I've forgotten that he used to be the stereotypical bad guy once upon a time.

All could have gone well and we could have gotten a new age Hindi romance if they had not imported the cruel stock villain which guaranteed a flood gate of tears at the box-office in the seventies and eighties - blood cancer. IMHO the overly-'literate', smooth (adult-)talking kid was a needless character. The screenplay is really a long tit for tat affair, quite enjoyable one at that. Direction is also good for a first time - R.Balki. If not for the abnormal proliferation of leukocytes which ruined the movie, it'd have been one of the good modern Bollywood movies of recent times.

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Disco Dancer

A decade of video players imported by NRIs from Arabian Gulf were tested using this movie, Indo-Russian bilateral relations reached a peak in the eighties, even in the absence of Raj Kapoor, thanks to this dance musical and with this movie Bengal added a Bollywood superstar(ofcourse his national award winning feature Mrigaya came long before that, but who watched award movies?) to its already bursting bag of talent, filled with Nobel laureates and freedom fighters. You know the movie I am talking about – it defined a decade, with its legendary stature it has etched its name in history as the icon of the eighties – Disco Dancer.

As a kid I was one of the under-privileged who never got to watch the said film but only heard exponentially glamorized versions from our lucky friends who had not only seen it, but also had the video cassette in possession, thanks to their Gulf-employed relative. The unpardonable crime of not watching the Disco Dancer struck back in my late twenties when I met the Russians. Being close to Bering Strait and Siberia our neighborhood is overrun my Russian émigrés, most of them close to my age who try to strike up friendship with us with the intro, "Mithun Charkraborty. Disco. Disco Dancer," with accompanied animation and dance moves. The immense gravitas of those opening words, they believe, is enough to forge a lasting bond between two great cultures. Who grew up in the eighties India without knowing the power of the Bollywood cultural ambassador, Mithunda?

The situation was rectified this weekend. We learnt to spell D-I-S-C-O and refreshed our memories with eighties costumes, hairdos and those hit songs which made Disco Dancer what it was. The one who was most entranced by the movie was our one and half year old, which brings me to the point that it is like a fairy-tale. You don’t need any language to understand it, that’s probably why the Russians and the Middle-Easterners took to it so easily. The story is rich vs poor singer, rich defeated by singing, poor guy gets the rich girl via disco and in between a terrible disease called ‘guitar-phobia’ makes a guest appearance so does Rajesh Khanna. Karan Razdan(ex-husband of Priya Tendulkar of ‘Rajni’ fame) plays the bad guy along with Om Shivpuri –the bad guy’s dad who is a really bad guy. Mithun is his lithe rockin’ younger self, a treat to watch. Other than that there is not much in the movie story-wise. I’d take Disco Dancer as a vehicle to deliver Disco to the masses and Mithunda to the Russians. Think it accomplished both those tasks successfully. End of review.

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Yaadon Ki Baraat

From the father of formula films in Bollywood, Nasir Hussain, comes one of the biggest hits of the century - Yaadon Ki Baraat. This is probably the third or fourth time I am watching this 1973 classic. A vanguard in its own right Yaadon Ki Baraat was a nested product of formulas many of which Hindi filmdom has been recycling to this day. The important ones include son avenging the death of his parents, brothers torn away by circumstances reunited by a talisman(a song in the typical Bollywood fashion in this case), the utterly honest poor guy with incredible singing capacity wooing the rich girl, the high-tech villain in his seventies gadget-infested dungeon bent upon destroying the hero while wearing shoes of two different sizes(a dead giveaway!) and a Miss India(Zeenat Aman.)

The incredible soundtrack of the film composed by R.D.Burman is another selling point. The song 'Chura Liya' defined an entire generation and beyond, so did Ms.Aman. Vijay Arora stars opposite to her in the movie, as the second one of the three brothers. Dharmendra is the elder brother and the youngest is played by Tariq, a nephew of the director. Neetu Singh makes a guest appearance in one of the songs, so does the later Bollywood heart-throb Aamir Khan. This is his first movie(well, the director was his uncle) and he appears as a child artist - the youngest of the three brothers. Yaadon ki Baraat is your quintessential Bollywood movie of the swinging seventies. If you have to give someone an introduction to the proverbial Hindi masala movie, you can pick this one sans hesitation.

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Nee Varuvolam

Directed by Sibi Malayil, this is one of the first movies of Dileep as a hero. It has Divya Unni as a village belle where she looks totally out of place in long silk skirts and a made-up innocence which is hard not to notice. Dileep is okay, the story thrives on what a typical Malayalam movie should ooze in tons - grief and insurmountable obstacles only solved by suicides or sudden deaths.

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Manorama Six Feet Under

A quirky black thriller from Navdeep Singh. The movie, Singh’s first directorial venture establishes him as one of the latest breed of talented film-makers who are crawling out of the Bollywood wood-work with their original and offbeat creations. Abhay Deol is a Deol of a different breed (after Sunny, Bobby, Esha and Papa Deol), this cousin Deol is the proverbial everyman yet handsome and talented.

The movie is set in a Rajasthani desert town, beat up by heat and overlooked by rain clouds for years. Nothing is going anywhere, life languidly flows with what is at its disposal, which is to say not much. This is not the Rajasthan of typical Bollywood movies or tourist brochures. The colorful village belles and the multi-tasking singer-dancer camel herders are noticeable by their absence, so is the thakur-thakurayin duo and the big haveli where it is always the wedding or the infighting season. This is the small town Rajasthan of everyday India – hot, parched, corrupt, Hinduized, politicized and middle-class.

Abhay Deol plays a PWD engineer who moonlights as an author, albeit a failed one at that. The novel which was supposed to make him a household name ‘Manorama’, sold just 200 copies, but it plays an important role in the movie. Gul Panag(a former Miss India) is Deol’s wife in the movie, a role which she carries off with natural panache. Vinay Pathak, ex-Channel V VJ has a very distinct role in the movie as the local police officer and Deol’s brother-in-law. Raima Sen plays her usual role as a guy-trap. Sarika and Kulbhushan Kharbanda plays other important roles.

What is interesting is that unlike in the usual Hindi movies, there is no easily readable black and white as such in this movie, it covers a lot of grey zones. Gold fishes are used to expound life’s big lessons since people keep on making the same mistakes you and me would make and are no good. Natural, darkly comic and a lot like real life.

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Life in a Metro

Hindi movies are going places. I heard the songs of Life in a Metro perhaps six months ago and as expected of my tin-ear, promptly forgot about them, except for the title of the film – which was a bit different for a Hindi film. The songs came back from the dead, a couple of months ago when my more sensitive other half resurrected them from a dusty back-up drive, wrote a CD and made it our traveling companion. Have been hooked on the songs, composed by Pritam with lyrics by Sayeed Qadri, ever since.

Then came the quest to get hold of the movie and watch it. The mission was completed successfully this weekend. It is a slickly produced version of life in India’s primero uno metro, Bombay (or Mumbai as it is known now.) The film deals with the emotions and sentiments in the lives of its nine protagonists, all whose stories are intertwined in a way, although the characters themselves are not aware of these connections in the beginning.

What impresses me about this movie is its photography, music, editing and direction. What takes away some of the glory is its plot-lines, some of which looks like they may have been borrowed from some Hollywood originals. Shilpa Shetty, Kay Kay Menon, Konkona Sen Sharma, Sharman Joshi, Shiney Ahuja, Kangana Ranaut, Dharmendra, Nafisa Ali and Irfan Khan play the nine main characters who inhabit the four interconnected plots.

Although it might go against majority’s idea of how a movie should be made, I loved the inclusion of the band who composed the music for the film in the song scenes. It gave the songs a music video effect, not bad considering this is not the run-of-the-mill Bollywood movie. Life in a Metro is one of the movies which catalogs the evolution of Bollywood cinema. It might not be mind blowing, but it makes you aware what’s blowin’ in the wind and gives an idea where that wind might take you.

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Babel

Alexandro Inarritu - the king of multiple story threads, all with connecting elements which will be revealed as the story progresses, is the director of this trans-continental cinematic odyssey. His second foray in to Hollywood as a full length feature director sees him paired with his favorite writer and literary twin, Guillermo Arriaga. All Arriaga's screenplays are written for the movies, has a one of a kind feel and is assured to give the audience the edge-of-the-seat anticipation with events that happen to real people. Inarritu and Arriaga had a fall-out after Babel was released and the director banned the writer from attending the film's screening at Cannes, that's another story.

The events in Babel take place in three continents and four nations - Morocco, the USA, Mexico and Japan. With an ensemble cast that includes Brad Pitt, Gael Garcia Bernal, Cate Blanchett, Adrianna Barraza(nominated for Oscar for her role in this movie) and Rinko Kikuchi, Babel got seven Oscar nominations in 2007, although only one materialized in to the coveted bronze statue - Best Original Score.

Like Inarritu's Amores Perros and 21 Grams - the other two his Death trilogy, Babel is driven forward by the tension experienced by the viewer just as it'd be if the viewer had faced the situation in real life. Unlike the other two, Babel is more topical. It touches more contemporary issues like the US government's definition of terrorism and how it affects the rest of the world, illegal immigrants from across the Mexican border and shows a side of Morocco most Americans would never see. The two young Moroccan boys who plays goat-herds in one of the stories have shown exceptional acting skills, so has Adrianna Barrazza, the Mexican actress.

Although the film is peppered with brilliant pieces of direction, cinematography and acting, one that I'll mention here is the Rinko Kikuchi's drug induced evening at the park and discotheque. If you plan to stay away from hallucinatory drugs or has never taken any ever, this sequence is a must-see, it is the next best thing.

As the lyrics from Mike and the Mechanics song, 'The Living Years' goes, "You say you just dont see it, He says its perfect sense, You just cant get agreement, In this present tense, We all talk a different language, Talking in defense....." all of us are right in the light of our plights and many a time, all of us are wrong. That is the premise of Babel.

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Little Miss Sunshine

A very European movie from the United States. Most of the American indies I've seen are individual obsessed, this one has as its core a dysfunctional family or rather a normal family which is not perfect like all the other normal families. It is a commendable effort from the first time feature film directors Jonathan Dayton and Valerie Faris.

A road-trip in a rickety old VW van with quirky characters - although everyone looks alright on the surface, brings about unexpected events. The choice of actors is brilliant and everyone fits into their roles perfectly. The title character of the movie, the youngest of the family who is going to enter a beauty pageant called Little Miss Sunshine is played by the seven year old, little Miss Abigail Breslin who lives upto the role.

The movie shows the triumph of common man against not so-gigantic but the everyday-type odds. The film identifies with the average, the everyday, the common-place yet different, which is how the human life is and that is the recipe for its success.

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Pakal

Pakal is the first movie of the producer turned director M.A.Nishad. Before I go postal on the movie with an acerbic review, let me confess it is one of the true to life, watchable movies that had been made in Malayalam in the recent years. Wonder why all of them has Prithviraj as the hero? Although to tell the truth that point shouldn't cause much wonder, because lately he is the only believable hero in Malayalam.


Pakal takes up a contemporary social issue - the suicide of farmers trapped in debt, an issue that has caught national media attention. Prithviraj has the role of a TV journalist who has taken up the cause of bringing public attention of the plight of poor desperate farmers in the hill-district of Wayanad in Kerala. T.G.Ravi acts as a debt ridden farmer whose family's story becomes the central plot of the movie. Jagadish has a very different role as a unscrupulous money lender, a role he handles with panache. The main female characters in the movie, the farmer(T.G.Ravi)'s daughters are played by Sreeja and Jyothirmayi, who do justice to their roles.

What disturbs me about the movie is that, the anger it exemplifies is the blood-boiling-rage of the youth and it is shown that this anger does finally bring results, bring down the bastilles of the establishment. Knowing the political pandemonium in India it is hard to believe that truth is going to triumph this easily. In a way the movie gives an idealistic solution, which is hardly the case ever.

Then there is the usual resort of Malayalam filmdom to win the ladies' votes - send them a truckload of tears and get them over to your side. Maybe the subject matter of the film will justify the presence of sentimentality.

For a first time director it is a not-so-bad film, exceptional if you consider the current state of Malayalam movie industry and thankfully M.A.Nishad's direction is not as cliche-ridden as Blessy's - the other director who is driving the social cause-current issue bus in Malayalam.

A watchable movie, which is a rare treat in Malayalam these days.

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Ek Chalis ki Last Local

This is one of the best movies to have come out of Bollywood recently. From the debutante director Sanjay Khanduri comes the most under-estimated flick which will endear you with its all pervading quirkiness, its original story line(that’s something that’s hard to come by in Bollywood movies) and believable characters. The movie reminds me of the dark humor in Tarantino’s films, quirky and unpredictable, but delightfully watchable.


Abhay Deol is a perfect fit for the protagonist who misses the last train to his home in Vikhroli. Mumbaiites know how important trains are in their lives and missing one changes the life of this young man forever. The story, the dialog, the camera, the perfect characterization and the general ambiance of the film in the hands of a director who knows what he is talking about delivers a winner. Khanduri tells that the story(he is the story writer and the script writer of the movie) is inspired by a night he was forced to spend in Mumbai’s under belly after having missed the local train himself. Well then, nobody could have made it better, right?

Another bit of trivia about 1:4O ki last local: 'Ek Chalis Ki Last Local' created a record by selling 1.18 lac DVDs in just first 14 days of its release. Its surprising for such a small film to do such a good business. Moser Bayer had launched its first commercial feature film DVD in Indian market by this film. It has sold more than any DVD VCD combined of any Indian film in first 2 weeks of its release.

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Hard Candy

Hard Candy is a psychological thriller that keeps you riveted on the edge of your seat, with knitted brows for almost two hours. The frames, tight close-ups against bold single colors provided by the setting - a modernist house of an art photographer, imparts the feeling that you are inside the character. You switch your loyalties many times with each return volley served by the two characters.

Ellen Page is intense and believable as a teenage over-achiever with a cause written in stone and nothing is going to deter her from her course, not even an innocuous looking photographer(Patrick Wilson) of the models. For her portrayal of Hayley - the teenage protagonist in this film Page won the Best Actress Award from the Austin Film Critics Association. This is also the first film of the British director, David Slade.

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Kabul Express

Directed by Kabir Khan, Kabul Express takes us on a roadtrip with five travellers across the barren landscape of post-Taliban Afganistan. The Taliban has just been ousted and the country is in shambles. Two Indian journalists, played by John Abraham and Arshad Warsi reach Afganistan to cover the events following Taliban's exit and American occupation. They run in to an American journalist, played by Linda Arsenio. They have an Afgani driver-guide, who is the fourth main character. Salman Shahid, a Pakistani actor portrays an ex-Tliban with Pakistani military roots.

It is hard to believe that the film came out from Bollywood, from Yashraj Films, it has a dry subject matter befitting the times and people it portray but very much unlike what is the typical Bollywood fare. For me it was totally unbelievable that the people who brought Dilwaale Dulhaniya Le Jayenge, the mushiest Bollywood romantic hit of all time has tried their hands at an almost documentary like feature film.

The only glitches, minor though, are - Abraham and Warsi looked too polished for journalists in a war zone. The script, thought I do not exactly pinpoint what it is, lacked a certain something. All in all it is a quite different movie to come out of Bollywood lately

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Goodnight, and Goodluck

From the elder statesman of the United States and the one man opposition of the current Republican party, George Clooney, comes the film about the fifties newsman Ed Murrow's face-off with Senator Joseph McCarthy. Clooney's directorial venture takes up a story(real) that's highly relevant to the post 9-11 political climate of the US. The entire narrative is shot in black n white rendering it sober and serious.

In the age of Fox News, it is seems surrealistic that American media had a past where newscasters spoke out against the elected representatives who refused constituional rights of citizens in the name of fake charges and mock trials.David Strathairn plays Murrow and Clooney plays his affable producer, Fred Friendly. Clooney and Strathairn in the film.

All of the footages of Senator McCarthy are from actual archival tapes, which elimnates the need for any actor to play the Senator. A film about a time when journalists really reported the truth to the public, not fabricated disinfected fiction doled out by those in power. Kudos to Clooney.

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Agnisakshi

The film is an adaptation of Lalithambika Antharjanam’s award winning novel of the same name. In the eighties Mathrubhoomi weekly used to serialize the novel for its loyal readers, one of which included my mother. She was a big fan of the author and this novel because of its stirring feminist message, inspired by my mother I tried reading it, but as a seven or eight year old I miserably failed and continued pledging my unwavering allegiance to Poompatta and Balarama.

Agnisakshi is a realistic portrayal of the inhuman living and social standards high caste Namboodiri(Brahmin) women had to endure at the turn of this century. The story is told from the eyes of a half caste Namboodiri girl, who had access to the inner sanctums of Namboodiri household due to her parentage(her father was a Brahmin) but was still considered untouchable because her mother was from a lower caste. Praveena plays the young girl, Thankam and in the later stage of life the same role is acted by Srividya. The story starts in Benares, the holiest of the holy Indian cities, at the banks of the sacred Ganga. An older Thankam has come to immerse the ashes of her half brother in the Ganga – the river of eternal salvation. There she goes searching for her sister-in-law(the wife of this deceased half-brother), Devaki acted by Shobhana, who had become a sanyasin some time earlier. From there on the story is told in flashback.

Shobhana and Rajit Kapoor in Agnisakshi

It is a story about the age old struggle of old and new, the traditional and the modern, told from the twilight hour when the change is imminent but is not yet there. Rajit Kapoor, the Hindi TV-serial and independent film actor portrays the eldest son of the Namboodiri household, the half brother of Thankam and Shobhana’s husband who has given his life over to practicing the traditional values of Hindu dharma. This leaves the newly-wed Devaki in a lurch, a virtual prisoner in a traditional household where even reading is considered as a crime for women.

The story progresses through the tribulations of Devaki, her friendship with Thankam, the effect of wider social changes like the independence of India from the British and the emancipation of women thereafter. The direction by Shyamaprasad brings to life a very moving and hard-hitting visual statement.

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Poocha Sanyasi

One of the first full length comedy films in Malayalam, Poocha Sanyasi (1981) stars Raj Kumar in the leading role as the flirtatious playboy son of a millionaire businessman(K. P. Ummer). I wonder how Raj Kumar came to play lead role in Malayalam movies, he obviously doesn’t look anything like a Malayali, infact to me he looks a typical Kannadiga or Konkani. Anyway the guy did a load of Malayalam movies in the early eighties, most of them in the comedy genre.

  

Rajkumar and Madhavi in Poocha Sanyasi 

Coming back to the movie, since the leading man is a playboy there is a bevy of beauties surrounding him in the first half and in the second half he is blissfully (bliss will soon be lost as his former girl friends start plotting against him) married to Madhavi(again a non-Kerala import who tried hand in Bollywood movies where success eluded her that she had to move Malayalam, she was a strong presence in Malayalam movies in the eighties.) The wife(Madhavi) was chosen by the playboy’s strict disciplinarian father(K. P. Ummar) to correct son of his wandering ways. Comedians Bahadur, Kuthiravattam Pappu and Sukumari have major roles as well. A surprise role was that of Balan.K Nair, who excelled in villain roles during this period, but has an interesting part as an Anglo-Indian party-animal, the brother of one of the girl friends who morphs in to a convincing villain in the climax scenes. I also glimpsed Silk Smitha – the one-time sex siren of the South as an extra in one of the dances.

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Waco: The Rules of Engagement

(Repost from Nov 2003) A decade ago, when I was just out of high school, I remember reading something about Waco in Times and Newsweek at the local library. It was about a 'sinful messiah' - David Khoresh, the leader of a Christian cult in Texas who committed mass suicide with his disciples - the Branch Davidians. Today 10 years later, I saw William Gazecki's award winning documentary on the incident, "Waco: The Rules of Engagement" and boy oh boy wasn't it a jolt into reality or what?!! Or should I say it was just another reminder about the exceedingly manipulative control, the media has on the way we live our lives and judge other people.

I'd be the last person to hold any sympathy towards any cults, or so called sects or offshoots of any religion which promotes their way of religious preaching as the best way to reach God than all the numerous other religious paths out there. For me Khoresh could have been one of the many crowd puller messiahs making a living out of their magnetic personality and their gift of gab, but the massacre (dubbed as mass suicide by media barons) at Waco and this realistic documentary which doesnot take any sides, has changed it all.

Whether you are the next incarnation of God or not, as long as you tread on terra firma, at a time when everyone and everything quits on you, who do you ask for protection? When the agencies which are supposed to protect and safeguard your rights as a citizen of a free country, turn on you where do you go and hide? And what do you do when your subterrenean hiding place, with just one door to the outside is pelted with cynide tipped tear gas shells, well... you and your little children undergo muscle contractions that shatter your bones to pieces and die by suffocation in minutes. This could add a new meaning to the term 'mass suicide'. "Waco: The Rules of Engagement" will surely sit heavy on your conscience, raising questions about what you should or shouldnot believe, whom you should or should not trust and ofcourse you wish the vision of hell was true to the last word, otherwise where will the perpetrators go?

If you want to know more about this documentary, go here

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Sreekrishnaparunth : Movie Review

Long time back, sometime in the prehistory when I was in primary (elementary) school I was a voracious reader of, now comes the important part, "Ma" magazines in Malayalam. 'Ma' magazines were weeklies that published serialized equivalents of Mills and Boons type novels and had huge readership across Kerala. I quit this juicy reading habit three of four years in to it when I got bored of similar stories in different guises. 

Sreekrishnaparunth(or Kite - the bird) was a serialized novel, if I am right, which used to come in Manorajyam, one of the leading Malayalam weeklies at the time. It was quite an enthralling read because it had scandal, voodoo, sex, gore and all the other masala wrapped up in a seemingly historical plot.

Mohanlal, plays the main role of the magician/healer in the film along with other actors. The story takes place in a Kerala Namboothiri tharavad (Brahmin household), the patriarchs of the family are magicians / healers / shamans. Mohanlal, plays the lead role of Kumaran, the next head of the family but at present a local Casanova of sorts. 

Sreekrishnaparunth a.k.a the Kite is the family deity which protects the family and the master shaman from evil powers, thus the title of the movie. The movie starts off with a disjointed narrative without much character development, stories and people cropping up as it unfolds. It seems like it has been lifted straight off the novel and made in to a film sans a coherent script. For me it felt like reading a comic book with human characters come to life.

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Oceans Twelve

Typical Hollywood sauve heist fare. I like heist movies, used to love them, now I have lowered the affection level a notch because I've seen so many of them like this one's predecessor - Ocean's Eleven, Heist, Le Cercle Rouge, The Italian Job(both versions), The Score etc. Now it only nail biting if there is something totally new. Ocean's Twelve is not as engrossing as when Ocean's team was one member less. This one is a lighter flick, Hollywood A-liners mouthing some slick lines - like turning the pages of People magazine but with some sort of a heist serving as the background score as you progress. Hollywood at its best visual and celebrity appeal, not much of a story, not much of a movie - but slick, sauve, smooth and glamorous.

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Thazhvaram

Thazhvaram, directed by Bharathan and penned by M.T.Vasudevan Nair is perhaps the first real Western in Malayalam cinema. Highly remniscent of Sergio Leone masterpieces like The Good The Bad and The Ugly and For a Few Dollars More, the wild west in Kerala is the 'thazhvaram' or the valley. The high-ranges or the Western Ghat region of Kerala and the valleys thereof have always attracted the adventurous and the pioneers. Symbolically these places are the closest Kerala has to the unchartered frontier that was the old West in America.

Mohanlal is Bharathan's protagonist, so often portrayed by Clint Eastwood in Leone's movies. The terse talking lone ranger seeking revenge is wrapped in a signature Indian poncho in case of Eastwood, here Mohanlal sports a black wool shawl striped with red which is infact worn by farmers in the region.

The film opens with a long shot of the lone human figure, slowly advancing against the magnanimity of the landscape(or whatever magnanimity you can wrestle out of a Kerala landscape.) A wailing, haunting instrumental typical of Westerns plays in the background.

There are four main characters in the movie, they are pretty much all the people that feature in it, there are not many distractions. It is beautifully shot and never wavers from its course. Salim Ghouse, a Hindi TV serial actor, remember Bharat in Doordarshan's campus drug drama of the late eighties - Subah, is the guy who plays the villian in this film. Shammi Thilakan has dubbed for him here. Sumalatha and Shankradi makes the rest of the caste along with the villian and the hero.

The final scenes are also very Leone-sque with the fight taking place in a large open space with vultures watching over. And then the lone ranger leaves once the fight is over, end of story. A very good movie by Malayalam standards.

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Malayalam : Uyarangalil

The current quality of Malayalam film is so deplorable that old I.V.Sasi movies look like classics now. Or it could be that I.V.Sasi is an underrated director, atleast he was in my view. It changed considerably after I watched Avalude Ravukal, supposedly semi-porn, but with Sherif's script and I.V.Sasi's direction I found it to be classic, earthy and real.


Nedumudi Venu and Rehman in Uyarangalil


Uyarangalil, has Malayalam super hero Mohanlal in an anti-hero role, a choice not often made by up and coming actors as he was in 1984 when this movie came out. Rehman, the then teenage heart throb also has an important side role. The two Bollywood wannabes who failed to make it in Hindi films and took resort in Malayalam, Swapna and Kajal Kiron also feature in the movie. I wonder where these actresses are and how they look like these days. There is so little information about these actresses, infact Kajal Kiron is not even mentioned having acted in a single Malayalam movie in her IMDb page, though she has acted in quite a few of them in the early eighties.

Kajal Kiran and Mohanlal in Uyarangalil

Coming back to the movie Uyarangalil, story and screen play is by M.T.Vasudevan Nair, one of the gifted writers in Malayalam literary arena. A supposedly masala movie of the 80s, it has good dialogues and unpretentious and taut story and direction. Although this definitely was not a path breaking movie of any sort, just an ordinary run of the mill stuff in those days, it seems so polished and precise when compared to the movies dished out by Malayalam movie industry these days.

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AIFF 2006: Expiration Date

Is Rick Stevenson, the director of Expiration Date an American Benigni in the making? The premise of the film is that the main character, Charles Silvercloud III(played by Robert Guthrie), has both his grandfather and father killed by milk trucks on their 25th birthdays. Charles thinks there is no way to escape the horrible fate that awaits him and starts making preparations for his final farewell from the earth. What follows is a comedy of errors played out in the refreshing romantic landscape of Seattle.

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Malayalam: Avalude Ravukal

Avalude Ravukal is Seema's first movie, directed by I.V.Sasi, who'd go on to marry the actress later in real life. This movie had achieved a lot of notoriety with cinema hall owners inserting sleazy porn bits and selling it as a soft porn movie. This film has totally changed my perceptions about I.V.Sasi as a director. Shot in his favorite city, Kozhikode, it is indeed a brave venture with Seema playing the title character who is a prostitute. Her nights(this is the English translation of the movie title) and the men she comes across are the major characters in the movie. Sukumaran, Soman and Ravi Kumar have important roles.
(Pic: Seema and Ravi Kumar in Avalude Ravukal)

Seema looks and acts really well. The legend has it that she was spotted as an extra and it was I.V.Sasi who made her a major actress. Avalude Ravukal also has Meena, Kuthiravattam Pappu, Kaviyoor Ponnamma, Bahadur and Mallika(Sukumaran's real life wife and mother of present day actors PrithviRaj and Indrajit) as the supporting cast. A narrative social commentary from the perspective of a teenage prostitute in the late seventies in Kerala, Avalude Ravukal is a classic trend setter.

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AIFF 2006: Heaven's Doors

In a time when many young men in Islamic countries are trading their lives for houris(beautiful virgins) who'll be waiting for them beyond heaven's doors, it's refreshing to see a film from a Muslim country(Morocco) promoting the allegory of mother(or the respect for her) as heaven's door.

Three stories with an overlapping story-line yet distinct characters and narratives. Gritty, fast paced flick with lot of hand-held camera action, typical of new young directors from strife-torn regions across the world.

The first story captures the angst of urban youth trapped between proverty and unemployment where the central character becomes a ganster to provide better for his mother and sister. The second story portrays a childless widow of a Moroccan man - an American woman who's given a chance to look after her nephew when the boy's own parents perish in an accident only to have him taken away from her when her maternal instincts are awakened. The third story is about a man who has spent the better half of his life in prison with his only contact with the world being his mother. But his mother dies soon after he's released. In a film that powers forward through the city of Casablanca fueled on revenge and struggles for survival, mother emerges as the door everyone is searching for.

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AIFF 2006: Animales Heridos

A montage of relationships, the film weaves together three stories through three pairs of characters. First one documents the end of an affair between two high society lovers. The beautiful Catalan city of Barcelona and its nearby beaches sets the stage for all the three stories. In addition to the common geographical frame, the main characters in one story are presented fleetingly in the other stories as well since they are all loosely bound through different situations.

The second story is about living someone else's life(reality TV-style?) and the third one captures a dying marriage and the final flight from the relationship. A witty and informative voice-over splices through the scenes. On a whole, although the movie deals with the complexity of human relationships, it exudes a light and airy quality combined with the vitality of picteresque Catalonia.

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AIFF 2006: Viva Cuba

Viva Cuba is a magical roadtrip undertaken by two eleven year olds - a girl and a boy, a journey that unfolds against the vibrant and colorful backdrop of Cuba. The film starts in the urban alleys of Havana with its grand and decadent architecture and Communist posters as the two protagonists enjoy a blissful childhood friendship despite their class differences (the boy comes from a family that proclaims to welcome Fidel with open arms, wheras the girl's family declares their love for religion.) When the girl's mother announces her intentions to move from Cuba, the two friends flee their impending separation and their quarreling families in search of her estranged father who'll help her stay on in Cuba. What follows is a modern day fairytale, much akin to the Wizard of Oz, peppered with characters similar to the wicked witch, helpful Samaritan and incredible landscapes. A perfectly PG film from director Juan Carlos Cremata, with great performances from the child artists.

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AIFF 2006

Anchorage International Film Festival 2006 reviews have started in earnest. Being a new mom and all I've certain concessions, I don't have to review as many movies as I did last time and I don't think I'd be attending any parties or public screenings. I've three movies to screen this week - two latin american ones and one from UK.

I think watching movies is ok even with an infant in tow, it is shooting hundreds of emails to film makers and film related organizations in various countries which takes a toll on your time. But this time around it seems like AIFF has arrived as a film festival to reckon with or it could be the festival director is working overtime, whatever it is this time around we have got a loads of international entries. Off I go to the screening room a.k.a my living room

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Control Room

(Repost from Aug 2004) You have seen F9/11, you felt it wasn't objective. Moore had a script, a pre-written story in his mind and his film was less of a documentary and more of a hard hitting goal oriented feature film. If these were your thoughts, make yourself walk that extra mile - go watch The Control Room.

The Control Room is an underrated but exceptional documentary about the Al-Jazeera network which is currently banned in Iraq, the same network which both the Americans and Iraqis blame is propagandizing for the other.

Jehane Noujaim, the Egyptian-American director was familiar to me from her earlier documentary - Startup.Com which I saw a couple of years ago. But The Control Room is in a league of its own

The joke going around in the film says that the people who used to work for BBC end up quitting their jobs and work for Al Jazeera.

The Al Jazeera headman, Samir Khader admits that if the dipped in red-white & blue news channel, FOX offers him a job he'll most probably accept. Moreover he discloses that he's planning to send his children for higher studies in US because he do not want them live the 'Arab nightmare'.

There are so many other valuable insights in the film that'll convert the one track telescopic vision of the world in to a stereoscopic one. Al Jazeera ceases to be an Arab news channel that faintly smells of terrorism and Bin Laden, there is a whole different world out there, only if you care to watch it!

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Blackboards

Coming from a 20 year old director is a good movie, if you can forget that her father is the famous Mohsen Makhmalbaf. Samira Makhmalbaf tells the story of a couple of teachers who carry blackboards on their backs and virtually 'hunt down' students (because no one want to learn to read or write)in the craggy and treacherous Kurdish mountainsides in the Iran-Iraq border.

This seemed more like a documentary with shreds of a story than a feature film. It is worth a watch if you are student of cultures and if you like to know how people in other parts of the world live. It gets boring sometimes because the material is stretched too far and it wears thin. I'd view it for educational purposes rather than for entertainment.

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Turtles Can Fly

My second Ghobadi film, the first one was Marooned in Iraq. I loved this one a lot better than the first maybe because it is easier to sympathize with the plight of young children.

The story takes place in Iraqi Kurdistan, the three main characters in the story are all orphans, finding their way in the world of refugee camps and land mines. The main character, Satellite, is a young teenager with a penchant for technical stuff that he's the one who is responsible for installing satellite dishes, delivering and translating international news as well as being the self-made contractor for a band of orphan children who clears landmines. The other two main characters are a refugee girl whom Satellite develops a crush on and her invalid elder brother who can see the future.

In a constantly volatile war zone without the umbrella of security that could have been provided by their parents, had they been alive, these children live life one day a time. The only aim they have infront of them is surviving one more day - whether they are four or fourteen years old. A brutally honest film yet simplistic and heartrending. Hats off to Bahman Ghobadi.

p.s- Iraqi movie but tagged under Iranian films,

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Stroszek

The American dream gone sour. It tells the story a misfit German man who comes backs to normal life after a long stint in prison, his girl friend for the time and their old neighbor - all three of them immigrate to the United States in search of a better life. The better life they were looking forward to was supposed to unravel at a fictious sleepy backwater called Railroad Flats in Wisconsin.

The movie is eerie and very real in the sense that most of the actors were not really actors, most of them played the characters with their real life names in the movie and the story of the main character in the film is entwined with the real life story of the man who played the character - Bruno.S. Even the piano, whom Bruno.S calls his only friend is really his one and only piano in real life. The town of Railroad Flats, WI, although fictious closely resembles one of the towns the director, Werner Hertzog, was attracted to in the US mid-west in the first place. A dark comedy of human lives.

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Dersu Uzala

(Repost, watched May 2004)This is my first Kurasowa movie. I had a presumption that Kurasowa movies were always about Samurais, since they didn't interest me much I stayed clear of Kurasowa. But Darsu Uzala has made me want to see more of the creations of this great film maker, Akira Kurasowa. I don't know whether Kurasowa has directed many Russian movies, but Darsu Uzala is Russian and tells the story of a Siberian hunter and his friendship with a Russian military engineer/surveyor who comes exploring a nook of Siberia.

The vast expanse of Siberian tundra, so very reminiscent of Alaska, where we are now has given the movie an added charm from our perspective. Darsu is a simple man, with the sharp senses of a hunter who can read from the footmarks on the mud whether the traveller who passed by before him was young or old, his profession and charecteristics. The Russian milirary engineer who comes to survey the area, accidently meets Darsu and strikes up friendship with him taking him as their guide, the story progresses from there. It is a film written in verse about human friendships, our natures, our relationship with mother nature and ofcourse the stark beauty of the landscape and Darsu Uzala is our guide in this journey of revelation.

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101 Rejkjavik

It is an interesting movie, where the comments of the main character form a narrative twain that holds the movie together. I didn't have much hopes before I saw the film, I am wary of movies which explore the sexuality of characters in intimate detail. But 101 Rejkjavik turned out to be better than expected. It is the story of a 30 year old guy, who lives with his Mom in Rejkjavik and in to their lives lands the Mom's girl friend. The film reiterates two facts that I had already formed about Iceland from my previous encounter with this land on TV and thru' film, 1)Iceland is a beautiful country and 2)Partying is main occupation of Icelanders.

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Happy Times

A simple movie about a plus 50 year old batchelor living in a modern Chinese city. He is a laid-off factory worker in search of a bride. He settles for a portly woman with a similarly portly son and a blind step daughter. The story metamorphosizes into that of the man and the woman's step daughter, two lonely lodes in an unforgiving world.

It is funny and poignant story, filled small moments of happiness. Although I did not like the ending much. Directed by Zhang Yimou, this film showcases brilliant acting from Biao Fu, who plays the blind little girl and Benshen Zhao who is the main character.

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The Good The Bad and The Ugly

(Repost from Sep 2003) If there ever was a competition for a poetic western, this Sergio Leoni spaghetti western will win hands down. Spaghetti westerns were low budget westerns produced by Italian directors, shot extensively in Europe(Italy,Spain etc) and aimed primarily for Italian audience. Leoni was one of the few such directors who rose to fame in Hollywood. The behind the scenes disc is as interesting as the movie itself.

The film stars three protagonists - Clint Eastwood, Eli Wallach and lee Van Cleef, riding across the arid west and the American civil war in search of a loot of money buried in a grave someplace hard to say which of them is better than the other. As a typical western there are lots of gunshots, slick tricks, dirty cowboys and an all pervading machismo, but what sets it apart is the direction - almost operatic, the camerawork - sweeping landscapes jumping in to the close up of expressive faces, poster perfect and finally the music by Ennio Morricone- which was so unique at the time of its release and which has been copied million times over since it was first made - in other movies, TV serials, commercials and what not. This is one Western every one should watch(the other one is Unforgiven).

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Das Boot

(Watched in July 2003) A good war movie after a long time. Good is an understatement, it has to be one of the best. Das Boot (The Boat, in English) is one of the perfect war movies and the best submarine movie I have ever seen. This is not the first time someone is bringing the story of other side to silver screen. 'All Quiet on the Western Front' was one of the successful war movie which brought the triumphs and tribulations of the Germans in WW1.

What impressed me about Das Boot is the reality as viewed and lived thru' by each viewer of this movie. No other war/submarine movie that I've watched, not even the latest one K19 - The Widowmaker, is anywhere near, inspite of the technological advancements which lets Hollywood produce slicker and more believable movies. Das Boot takes the crown despite its age. It was made in 1981. I watched the remastered version, which had more than 60 minutes of added footage from the original German TV series of the same name.

German U-boats, were considered technological marvels - that was what history books taught us. After watching the latest Hollywood flick K-19.., which was about a Russian submarine during the cold war years, the truth of that history lesson has been substantiated by Hollywood. Comparing the submarines, the German one in Das Boot in WW2 and the Russian one in K-19 which is operating a good twenty years later,(both stories are real) one can't, but admire the technological superiority of Germans, years ahead of their time.

For the entire length of the film, you are inside Das Boot, the U boat, cramped into its narrow confines with the rest of the crew, their anxieties, their triumphs and also their unhygienic conditions. Serving in a U-Boat is not as glamorous as it might have appeared to German youngsters of the time. Wolfgang Petersen did an amazing job with this movie, the cinematography and the script are also above par. If you haven't watched any war-time submarine movies till now, this is the best one to start with, it couldn't get any better (not yet).

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