Biutiful

It takes a night (sometimes more) to recover from Inarritu's films. You question your humanity, mortality, chemistry, environment, biology, sociology and other root characters that define you as a human. Your mind's eye is made to rove from Barcelona to China, from Mexico to Egypt and all those far flung places and finally when the film is over you are glad that you are where you are. The immediate effect after watching an Inarritu movie is an odd mix of relief and gratitude. Thankfully, it is not you who is suffering, it is just a movie and those faces who you saw on screen are paid actors.

Biutiful takes place in Barcelona and Javier Bardem has a role of a life time as Uxbal, a small time entrepreneur, husband, divorcee and father of two young children. The acting and the casting is so good that it is hard to believe the actors, especially the children are acting, they are so true to life.

The hallmark of Inarritu films according to me is their very palpable art. Every frame is like a living painting drawn with painstaking detail, with the play of sounds, words and faces adding to its depth. With this film Inarritu has also taken a slight deviation from his usual multi-narrative style. Although there are interwening lives, for most part the film follows Uxbal without any other parallel narrative sharing the focus. With Biutiful Inarritu proves once again that to reach out and produce art with mass appeal you do not have to use pretentious prose or affect psuedo artsiness, life itself if told in simple words and painted with the right palette can produce the greatest art of them all.

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A Better Life

The story of immigrants, displaced people searching for a better life is rich with material for making decent movie if you can find the right story. La Misma Luna and Maria Full of Grace are a couple of heart-wrenching movies where you find people South of the border giving everything up to pursue their American dream. While those two movies rode on the shoulder’s of their female protagonists, A Better Life showcases the bond between an immigrant father and his US born son.

Demian Bichir who plays the father is the life of the movie. Young Jose Julian who has the role of the son is not very far behind talented Mr.Bichir. A Better Life takes you into the slums of LA where illegal immigrants live out their own version of the City of Angels. The film also made it to the 2012 Oscar short list for the best foreign movie of 2011.

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Pranayam

Blessy won’t be making 3D any time soon. Like we care, right? Blessy’s style of moving making is one dimensional, his stories absolutely require characters not to have any depth. But then again I can’t go on my spiteful tirade against Blessy  because he at least makes movies, I am just an armchair critic.

From my armchair, actually a couch, Pranayam is one of the better Blessy movies, the credit should go to Mohanlal and Anupam Kher. Two phenomenal actors doing a remarkable job within the set one dimensional framework. Jayaprada has done okay, then again poignant female roles in Malayalam only require expertise in various degrees and categories of crying – sobbing, weeping, sniveling, moaning, bawling, whimpering, screaming, blubbing, wailing – are like the navarasas of acting skills necessary in a Malayalam actress’s repertoire. It also helps if you are a classical dancer or a Kalathilakam. 

I was wondering whether we didn’t have any homegrown actresses who could’ve replaced Jayaprada in this role. Late Srividya and Jayabharathi come to mind. They obviously didn’t make it into Blessy’s mind while he was  doing the casting.

Although shot in color, characerization is typical Blessy – black and white with no greys. In the white corner we have the three main characters – Anupam Kher, Jayaprada and Mohanlal along with Anoop Menon as Anupam Kher’s son and there is the girl who plays Anoop Menon’s daughter. Every other significant character is in the black corner, all of them qualify as outright demons with little or no understanding of human condition besides theirs. 

While the movie tugs at the heartstrings occasionally, all that tugging was precipitated by the cinematic liberty taken by Blessy by creating the characters in black corner who are devoid of any greys. My favorite hippie era poet singer, the sounds of Leonard Cohen haunts this movie, so does Blessy’s personal philosophical injections via Mohanlal’s dialogs. Digital butterflies and birds show up at strategic scenes a la M.Mukandan Velliankalu and dragon flies (ref: The Legend of Khasak.)

Inspite of all this I am immensely glad Blessy is making progress – Kaazcha and Tanmatra were tortures, Calcutta News was forgettable, Palunku was actually watcheable, Bhramaram was okay if you take it as a pyscho-social thriller and now we have Pranayam which compared to his first two movies could be deemed a classic. Worth watching, while you are at it try those 3D glasses to get some depth.

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The Company Men

The Company Men is like Lifetime or Hallmark movie for men. Lifetime or Hallmark movies are not what are called cinematic classics, they often showcase B-movie actors or actors-wannabes. But usually if you find yourself accidentally watching one of these movies you realize they are quite entertaining despite the lack of star power, CGI and money because they deal with  current topics like a headlining abduction or a heart wrenching tale of a mother’s fight for her son’s life. The bottom line is audience can relate to them. Same with The Company Men though it has A-list stars in its credits.

The Company Men has Ben Affleck, Tommy Lee Jones, Kevin Costner and Chris Cooper as working men facing job loss and financial insecurity. It is the only feature film that I’ve come across that showcases the 2008-2010 recession as it main theme. Every working (wo)man who held a job, lost a job or precariously held on to a job or had someone they know laid off should be able to relate to this film without much effort. Couple that with some powerful performances – esp. Chris Cooper and Tommy Lee Jones and direction that keeps everything in check – that makes a genuinely watchable movie.

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Tokyo Sonata

All the awards it won had puffed up my expectations about Tokyo Sonata. It is an interesting, ordinary film, about the life of a nuclear family in Japan. It can viewed as an effective socio-cultural commentary about urban life in Japan at the turn of twenty first century. 

The actors have been honest in their portrayals, the characters are well thought out and executed. Although set in Japan this can be a story that can happen anywhere, we are just viewing it through a Japanese lens (hehe aren’t all lenses originally Japanese – Canon, Nikon, Sony, Fuji…)

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Reservation Road

Joaquin Phoenix and Mark Ruffalo are the reason I wanted to watch this movie in the first place. Both are good character actors and if they are together in a movie it had to be interesting. Reservation Road tackles a delicate and explosive human issue and pits these two fine actors on two sides of the fence.

Somehow the depiction of the crucial incident which leads these two men to cross their paths didn’t make enough impact on me as it should have. Moreover Jennifer Connelly’s role and her dialogs fell short of the grieving mother she portrayed. The tension between the men is tangible, with one living the life of a deer in the headlights(the pursued) and the other bursting forth with the rage of the pursuer.

It is an interesting movie to watch without expectations and then let yourself be amazed by the performances of the two main actors.

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Ladies vs Ricky Bahl

It had an interesting title, looked as if there were a tad too many ladies in it for my liking, better keep that for later – that was my initial thought when I first heard about this movie. Then Parineeti Chopra and Screen Awards night happened. The clips they showed at Screen Awards where Parineeti won the best female debut of the year presented Ladies vs Ricky Behl as a sort of dark, gritty independent flick for which people usually win acting awards. Nothing like the Yashraj films lively rom-com(or con) it turned out to be.

It must be one of the films Anushka Sharma and Ranveer Singh had to do for their film contract with Yashraj Films (3 films?) Anushka sure seems to have talent and Yashraj Films has made a wise choice investing in her, considering her earlier films – Rab ne Bana di Jodi and Band Baja Baraat were hits at the box-office.

In Ladies vs.., the ones who steal the show are the ladies. Three rather unknown faces - Dipannita Sharma, Aditi Sharma and Parineeti Chopra are the life of the movie. All three of them have exceled in their roles, but it is Parineeti who takes the cake as the fiesty and fun loving loud mouth Dimple Chaddha. Infact so much so that as a viewer I find it a bit disappointing that Ranveer Singh’s character fell for Ishika(Anushka) after a couple of meetings and not for Dimple.

The story of a set of ladies trying to outsmart a con man is contemporary. Script and camera keep in tune with the times and the theme. You can blame it for predictability, but then again this is not Tarantino, we are watching a Bollywood movie dressed for commercial success. Incredibly cool songs(very Punjabi-sh beats), the kind that will make you thump your foot on the gas, zoom past like a flash of light while being thankful to some invisible force that bestowed you with life so that you could enjoy this music. Good work, Salim-Sulaiman! Some may not find it as appealing as Band Baja Baraat, but I like it because the acting credits are spread out over a wider group of actors and not just Anushka and Ranveer. All in all, a good entertainer.

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Never Let Me Go

This is a movie that never could be American. An American would never sit back and take it, as cliched as it may sound, it is true. Never Let Me Go is an English film that can only be made in a non-Hollywood place where they speak English, which makes the prime choice for such a location – England. 

Is it Orwellian? Not really, because beyond the limits of the special boarding school called Hilsham, which is the focus of the movie, free society exists. The unpersons or persons without a future only exist within similar such boarding schools. The color scheme and the mood is subdued in browns and beiges, tinted with a pervasive sense of melancholy.

The most obvious question a viewer will ask at the end of the movie is, why don’t they try to escape? Maybe the best answer comes from the author of the novel that the movie is based on, Kazuo Ishiguro in an interview about Never Let Me Go explains that he meant the lives of the donor children (the children who are brought up in these special boarding schools) as a metaphor of our lives, as to reflect on why we accept death as the end and do not try to escape it.

There is no rebellion against fate anywhere in the story, only weak requests that fizzle our before they begin. It is a difficult story to capture in film, it is a better fit as novel where you can explore words and allegories, chew upon the its and your existential cud. On screen, when you watch characters play out these doomed roles, you want to exhort them not to sit back and take it. 

But the script(Alex Garland), actors, director(Mark Romanek) and the art has worked together to bring a challenging narrative to a beautifully made film. Who would’ve thought to cast Keira Knightley in a dark role with black bangs to match? Carey Mulligan and Andrew Garfield fits the bill as film's subdued and hapless protagonists. The children who portrayed the characters in their childhood are just as good as the adult actors. A touching and dark movie.

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Christian Brothers

In tough economic times a paisa vasool movie is a blessing for the audience. Paisa vasool is desi way of saying, ‘to get bang for your buck’. Movies that fall into this category give you a chance to see all the major heroes in one place and will be also be a veritable avial showcasing comedy, tragedy, songs, romance, hot babes, cool cars, reunions, breakups, action, reaction and whatever else you could ask for in a 2.5-3 hour package. You purchase a ticket to watch a movie and come out feeling like you’ve watched 5 movies for the price of one. The producer is pleased and the audience satiated and Christian Brothers avial clinches number #1 spot at the box office.

Mohanlal (who else can play a Mumbai underworld don in Malayalam cinema) is the foundation of this movie’s brotherhood. Mohanlal has the copyright of don roles from the early nineties ever since he became the good boy turned goonda in Kireedom and moved to Mumbai in Adhipan and came back to Kerala in His Highness Abdullah. Too bad that Mammootty missed that boat. 

Dileep is the other brother and he fields all the comedy balls and Suresh Gopi is the brother(-in-law) who like Mohanlal has a copyright on a certain type of hero -  the police officer who swallowed an English dictionary. (Isn’t it time we awarded a honorary IPS to Suresh Gopi like Lt.Col title conferred to Mohanlal by the Indian Army (122nd Infantry Battalion)?) Sharat Kumar, the manliest of actors from Tamil in the 50-60 age group is imported to be Mohanlal's buddy.An interesting face that flickered by was Vivekandan, the actor who played the teen lead in 1990 movie - Kshanakkathu, as one of Mohanlal's sidekicks.

Saikumar is the father who created these brothers and the entire Christian brotherhood is often challenged by another set of brothers from a different mother, this one led by Biju Menon and fathered by Vijayaraghavan. Mother figures are non existent, no wonder the boys are running wild. Female actors are all damsels in distress waiting to be rescued by the appropriate Christian brother. In fact cars and guns play more important roles than ladies in this movie. This is our very own Guns, Gems(of actors) and Steel, for your daily dose of the aforementioned three items watch this movie in installments.

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Shutter Island

Shutter Island is a little late for me, Memento, Requiem for a Dream, Mulholland Drive, Inception and a handful other movies whose names I don’t remember have already taken the viewers down the path of alternate realities played out inside character’s heads. If you are the analyzing type, this is one movie whose real meaning you can dissect to death after multiple viewings.

Dennis Lehane is one of my favorite writers of casual fiction. I loved his Mystic River and remember eagerly waiting for the film version when I heard Clint Eastwood was directing it. I have not read this work of his – Shutter Island but if Mystic River (the book) is anything to go by Shutter Island the movie has been glammed up a bit into a Hollywood script under Martin Scorcese. Of course when a movie is set in or before 1950s, the leading man can be no one else but Leanardo Di Caprio, the real Benjamin Button of Hollywood who is perpetually stuck in a screen time somewhere between the Great Depression(‘30s) and the Great Prosperity(‘50s)

This time he is stuck for real in an island penitentiary/mental asylum called Shutter Island as US Marshal Teddy Daniels investigating a mysterious disappearance of a female inmate. That is just the start. Things get murkier and stormier as the film progresses. But somehow from the very beginning I had the feeling that Mark Ruffalo was acting. Another reason to doubt the story was, did Scorsese have the guts to cast Ben Kingsley, the man who played Gandhi, in a negative role?

All that said, Shutter Island has an interesting story, the director has delivered it as a tight almost waterproof package, although the movie's predominant element is water. There are metaphors, allegories and symbols placed through out the movie left for audience's interpretation including the famous last line that Di Caprio's character utters at the end of the movie, throwing a monkey wrench into the already confused machinery of audience's mind.

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Madrasapattinam

As a topophiliac I am partial toward movies with place name titles. Changes in geography shaped and reshaped under the wheels of time interest me to no end.  Madrasapattinam made me look at the origins of the so-called authentic Tamil name, Chennai which became Madras’s official name in 1996. Wikipedia says Madrasapatinam and Chennapatinam were two different but nearby places. Madrasapattinam was a fishing hamlet near Portuguese fort St. George and Chennapattinam was the settlement which sprang up near the fort. Both their histories go back to 15^th century. Between the two how did the administration decide which one was more original? 

Madrasapattinam, the movie, favors Madrasapattinam over Chennapattanam. It is sort of like Tamilian’s Titanic cleverly adapted for pre-independence era Madras. There are telltale signs of Titanic strewn through out the movie starting with an old lady, a necklace, the old lady’s grand daughter, flash back to a doomed and fleeting love story and a handsome self sacrificing hero who never gets old. Unlike Titanic – the movie, Madrasapatinam was created to ride the box-office waves, not to sink without a trace. It has romance of the most forbidden kind – gori mem falling for a dark skinned dhobi, in the backdrop of the simmering Indian freedom struggle almost nearing its date of fruition.

Arya and Amy Jackson play the roles of lovers separated by class, race and political tensions. One of the positives about this movie is we do not have Indians in crusty pancake makeup and blond wigs playing the role of the British. Although 19th century British dialogs sound Dickensian, viewers’ misery due to this strait-jacketed language is restricted to a few opening scenes.

The city of Madras plays itself. The director had me in his pocket when he showed the transformation of Coovum river from a scenic serene waterway to a narrow channel between trash heaps in the present day Chennai. CGI, though not seamless as historic Hollywood movies, is definitely better than Salman Khan’s Veer a period piece from Bollywood from the same year, with more money and CGI.

Madrasapattinam has a lot of flaws in the script and story department if you go at it with a magnifying glass. Most of the public who spend money to watch this movie in Chennai’s cinema halls won’t be having such a glass in their possession. This is a dreamy movie for the underdog, about someone who attained the unattainable, with a strong thread of love and related emotions binding it together. The movie's success at the box office is a proof that Indian audience always fall for that time tested trick.

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Boss Engira Bhaskaran

Jamshad Cethirakath aka Arya – a Malayali from Trikkaripur(Kerala) brought up in Chennai with Diana Kurian aka Nayantara – a Malayali from Kottayam(Kerala) brought up in Gujarat and Kerala, both find stardom in Tollywood and join hands as hero and heroine in the 2010 super hit Boss Engira Bhaskaran. 

It was touted as Nayantara’s comeback hit and breakthrough commercial hit for Arya. With all this Mallu pride overflowing in the first paragraph it should be self evident that this review is written by a Malayali whose distinction is that I have not watched many Tamil movies. But I have been trying to correct this drawback this last week by multi-threading a few Arya and Dhanush movies.

Bhaskaran otherwise known as Boss(Arya) amongst his friends and family is a happy go lucky unemployed youth living in Kumbhakonam. A lot of middle class Tamil film-goers will be able to identify with his story and the surroundings. Arya’s natural comic timing and strong support on the comedy front from Santhanam makes the movie a laughter-fest from start to finish. In this they are aided by a humurous and unexpectedly sound script. Even the supporting characters have engaging dialogs, except for Nayantara’s ‘pardon’, which was a tad irritating but it was afterall intended to annoy Boss.

Boss Engira Bhaskaran is funny romcom perfect for lazy afternoons. Even the villians are cast in a witty mold. There are not many lessons to take home except to take life light-heartedly like Boss.

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Top Malayalam Movies of 2011

2011 was a milestone year for the discerning Malayali movie-goer, one who was tortured years on end with too many Dubais, Naatturajavus, Christian and Uppukandam Brothers. It goes without saying that I consider myself belonging to this category. This was the year I finally found some contemporary Malayalam films I can recommend to my film-buff friends (non-Indian and therefore non-Malayali) and did not have to go into hiding after the recommendation for fear of losing their friendship.

2011 was also the year when Malayalam cinema woke up and sniffed a new formula  and started playing with it – integrated multi narrative track, already perfected by Alejandro Inarritu, Wong Kar-wai and David Lynch, so there are plenty of places of draw 'inspiration' from. In the process of learning there were some misfires like The Train and The Metro, but some like Traffic and City of God hit the target.

Another surprise winner of 2011 is the non-superstar, in the line of Times Person of the Year – Protestor,  Malayalam cinema’s star of the year was not Mohanlal, Mammootty , Prithviraj or Dileep, (or not even Suresh Gopi,) it was the dependable second benchers, the reliable middle-of-the-pack actors like Lal, Jayasurya, Shweta Menon, Kunchako Boban, Indrajith, Asif Ali, Salim Kumar, Reema Kallingal, Indrajith, Vineeth Sreenivasan, Remya Nambishan, Fahad Fazil and Samvrutha Sunil who took the cake this last year. Also worth mentioning is the new crop of movie-makers who were instrumental in bringing a paradigm shift in the way we make movies in Kerala – Lijo Jose Pellissery, Samir Thahir, Aashiq Abu, Listin Stephen, Bobby n Sanjay, Rajesh Pillai and the like.

On to movies, my five favorite films of the year in no particular order,

Salt N Pepper (Woohoo! Malayalam has its first real…..Read more)

City of God (The end is the beginning is the end as….Read more)

Chappa Kurish (Chappa Kurish - Kochi speak for heads or tails, whatever the outcome of this coin flip…Read more)

Beautiful has shades of compassion and comraderie and gives Anoop Menon an opportunity to sling a guitar on his back and walk/ride the streets, which movie star has not dreamed of playing such a James Dean-ish character. Jayasurya as a paralysed millionaire with a  love for life gets to emote with his eyes and flirtatious talk. It is an interesting movie and yet another one which pays tribute to Malayali male’s endless fascination with that ageless Padmarajan classic – Thoovanathumbikal.(Read more)

 Indian Rupee has a good story and tight script. Though more laudable is the fact that it is the one and only movie which keeps Prithviraj (barely) in the ship that sailed from Kerala’s movie ocean in the second decade of twenty first century bearing the flag of new promise and hope. Prithvi is on the verge of becoming a latter day Mohanlal (not the Mohanlal of Nadodikkaattu but the Mohanlal of Natturajavu), if not for rare movies like Indian Rupee.

Also rans : 

Gaddama : (Women in flight (no, not Amelia Earhart), escaping their wretched existence make...  Read more )

Traffic: Probably the most commercially successful multi-narrative movie of 2011, it not only is technically sound but has drama and melodrama to top it off. Read more

Adaminte Makan Abu: A typical festival circuit movie, Malayalam budhi-jeevi(intellectual) directors have been churning out since the fifties and sixties, because third world poverty and desperation sells, tugs the heart strings of movie intelligensia at Cannes and Berlin and Toronto helping to bring home an award or two. Salim Kumar and Zarina Wahab have faithfully executed their roles as an aging couple waiting to go on a pilgrimage to Haj and the rest is textbook award movie stuff.

Pranayam, maybe.

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Dr Love

If you are in a mood for a semi-decent campus movie of recent origin in Malayalam, Dr-Love might be worth looking into. The movie has no super stars or so says Kunchako Boban, the only star in the movie. Considering his advanced age and receding hair line, the film makers gave him a very important role in college canteen, which is where you’ll find aging movie Malayalam movie stars who just can’t get enough of college life even if they have sired grandkids of college-going age. College Kumaran Lalettan is the prime representative of this species. Compared to that Kunchako could easily pass off as a PhD scholar at SB College, Changanassery.

 But Kunchako’s character – Vinayachandran is not into studying to gain a doctoral degree. Vinayachandran, a struggling writer manages to get a Dr prefix by offering consultations on love and romance, thus becoming everyone’s darling Dr.Love. 

The most convincing apsect of this movie is all college kids look like college kids. Sudheesh and Idavela Babu have been given a rest and their roles given to real youngsters like Bhagat, Hemant, Vidya Unni, Ananya, Manikuttan and others. Since just helping a few love lorn teens is not going to sustain the image of Dr.Love forever, the film makers introduce a cliched and predictable twist in the form of Bhavana in the second half. Thankfully the movie gets over before it twists itself into a knot.

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Filmstar

Filmstar – another movie about movie industry, for a change this time we have a different set of movie stars than what we got to watch Udayanaanu Tharam or Katha Parayumbole.  Infact it is like Katha Parayumbole without a solid katha(story)/script and some politics of the red kind thrown in for the masala(spice.)

Kalabhavan Mani plays superstar SuryaKiran and Dileep is a down and out commoner turned script writer Nandhagopan. In the age of terse texting it is hard to believe that vacuous scripts like this will sell. Did it?

My hand on TV remote’s forward button did get any rest while watching this movie, maybe you should take it as a sign.

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Chappa Kurish

Chappa Kurish (Kochi speak for heads or tails), whatever the outcome of this coin flip was for its producer, is a definite winner in my book. With a mere 65 lakhs investment(you won’t be able to buy an apartment in Kochi for that amount), I am pretty sure Listin Stephen did get more than his money back.

Samir Thahir, cinematographer turned director has created a technical poem of a movie(if there ever was one) using Canon 7D.

Red One (Yakshiyum Njanum, Unnaipol Oruvan), Canon 7D – digital is surely making inroads into our movie industry. For Malayalam film industry where Indian Rupee is still a scarce commodity, producers will possibly get to spend the money they saved by switching to digital in other much needed areas. 

Chappa Kurish is supposedly a lift-off of a Korean flim, Handphone. I haven’t seen the Korean one but from its synopsis and reviews it looks to me as if the copy was better than the original. Thank your luck, Malayalis! Like many movies of the recent past(Mammootty starrer The Train for one), cell phone plays the leading role and it is not just any cell phone, it is the special one with an I prefix. Mac and its brand placement has it eyes on the right prize – the nouveau  I-nternet enabled I-billion of I-ndia. Blackberry and Android try harder and come up with more candy and icecream, Indian sweet tooth is legendary.

Trying to steal I-balls from the I-phone are our two leading men – Fahadh Faasil(Arjun) and Vineeth Sreenivasan(Ansari). It is essentially a guy vs guy over a cell phone story with some girls in the background. Both the guys have played it to perfection. Aiding them in this endeavor is the simple and genuine feeling script which had lots of opportunities to go overboard but conducts itself with restraint.

From Kaiyethum Doorathu(2002) to Chappa Kurish(2011) via Kerala Kafe and Tournament – Fahadh Faasil has done quite the impossible – a long invisible absence followed by a reinvention of a comeback.

Rex Vijayan (guitarist of rock band Avial) has composed very contemporary background music to go with the mood of the movie. Remya Nambeeshan who plays the most prominent  female character – Soniya fulfils her role with an understated ease. Other low-key but strong performances come from  Jinu Joseph as Arjun’s Man Friday and Suni Thrissur as the manager of the grocery mart where Ansari .

The attention to details – starting off with one of the most beautiful love scenes ever filmed in Malayalam, leading to the naked vulnerability of Arjun when he learns what he has lost and the dark, gritty and realistic fight finale which ends with the protagonists sitting facing each other – two sides of the same coin, make Chappa Kurish a primer for later day(as in post 2010) Malayalam movies.

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Karyasthan

Karyasthan is the on-screen version of Malayalam soaps. Where else, except in Malayalam TV serial land will you find big joint families still in existence, ready to put on a show at moment’s notice, armed and ready with copious amount of pancake make up, layers of lipstick and draped in heavy silk saris even at 1am at night.

Considering the unsatiated hunger of Malayali audience for such masterpieces of familial theatrics and histrionics, I should say, Dileep made a wise and safe choice for his 100^th film. He is the misplaced family scion faking as a manager(Karyasthan) to bring together two feuding families and working to regain his father’s lost status.

The story is forgettable, but be assured, like a zombie it’ll come back in the next couple of months with a different hero belonging to a joint family(prestigious nevertheless) with a different name. Provided the hero is a super star, Malayali audience will embrace the zombie yet again with open arms with all the charm that they should’ve reserved for their own pennukaanal.

There is a host of supporting characters to provide for essential elements of a family drama like pride, arrogance, evil, superiority, helplessness(only female characters),benevolence(father/mother figures), mass appeal & courage(hero’s essential attributes),  stupidity, ignorance(the last two translate as comedy). Actors who were fortunate enough to be be cast in these supporting roles were Madhu, G.K.Pillai, Janardhanan, Sidhiq, Ganesan, Biju Menon, Lena, Suraj, Salim Kumar, Jagathy and umpteen others.

If this zombie has not caught you yet, stay that way.

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Inspirational Songs : Tamil, Malayalam & Hindi

Almost a year ago, I compiled a list of inspirational /motivational songs in this blog. Though all of these were in English that post shows up as one of the top results in Google if you search for Tamil inspirational songs and a lot of people seem to be searching for inspiration in Tamil.

If you are seeking uplifting Tamil songs I am not the best person to provide an answer. But one Tamil song has been making rounds in our house(and probably every South Indian household with an internet connection) for the past week. It is one of the most viewed songs in YouTube this past month, with 15 million views and counting, you know what I am talking about – Why this Kolaveri Kolaveri Di. Way to go Dhanush, Aishwarya and Anirudh Ravichander. It is from the movie 3 starring Dhanush and Shruti Hassan.

From Tamil onto Malayalam - one of the most difficult languages to write rock songs and my native language. When I saw Vineet Sreenivasan’s Malarvadi Arts Club, the closing scenes of the movie feature ‘supposedly’ a rock song. At that time I had wonderedand wished out loud that Vineet should’ve let Avial – the first real rock band to come out of Mallu land to compose and perform that song instead of the insipid piece that was in the movie. It looks like some film maker had the same idea as me (and a million others, I am sure.) Salt N Pepper one of the really watchable movies of 2011 hands the screen over to Avial and their musical extravaganza to provide a rocking end to the film. Performed by Avial for Salt n Pepper, here’s Aanakallan. Rock on, Malayalis!

With Tamil and Malayalam covered, how can I ignore Bollywood? Everyone might have an opinion about Ra-One and I have an opinion about his Chammak Challo. With music by Vishal Shekhar and sung by Akon, aimed to rope in a global audience, Chammak Challo is guarenteed to sizzle you. For added entertainment watch the video instead of just the audio, Bollywood as you know is all about color, emotions and music, it has to be enjoyed as a combo package and Chammak Challo will not disappoint.

That's inspiration X 3, in three Indian languages - Tamil, Malayalam and Hindi, take your pick.

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Salt N Pepper

Woohoo! Malayalam has its first real food-porn film. We did not have Babette's Feast, Ratatouille, Julie & Julia or Chocalat but we now have Salt n Pepper.

For a film that is path breaker of its genre  Salt N Pepper  has managed to set high standards to anyone attempting a food-centered film in the future.  At the same time, it has remained a high grosser appealing to different sections of 'discerning' Malayali populace.

Lal, the lead actor in the role of an officer in the State Archeology department(in the pic: wearing blue shirt on the left) whose passion in life is food,  looks like he had his kattan chaya(or kaappi) in the morning and walked right into the set, into the movie and into your life. Shweta Menon has carved a niche for herself in Malayalam with hitherto non-existent roles being  written for her considering her talent and ‘advanced age’, which is a good sign for all actresses in Malayalam film industry. Shweta is in her mid thirties in an industry where it is the norm for actresses of that age to play mother or mother-in-law roles for our forever young fifty and sixty year old super stars. Asif Ali(in the pic: sporting neon green jacket) – the easy going, probably the one of the best in the new crop youngsters in Malluwood has a role that suits his style. 

 The actor who hits a gold mine with this movie is none of the above, it is Baburaj(in the pic: guy in the center murdering the chicken) who has appeared in umpteen Malayalam movies as the quintessential bad guy. Baburaj plays Babu the bachelor, hanuman-devotee super-chef with a personality to match. As an actor, this movie has to be a milestone, giving him a new image to explore.

On a personal front, Salt N Pepper is more attractive to me because it showcases my home city - Thiruvananthapuram and its more likeable parts like the Rajaveedhi from Kawdiar to Vellayambalam, the new underpass at Palayam, Napier Museum  and other familiar landmarks.

The opening and closing segments of the film are entertaining and innovative. Various famous restaurants and foods in Kerala are featured as the opening credits role in, which sets your lip smacking for the movie to begin. Once the whole fare is served – which was indeed a feast par excellence- we have the Malayali rock band Avial (coincidentally ‘avial’ is the name of a Kerala vegetable dish usually served with rice) signing off with foot thumping song, Aanakallan.

 Ashiq Abu has directed an irresistible hit, a delightful entertainer.

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Mujhse Fraandship Karoge

If I am not mistaken(which I often am) Mujhse Fraaandship Karoge is Bollywood’s first movie directly based on Facebook social networking interactions.  Starring four youngsters, set in a modern day fictional campus director Nupur Asthana manages to keep our attention on a much rehashed plot through a fast and fashionable story line.

Saqib Saleem and Saba Azad play the lead pair with  Nishant Dahiya, Tara D'Souzah who have strong supporting roles. It is a easy breezy campus flick if you are in mood for one. It is good to see old war horses like Yash Raj films moving with the times, promoting young directors and contemporary ideas.

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City of God (Malayalam movie)

The end is the beginning is the end as Smashing Pumpkins had it figured out, on behalf of Batman. City of God, the newest movie from Lijo Jose Pellissery lives by this rule. I have decided to craft this review in the same vein – results first, facts later. I liked City of God, one of the better movies to come out of Malayalam in the recent past, Prithviraj’s superman act could’ve been toned down a bit. Well, you can’t have it all, right?

Multi narrative tracks are the flavor of the season in Malluwood. City of God joins Traffic, The Train and The Metro in an ever lengthening list, which I am sure is only in its infancy. I am expecting to see the list mature into a full-fledged Godzilla at the end of this decade. 

City of God is comparable to its Brazilian namesake in that the favelas of Rio are replaced by the cheris (slums) of Kochi and both are multi narrative films portraying the chaotic lives of a bustling, breathing third world metropolis. But I find the story structure more similar to another multi narrative film – Crash, where everything begins and ends with a road accident and the viewers are taken down different threads at the same time to be led back to the beginning in the backdrop of the City of Angels (LA.)

Prithviraj as Jyothilal, a high profile bodyguard/hitman/buddy of young industrialist Sony(model turned actor Vinod Pillai) has been bestowed with a fist and physique to deliver dialog, so he broods a lot and talks less. Reema Kallingal has juicy role as an actress under duress. She delivers a good performance talking in her own voice, literally without any dubbing artists to share her success. So does Shweta Menon  in a short but strong role. Indrajith lands a winner again with Swarnavelu,  a happy go lucky Tamil laborer and we get to see a very different Parvathy (debutante in Notebook) in her comeback to Malayalam as a migrant laborer with a lot of dark grease makeup.

Lijo Jose Pellissery, the director has created an interesting, true-to-life movie, esp. when compared to other movies of the same genre, maybe that's why it didn't set the box office ablaze. Despite its obvious Hollywood and international 'inspirations', it is one of watchable new movies(not for kids though.)

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Shaitaan

Shaitan is like an Indian tribute to Tarantino. It is an A-list film in terms of technical quality with fast paced camera and editing keeping in track with it.  Running around trees when boys and girls meet of the traditional Indian past has been completely abandoned in favor of cruising around in a gas guzzling Hummer.  ‘Bade baap ke bigade hue aulaad’ (Hindi for rich spoilt brats) form one team of actors led by Kalki Koelchen and other talented new comers. 

On the other front we have the locals, everyday Indian and public servant policemen led by Rajeev Khandelval. It's a good long while after Aamir, Mr.Khandelwal. It was good to see Nikhil Chinnappa in a non-VJ/RJ/DJ role. Pawan Malhotra has an interesting role too. 

In the audio segment, Shaitaan has an awesome remix of Khoya Khoya Chand. IMHO this is the first time a modern remix is as good or better than the original classic(from Kala Bazaar sung by Mohammed Rafi.) Produced by Mikey McCleary and sung by Suman Shridhar it jives well with the spirit and pace of the movie.

From the production house of Anurag Kashyap, directed by debutante director Bejoy Menon who comes from the Mani Ratnam line of movies Shaitan is a slick movie to watch. If you are an adrenaline junkie even when you are couch-prone and watching a movie this might be a good choice.

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Three Kings

If there is a category called self depracating comedy movies or what I’d call a contemporary version of slapstick humor, Three Kings will fall into that group.  When a movie knows it is not trying to sell a moral but only some cheap laughs and the audience knows that the movie knows, all that its creators have to do to make it successful is to bring on the laughter. 

Three Kings is a happy go lucky movie with characters to match. Indrajith, Kunchako Boban and Jayasurya are three kings without a kingdom, in search of a lost treasure. To help them in this quest we have three damsels – Samvruta Sunil, Ann Augustin and Sandhya. The movie tries to be funny and nothing else and succeeds for the most part, except when the humor becomes too slapsticky.

Just make sure not exercise your brain at any time while watching the movie.

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Goodbye Solo

Goodbye Solo is a film festival circuit movie  - produced cheap with lofty ambitions starring talented but not big name actors and zero CGI. You’ll like it better if you like the way people from Africa speak English – I like it, the way they talk sound to me like if there was a big-hearted way of  speaking English their way would be it.

        

Solo is an immigrant cab driver in NC and just as I’d have guessed from his accent and place of birth(Senegal) a guy with a generous heart. He befriends an old guy, William who hires his cab once, though William doesn’t care much about Solo’s friendship as he is intent on turning his back on everything including life and the relationships it brings with it.

Nothing much happens, can be used by someone who is interested in studying the art of movie making.

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The Adjustment Bureau

Philip K.Dick's stories are becoming more relevant as years pass or Hollywood seems to think so. The latest one of Dick's fictional contributions to roll down the California movie conveyor belt is The Adjustment Bureau.

Any futurologist, by which I mean anyone who has ever read their own daily horoscope in a newspaper will find this new class of movies interesting to say the least. If it features Matt Damon, the super flexible man of all trades, the movie is sure to find easy doors to dollars. Doors, by the way are important elements in this film.

The movie starts out with an up and coming young politician, played by Damon caught in an election scandal and has to quit running for whatever political office he was running for. But that's really not the film is all about and you don't want any spoilers, right?

The subject of the movie requires a technical perfection only Hollywood bucks can buy and they do the task as is expected. The Adjustment Bureau is a good watch for anyone who likes romantic sci-fi, Matt Damon or Philip K.Dick or all of those.

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Aarakshan

The triumph of the little guy is often irresistible movie material. In this film the little guy is the tall old man(used to be the angry young man) of Indian cinema – Amitabh Bachchan.  The issue it has tried to tackle, I’d say boldly, because not many movies attempt it in this age of the rising, economically empowered Indian middle class who are not overpowered by the ‘glamor’ of government jobs. And therefore caste-based reservation, which decided the availability or non-availability of a government job to a person belonging to a particular caste is not a hot topic as it used to be. 

Much like the reservation becoming a non issue in the real world, the story of the film also switches its priorities midway. Yeah, it keeps the title the same through out the movie (Aarakshan = Reservation), but the focus shifts towards private coaching classes or tuition centers. The lead characters also go through a confused and stunted growth period in between. When we had just started thinking Saif Ali Khan and Deepika Padukone will be the focus of the story, Saif is torn away from fighting for his burning cause and sent abroad.

With Saif off the scene and Deepika fading into the background, it is Bachchan all the way. The talented and experienced actor that he is, he handles the movie with right amount of restraint and starts a free coaching class for poor students when he is fired from his job, which turns out to be the right thing to do.  Manoj Bajpai gets to play the scheming professor and Tanvi Azmi is the loving and dutiful mother and wife. 

It is an interesting movie to watch movie about social issues and you’d rather watch something Indian than say, Erin Brockovich.

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Violin

Sibi Malayil is a director known to spread emotions real thick on his films. From Kireedam and Dasaratham via Aakashadoothu to Apoorvaragam (2010), many of these hit the right spot with Malayali movie audience who wear emotions on their sleeves. Violin is yet another attempt at the same. Apoorvaragam had a novel story despite the hackneyed currency of emotions it was trying to trade, which made it a surprise hit at the box office. Unfortunately Violin lacks sorely in the story department.

Fort Kochi, Anglo Indians, old money, characters walking around in outlandish 19^th century European costumes are all themes that have been done to dust by our idea hungry movie writers.

Now that “nightie” has been anointed as the official casual wear of Kerala women, why are the ladies in this movie still wearing frumpy frocks?

Violin is another example of a recent movie that I’ve seen which is thirty years too late.

The only bearable part of this film is Asif Ali. Nithya Menon’s role demands her to be over the top which she adheres to faithfully. The rest are best forgotten just like the movie.

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Pyar Ka Punchnama

A twenty something software guy from a middle class Indian family, working his as$ off at some corporate code(sweat)shop in Noida, where do you think his priorities lie? Where else, in girls of course.

After probably two decades of strait-jacketed life India’s society prescribes to its kids and young adults, twenties is that short gasp of wild breath before it is all smothered down by an arranged marriage. Pyar Ka Punchnama is peek into that wild place, through guys’ eyes. I am sure there are girl versions of this movie, the most recent one I remember seeing is Turning 30. Compared to that, I like Pyar Ka Punchnama better.

 

Three guys who write code for a living, share an apartment somewhere in Delhi and get caught in some serious girl trouble. This is the male chick flick that Bollywood sorely lacks, in the lines of Superbad or 40 year old Virgin.

It is not a great script but its success lies in the fact that many young males in 20-35 age group can identify with the characters and the life portrayed in the movie makes sense to them.

Divyendu Sharma, Rayo Bakhirta and Karthikeya Tiwari - all three new comers handle the role of the three male protagonists with ease, with Sharma taking the gold medal had they been awarded medals for their acting. Another actor worth mentioning is Nushrat Barucha who delivers a convincing performance.

You've seen chick flicks like this before, now you know if someone had kept a hidden camera in the lives of guys in those movies this is what you'd get to see. 

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Bubblegum

Jamshedpur, Jharkhand is transforming into ‘the’ place for coming of age movies. Maybe lot of new crop of directors/writers grew up as offsprings of steel plant or ONGC employees which provided stable white & blue collar work in Northern India from seventies onward.

Bubblegum is teen coming of age story narrated in first person by a guy who is probably in his thirties looking back at a Facebook-less cellphone-less world. A time of sweet innocence, right? Wrong, FB, Twitter and texting might be new but teenage was a wicked time since time immemorial, even before language and written word started making matters worse. 

A housing society in Jamshedpur is the setting of this good-natured teen drama which has the fourteen year old Vedant(Delzad Hiravali) in lead vying for the attention of girl next door, Jenny(Apoorva Arora.) Two other significant characters are Ratan, Vedant’s arch enemy who has his eyes set on Jenny as well and Vedant’s deaf and mute brother – Vidur.

The life of teens back in that era has been vividly captured by the script and characters, so is the life in a housing society (apartment complex in urban India) of the eighties shown with its small but important nuances. The events of the story happen around the days leading up to Holi and the festival forms the thread that holds the story together.

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Stanley Ka Dabba

Stanley ka Dabba is a fresh faced children’s movie about Stanley’s Lunch box. Stanley is an 8-9 year old kid who comes without lunch box to school every day. The interesting thing about the movie is the way it was shot at a Montessori school in Bombay as a part of acting workshops on Saturdays. It has the feel of a movie shot with an invisible camera in an actual class room and school environs.

All the kids look and act natural and the easy going script allows them to be just kids. Amole Gupte, the director plays one of the important roles in the movie as Kadoos, the Hindi teacher and his son Partho Gupte is Stanley.

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Mere Brother Ki Dulhan

To be serious on a Friday evening is sacrilegious. It is also a good excuse not to go at My Brother Ki Dulhan (My Brother’s Bride) with a cinematic laparoscope, when it is not pretending to be anything other than a vehicle for fun. If you want to watch a Bollywood movie, with its staple of North Indian wedding, a few colorful songs, eye candy actors and toned down drama suited for a global audience My Brother Ki Dulhan is a light entertainer for you to consider on a weekend.

Katrina Kaif is getting better as an actress though she is not playing a character far removed from her real life references. Dimple Dixit, a boisterous, fun loving girl had all the fun in the world and is ready to settle down with the man her parents will pick for her via the arranged marriage route. Then the unthinkable happens, that is if this is your first Bollywood film ever. If not, go to kitchen, grab a bag of chips, get back into the story without missing a beat.

Imran Khan, not a comedian by nature, fits well into comic story lines as I had witnessed in Delhi Belly. Ali Zafar is a comedian at heart kept in check by his London address in this movie. I’d like to see more of this Pakistani music star’s Bollywood forays (maybe start with Tere Bin Laden.) It was good to see Kanwaljeet Singh and Parikshit Sahni, old horses from Doordarshan’s hey days, back together in a main stream film.

Music is forgettable, cinematography is neat with shots of Taj from across the Yamuna as our Bollywood cinematographers prefer to show it and the director holds the game together without getting lost in creating spectacles for drama or tears.

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Manikyakallu

A selfless teacher on a mission to set straight a bunch of unruly kids - where have I heard this theme before? Every language in human history with an established film industry might have tackled this subject in one form or the other at some time. Hollywood produced classics like Blackboard Jungle, To Sir with Love and Stand and Deliver where an inspiring educator elevates underprivileged or inner city kids who have no interest in education to shiny beacons of the future.

In 2011 movie Manikyakallu, Prithviraj – Malayalam’s leading contender for the next superstar, goes noble as newly appointed teacher Vinayachandran at Vannamala High School notorious for its 100% failure rate. His altruistic mission to make prodigies out of distracted kids is beset with troubles and trouble-makers. But as expected of an upcoming superstar none of these can rein in our self-sacrificing man on a mission for long. Every enemy is brought to his/her knees through an event or incident reminiscent of Aesop’s fables. Lessons on morals and ethics are served to these fallen adversaries and thus indirectly to viewers in the form of fawning dialogs, songs with lyrical messages and implausible character turnarounds.

Most characters in this movie fall into either black and white category with only a few showing shades of grey. Those who are fortunate to play these roles include Samvrutha Sunil, KPAC Lalitha, Nedumudi Venu, Jagdeesh, Anil Murali, Jagathy Sreekumar and others. By the end of the movie though every part actor has given up his dark aspect and joined the forces with the light, thanks to our self-effacing hero. All I can ask at this point overpowered by a story of gooey-goodness is, isn’t this movie fifty years too late?

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Kaavalan

Dileep and Nayantara vs Vijay and Asin – which combo is better? I have not seen a full length Vijay movie before, only bits and pieces or songs from his movies made up my fleeting impressions of Vijay. Now after watching him with Asin in Kaavalan I can see how he is an actor at home in Tamil movie industry and having a producer-director father definitely helps. What really surprises me is this guy trumps Shahrukh Khan at not looking his age. He is playing a dude in early twenties in this movie and he doesn’t look a day older, definitely not 37 - his real age


Kaavalan is a remake of Malayalam movie Bodyguard starring Dileep and Nayantara, directed by Malayalam’s ace director Siddique – formerly of the famous Siddique Lal duo. The success of Bodyguard spawned a slew of remakes in Hindi, Telugu and Tamil. I am glad I watched the Tamil version for Dileep could’ve caused a Repetitive Stress Syndrome to my eye muscles. Though he is overwhelmingly funny, if you have seen one Dileep movie you’ve seen them all.

Asin and Vijay are supported by Vadivelu, RajKiran, Roja, Mithra Kurian and a journal. Kaavalan’s story and execution smells of a movie dressed for success. It is the tried and tested to death formula of Indian movie-dom : guy meets girl in the backdrop of a college or university where they can party their days away wearing outrageously colorful clothes, sing around trees, make room for some villains to create a much needed climax and then guy and girl goes off forever-happy land. Same old comfort movie food in a shiny new package – we starry-eyed Indians always fall for this kind of emotional atyachar.

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Plus Two

Plus Two is the newest addition to Malayalam's list of high school romances. Plus Two in India corresponds to junior and senior years at high school in the US. This period is often cited as the years when teenage emotions go haywire in the subcontinent, as rightfully documented in Malayalam movies like Notebook, Kshanakkathu and Venal Kinavukal. Yeah, we are late bloomers, goes well with our arranged marriage system.

Sheby Chavakkad – a first time director uses the niche access door of teen angst and romance to enter Malayalam filmdom. It must have worked as blessing to him and his producer as this kind of entry undeniably cuts production costs by not needing a super star. M&Ms are only in their fifties and it’ll be a few years before they can get past the late 20s characters they are doing right now and tackle more complex teen roles. Till then people < 20 still have a chance.


Even with all new faces, it is a watchable movie. Roshan Basheer and Shafna play the lead pair, with four sidekicks(Justin John, Vishnu Mohan, Deepak Murali, Sajin), all of them are actual teens which also must have saved a lot on wig and makeup costs. Just imagine the state of producer’s wallet if Jagdish was to play one of those roles. Salim Kumar, Maniyan Pillai Raju, Sona Nair, Sai Kumar, Geeta Vijayan and Suraj Venjarmood play supporting characters.

There is not much of story, dialogs are tolerable and I don’t remember the songs (could be me.) What I remember is Shafna walks too slow even when situation demands her to be P.T.Usha and acts timid and helpless enough as is required of Malayalam heroines. Roshan has telltale signs of a newcomer, but as they say – that too shall pass. But what in the world made them name him Prince? Was he MJ’s lost son while he did his secret sojourn in the 90s through Kerala? Michael, rest in peace, I will not blame this on you. Meanwhile if you come across +2, it is an easy watch, go for it (without many expectations.)

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Elephant

Elephant could pass off as a documentary if you didn’t know it was a feature film by Gus Van Sant. It is a typical high school day in the US of A – jocks, nerds, hicks, geeks, druggies, emos and freaks and sometimes that means a gun(or more) might creep up in the middle of all these social strata.

Based loosely on Columbine massacre, it received the Palme d'Or at the 2003 Cannes Film Festival. Like people looking at an elephant from different perspectives and trying to describe it, film’s camera follows different students in long tracking shots on the fateful day.

Shot in an autumnal Portland, van Sant’s hometown, Elephant is a powerful examination of teenage mind within the framework of a single day.

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1408

Had I known it was a Stephen King story, I'd not have taken it. Nothing against the author, just not my style. It is an interesting movie if you are in the mood for some horror. With money, motivation and talent at its disposal nobody does CGI better than Hollywood, so 1408 is riveting, although the premise of a haunted hotel room is as old as bed bugs. The story recognizes this and shows our hero, horror writer Mike Enslin (John Cusack) tracking haunted rooms across the country finally finding the real McCoy at Dolphin Hotel, Room 1408.

This can easily be transformed into a one act play because most of the action takes place inside one hotel room. In addition to John Cusack, Samuel L.Jackson appears in a small but significant part.

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Delhi Belly

If this film was made in Hollywood, ideally, it will be titled Hershey Squirts or McShits, had it been a Canadian indie Beaver Feaver will be the name, in Arabic hands it’d have been called Yalla Yalla. For more ideas for suggesting a location-specific name for Delhi Belly when Aamir Khan Productions dubs the film for international audience and holds a public competition for the title of the dubbed version, visit Wikipedia.

With a team of Indians with roots and learning experiences from outside India, it does not come as a surprise when the movie speaks to the audience in English and identifies more with slick story-telling style of a Guy Ritchie or a Quentin Tarantino flick, with lot less gore and lot more $hit. Script writer Akshat Verma who went to film school in LA to make non-Bollywoodsy films in Bollywood finds his luck with Aamir Khan Productions and director Abhinay Deo.

Imran Khan, Aamir’s US born nephew and an actor in own right plays one of the major roles. The ensemble cast comprises of LA based actor Poorna Jagannathan, stand-up comedian Vir Das, Kunaal Roy Kapur, Shehnaz Treasurywallah, Vijay Raaz and Paresh Ganatra among others.

This is not a film you’ll take your family out to the theaters to watch. It targets the 20-50 urban demographic with connectivity, access and an open mind to non-traditional India. There are not many LOL situations but rather some well-timed brain chuckles and farts (what else do you expect from a film named after traveler’s diarrhea) packed in a tight script.

Quite unlike a typical Bollywood movie there are no song interruptions in the story line. It does have a few songs, the controversial Bhag Bhag D.K.Boss amongst them, but they form part of the background score like in Hollywood movies, marketed later as from the sound track of the movie.

If you are not from India, but would like to get a taste of Bollywood movies and prefer to take it slow and easy, this’d be a good starter. Enjoy!

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Zindagi Na Milegi Dobarah

India’s yuppie film genre is coming of age. It has been a ten year long trek from Dil Chahta Hai to Zindagi Na Milegi Dobarah while the film going populace became economically empowered with BPO jobs, nano (as in the size) cars, cellphones and ‘phoren’ vacations. All those cars and vacations have increasingly led to the development of a new breed of Indian – a road-tripper with an indulgent wallet.

Bromance movies are no strangers to Bollywood – the original woods where the bromantic saga Sholay played out for years in front of generations of changing audience. Today’s crowd will still lap up the bromance, but they know ‘zindagi na milegi dobarah’, so please make sure to delete Gabbar and all the related blood and crime. Keep the motorcycle and the chicks. Better still let’s change the Enfield into a convertible and a SUV, in tune with the changing times. Since everyone Rampur is an NRI, let’s go to Spain.




Road trip + Bromance in an exotic locale and we have Zindagi Na Milegi Dobarah. It is a bachelor-party road trip through a Spain tourism commercial. We have the San Fermin running of the bulls festival and Tomatina festival in Bunol. Had the characters really stayed in Spain and went to Tomatina festival first and then to San Fermin as it is shown in the film they’d have road-tripped thru’ Spain for a year for the Tomatino festival happens in August and San Fermin bull run in July.

Since our director Abhinay Deo is not training to be Ken Jenkins or Watson, only trying to achieve a minor task of scoring a Bollywood hit which I believe he does succeed in doing, I will not engage in a trivial pursuit . Farhaan Akhtar, Hrithik Roshan, Abhay Deol, Kalki and Katrina Kaif supports Deo in his efforts. Although Javed Akhtar’s poetry is nice, had it not been there it’d not have made any difference to the viewing experience (atleast not to mine) or the box office bucks.

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Milh Hadha al-Bahr (Salt of this Sea)

It was time to give Palestine a shot. I had seen a few Israeli movies like Late Marriage, The Band's Visit and Paradise Now(the best of the three), Salt of this Sea is my first true-blue(or kufiyyah) Palestinian film. Made by Annemarie(is that an uncommon name for a Palestenian?) Jacir, supposedly first woman film director from Palestine, this film made it to Cannes in 2008 and received Camera D'Or nomination.



Soraya, born in Brooklyn to exiled Palestinian immigrants, travels back to rediscover the land of forefathers, the land from which her parents had to escape as refugees. The best thing about the film is it shows how ordinary Palestinians go on about their daily lives and the stark contrast of Palestinian areas with Israeli territories which are usually just separated by a wall and guarded check points. The ordeal of tough scrutiny, pat downs and questions on faith, dignity and last names every person of Palestinian descent has to go through at check points , counters and even on open road surveyed and manned by Israeli guards is an eye-opener.

Every year thousands of Western tourists arrive in busloads to visit the holy sites in Israel. Sometimes, on rare occasions they encounter stone-throwing Palestinians – the one and only face of Palestine they see while they are in Israel – the militant face. Salt of the Sea, shows you the other side, Palestinians as ordinary people trying to make ends meet, who wants to make movies, sing and study, presenting them as a bunch of people with aspirations like the rest of us. The only difference is, they are foreigners in their own land, living under a grim exclusionary shadow which makes them carry visas, IDs and endure fierce police questionings while they go on with the business of life.

My only gripe with film is, can a person who has not grown up or lived in Palestine who only came to know of it from the stories and thoughts of her parents be so attached to a house which she is seeing for the first time? I cannot empathize with the character, a progeny of displaced people maybe because I have not undergone a similar experience. Still I could not justify Soraya flaring up at the Israeli woman who welcomed three complete strangers to stay at her house as long as they wanted after they told her that it once belonged to Soraya’s grandfather. The reason for Soraya’s outburst was that the affable Israeli woman refused to take up Soraya’s offer to get kicked out of her own house since the Soraya’s grandfather used to own it 70 years ago before he had to flee Palestine and Soraya who has never lived in that house wants to have it back.Talk about trying to cash in on generational guilt.

Another way of looking at it is metaphorically – similar to Israeli justification of its occupation of Palestinian lands based on Biblical and pre-Biblical facts/stories. If that is the case, point taken, Anne Marie.

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