A movie and book review blog

Sep 4, 2025

Tribe: On Homecoming and Belonging, a book review

TRIBE: Why Your Great-Grandmother Was Happier Than You (And She Had to Churn Her Own Butter)

I have been thinking about our pursuit of happiness. Not a particularly original thought. Everyone thinks about happiness. We have apps for it. TED talks. Life coaches who charge $200 an hour to tell us mindful gratitude is the answer while we sit in traffic behind a guy texting and driving a Cyberjunk.

Sebastian Junger has written a book that suggests the problem might be simpler than we think. Junger’s 2016 book Tribe: On Homecoming and Belonging is essentially 150 pages of anthropological evidence that modern civilization might be the longest-running practical joke in human history, and the punchline is us sitting alone in our climate-controlled boxes wondering why we feel so empty.

The central thesis hits you with the realization that your great-grandmother who raised nine kids during the Depression was probably more content than you with your meditation app and ergonomic desk chair. Junger presents the mind-bending historical fact that white settlers captured by Native American tribes - even those taken as adults - often refused to return to "civilized" society when given the chance. These weren't Stockholm syndrome cases; they genuinely preferred native American life to their former European-American existence. Meanwhile, the reverse almost never happened. Junger discusses how the human experience is profoundly shaped by our need for genuine community bonds that modern society has systematically demolished.

Modern loneliness has a particular quality. It's not the loneliness of being actually alone, say, a lighthouse keeper or a long-distance runner. It's the loneliness of being surrounded by people who don't really see you. Your LinkedIn network of 500+ connections is probably making you lonelier than a hermit.

Another interesting observation is modern western culture is the only culture in human history that forces babies to sleep alone. This started with Northern European societies. Now it's standard Western parenting. We put newborns in separate rooms so they can "learn to self-soothe." We buy monitors to watch them from another room. We have apps that track their breathing patterns.

The rest of the world thinks we've lost our minds.

Every other society lets children sleep with parents until the children decide they don't want to. The idea of making the most vulnerable humans on Earth sleep in isolation strikes other cultures as cruel. We call it independence training. We begin the separation process before babies can even hold up their heads.

Even more disturbing is Junger's documentation of how crisis brings out the best in people, and how much they miss it when it's gone. During World War II, something unexpected happened in London. As the Blitz intensified, depression rates plummeted. Suicide dropped. Crime decreased. Mental hospitals reported fewer patients intake. The most dangerous neighborhoods saw the biggest improvements in mental health. This is not because suffering is good. This is because shared suffering creates bonds that individual comfort cannot.

Consider the modern American male. No initiation ceremony. No rite of passage. No moment when the community says, "Congratulations, you're officially not a boy anymore, here's your man card."

So he joins the military. Or doesn't, and spends his thirties playing video games while his mother does his laundry and wonders where she went wrong. Then we end up living in cities where we don't know our neighbors' names. Survival depends on credit scores and whether our health insurance covers therapy. 

The uncomfortable truth Junger presents is that we've created a society optimized for individual comfort and security while accidentally destroying the social bonds that make life feel worth living. Junger argues that we're all suffering from a kind of cultural PTSD. Not from trauma, but from disconnection. Not from what happened to us, but from what we've lost.

The solution is not to romanticize the past or abandon civilization. The solution is to understand what we've traded away. And maybe, occasionally, to trade it back. To choose inconvenience over isolation. Community over comfort. Interdependence over independence. To remember that humans are tribal animals and that our cellphone cannot substitute for the pack.

It cannot. We know this. We've always known this. We just keep forgetting to remember.


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Mar 23, 2025

Pat Tillman, Jon Krakauer and my forays into Americans writing about Americans

The last couple of years I've been trying to read more writing by contemporary U.S. authors writing about contemporary U.S events. Since reading had taken a backseat with most of my time spent perusing the world using the prosthetic extension of a cellphone attached to my body at all times, the exploration of American literature had not been really successful until the last few weeks. 

I started with one of my favorite non-fiction authors, the mountaineer from Massachusetts, Jon Krakauer and his book about the all American hero, Pat Tillman, 'Where Men Win Glory: The Odyssey of Pat Tillman'. 

More than twenty years ago, I had followed the story of Pat Tillman when he made national headlines ditching a lucrative NFL career and signed up in the Army and got sent to Afghanistan along with his brother Kevin Tillman. I knew nothing about football, but I had cable TV and Netflix movies were being delivered as CDs in red envelopes which was slower than cable content delivery. 

Tillman seemed like an interesting guy - an All American boy, a footballer who read books and sounded deep! A very interesting and rare combo and he was close to me in age. If he had an Instagram or YouTube channel, I would have been a subscriber.

But when things went horrifically wrong for Pat Tillman, I stopped following the story. The man was gone. A human being with so much potential for changing humanity whose life has been cut short and people were bickering to profit and spin his story into something it was not. I felt bad for his poor family, but the world moved on, so did I. While I knew Jon Krakauer had come out with his book about Tillman a few years later, for some unexplainable reason I didn't want to read it, maybe I didn't want to read about a good man's story with a fatal irreversible ending.

I read/listened to and finished "Where Men Win Glory : The Odyssey of Pat Tillman" yesterday. It was everything I thought it would be and more. It is a splendid homage to Tillman and I appreciate Krakauer writing it. Just like he wrote about Christopher McCandless's life and story in 'Into the Wild'. These men and women's lives are the stories that need to be told and heard, to enrich our human experience and for us to understand and be guided by these unique people. These are our contemporaries who went down these daringly different paths so that we do not have to, but yet left us with valuable life lessons. I am glad to have lived during the time these men lived. 

For the fact-hoarder that I am, the book also provided a lot of setting-the-background type of historical information like the 2000 Bush-Gore election, Afghanistan being the graveyard of empires - with focus on Soviet occupation and American presence, the tribalism of Afghanistan, the Pashtun code (Pashtunwali) , the different factions of Islamic fighters in that area and their history, US deployments, US bases and their involvement since 1980s till mid-2000s in that region.

Salute, Pat Tillman, for choosing the difficult path rarely chosen. Krakauer had to rely on Pat's journal entries and notes as Tillman family refused to contribute to Krakauer's effort. Pat's mother had her own book published about Pat. 

Maybe I will move onto Krakauer's Missoula or Under the Banner of Heaven next. Although I am about midway into Erik Larson's rundown to the start of the Civil War, 'The Demon of Unrest: A Saga of Hubris, Heartbreak and Heroism at the Dawn of the Civil War.' I need to finish that first.


“Man, supposing you and I, escaping this battle, would be able to live on forever, ageless, immortal, so neither would I myself go on fighting in the foremost nor would I urge you into the fighting where men win glory. But now, seeing that the spirits of death stand close about us in their thousands, no man can turn aside nor escape them, let us go on and win glory for ourselves, or yield it to others.”
- Homer, The Iliad



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Jan 26, 2025

Stree 2: Sarfire ka Aatang - A Ghost of a Good Time in Stree-verse

Sequels make me suspicious. They’re full of potential but equally capable of ruining all the good feelings from the first one. Thankfully, Stree 2: Sarfira ka Aatang didn’t leave me ghosted (pun intended). Directed by Amar Kaushik, who had directed Stree, it picks up where the first film left off, gives us more of what worked, and somehow doesn’t trip over itself trying to outdo the original.

Rajkummar Rao, our everyman hero with just the right amount of his fast-talking neurotic energy is back, navigating the chaos with a mix of vulnerability and street-smart bravado. Shraddha Kapoor keeps the intrigue alive, walking that tightrope between enigmatic and relatable without missing a beat. But it is the supporting cast that steals the show. Aparshakti Khurana and Abhishek Banerjee bring their A-game, nailing the kind of chemistry that makes even their silliest antics feel genuine. And then there’s Pankaj Tripathi, whose deadpan delivery could make a grocery list sound profound. Together, they form the comedic backbone of the film, which is more comedy than horror.

The script is a win. It’s snarky and clever without trying too hard, which is rare these days. There are enough jokes and funny elephant scenes to keep you entertained and just enough twists to keep you engaged. I won’t pretend it’s groundbreaking storytelling, but it doesn’t feel lazy either. And yes, they’re expanding the Stree universe, bringing in hints of Bhediya and other movies. I’m cautiously optimistic about that, universe-building is a slippery slope, so far there are no mis-steps.


The music surprised me. 
Bollywood soundtracks have been stuck in a forgettable loop for a while, but Stree 2 breaks the curse. Every track is a banger. I have been listening to the Stree 2 playlist while typing this. 

But here’s the kicker, beneath the slapstick and spectral antics, Stree 2 has layers. On the surface, it’s a horror-comedy romp. Scratch a little deeper, and you find a sly commentary on patriarchy, freedom, and the headless monstrosities we’ve built to keep women in their “place.” It’s Barbie meets Tennessee Williams meets that one anthropology class you took because you thought it’d be easy. The titular “aatang” is more than just a ghost; it’s a metaphor for every institution that tells women what they can and cannot be. But don’t worry, you can still laugh your head off even if you miss all that.

I did notice some Stranger Things' influence. From the eerie “upside-down” world visuals to the atmospheric, neon-lit poster that looks like a discarded draft of the Stranger Things poster. It adds a pop-culture nod and playfulness to the film and I plan not to read much more into that.

So, should you watch it, if you have not already? Absolutely. Go in with your brain on low power mode, laugh at the absurdity, and let yourself get swept up in the chaos. And if you feel like diving into the metaphors later, that’s a bonus. Stree 2 isn’t trying to change the world, but it’s definitely here to make sure you’re having fun while the world keeps spinning. I ended up watching Bhediya (it is on Tubi, Stree 2 is on Prime) too not to be left out from this budding universe building happening in Bollywood.  Grab your popcorn, suspend your disbelief, and join the madness. The Stree-verse is just getting started.

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Dec 30, 2024

Best of 2024: Movies, Music & Reading

Here are some movies, music and books that caught my eye/ears in 2024.

Movies: Most of the movies in the list are from Malayalam. Malayalam movies have seen a remarkable resurgence in the last decade. In contrast  Bollywood or Hindi movies appears to be in a state of creative stagnation, trying to lift themes and stories from the Telugu industry (Tollywood) and miserably failing. 

I found myself struggling to recollect any Hindi movies I had watched in the past year, let alone any that left a lasting impression. This is a far cry from the vibrant era spanning the early 2000s to the mid-2010s, when Bollywood flourished with an array of memorable works.

Some of the movies in my list below were not released in 2024, I happened to watch them this year. But most of them are.

Bhoothakalam (Malayalam, 2022): One of the best paranormal movies in Malayalam that I've ever watched. Here is my review.

Premulu (Malayalam, 2024) : A chick-flick, a light-entertainer, third in a series - you decide. My review is here.

Civil War (English USA, 2024) :  I have been burrowing deep into the annals of American civil war, abolitionists and Abraham Lincoln this year. Coincidentally I watched this movie, which is unrelated to 150+ year old original version of civil war, months before I started down the rabbit hole of the 1860s civil war. Same land, different time, similar divides. My review.

Kishkindha Kaandam (Malayalam, 2024): Probably one of the best films that Malayalam produced this year. 



Bramayugam (Malayalam, 2024): Shot in the same location as Kishkindha Kaandam, but set centuries apart and brilliantly shot in black-n-white. Mammootty lords over a mad dark mansion and the movie, my review is here.

Bougainvillea (Malayalam, 2024): A stylish movie from Amal Neerad with his wife and actor Jyothirmayi rocking grey hair and her character and Kunchako Boban presenting new dimensions to his actor persona. Both actors have given great performances in an unconventional story which fails to hold together towards the end. But I loved the slick, urbane presentation. Maybe the allure of Jyothirmayi's silver strands will urge older folks, esp. Malayali men with sagging jaws and creased cheeks to abandon the harshness of jet black hair-dyes and embrace the timeless sophistication of grey hair. Sthuthi!

Barbie (English USA, 2023) : Barbie is a visually captivating and cleverly subversive film, blending playful nostalgia with sharp commentary on identity and societal expectations. It’s a whimsical yet thought-provoking exploration that transcends its toy-doll origins, offering a refreshing take on modern femininity

Society of the Snow (Spanish, Netflix, 2023): Alive by Piers Paul Reed was one of the books that I read in my teens that left a deep impression in my mind. It was about a team of Uruguayan rugby players whose plane crashed in the remote Andes and narrated their resilience in the face of unimaginable odds. Hollywood made a version of this real life survival story in the 90s starring Ethan Hawke. But Netflix's take on this incident, Society of the Snow, is the best and gripping version of this raw survival tale till now.

Sector 36 (2024): This is the only Hindi movie in my list, a Netflix production starring Deepak Dobriyal and Vikrant Massey. 


Music:  One of my favorite bands from the past released a new album this year, after long. Linkin Park's From Zero has head bangers like Emptiness Machine and Heavy is the Crown, along with many other great tracks, which makes it an almost no-skip album.

Shaboozey is my discovery of the year. It is like he found a place in music we didn't know existed and made himself at home there, at the confluence of hip-hop, country and pop. My favorite song of Shaboozey is Let it Burn.

Books : I hardly read any books this year and I am yet to finish the last two, but do plan to finish them 

  1. And There was Light  - Jon Meacham
  2. Circe - Madeline Miller
  3. The Covenant of Water - Abraham Verghese
  4. How to Hide an Empire - Daniel Immerwahr


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Dec 26, 2024

Thadakam (The Lake, 1982)

Before Pavanai, there was Jabbar Khan. Captain Raju makes his appreance as Jabbar Khan in an almost comical but imposing getup of a Pathan in Thadakam (The Lake), an I.V.Sasi film set in Kashmir. I.V.Sasi is true to the locations and the culture, unlike the Punjabi Houses produced twenty years hence. Thadakam is extensively shot in Kashmir, some local characters are portrayed by local actors speaking Hindi (not Kashmiri though) and there are even Hindi songs sung by Kashmirir characters in this Malayalam movie. 


T
hadakam (1982) must have been I.V.Sasi's second outing set in Kashmir, after Thusharam (1981) having caught the Kashmir bug. Script and screen play are never the strong suite of I.V. Sasi movies, there are also unnecessarily sleazy situations as was required for early eighties Indian movies. Seema, Mammootty, Sumalatha, Ratheesh, Captain Raju and Balan K.Nair play some of the main characters in a movie that deals with a reincarnation episode in the life of its leading lady. There must have been a spate of reincarnation movies after the blockbuster success of Karz (1980), this must have been one of Malayalam's contributions during that cinematic season of rebirths. 

It is a low effort movie from the director after Thusharam, with a lot of B-grade sound and camera effects. It almost makes me wonder whether they did back to back shoots of both the movies at around the same time with the effort and the money put more towards the earlier movie.
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Nov 17, 2024

Lists : Podcasts I listen to

Podcasting is twenty year old this year having christened by Ben Hammersely with a broadcast-worthy name in 2004 and gone mainstream with a little help from iPod  & Steve Jobs right after. I never had much of commute more than 10 min to my work (thank you, universe) and due to my preference to visual media for entertainment I had been able to stay clear of podcasts for the first ten years of their existence. Then I realized I could listen to podcasts when I did chores around the house or while stewing in a bath or while on my evening jogs. 

Here below is a list of my favorite podcasts I listen to while I cook or clean or lounge in a bath. I am yet to find any podcasts I can listen to while running, so I have not started my jogging/running routine yet. I do not have much attention span anymore to commit to listening to serialized podcasts like Serial, so those type of famous, serialized podcasts are not in my list. I use podcasts to expand my understanding of the world, for learning new things or to light up my way down the rabbit holes I accidently find myself in every so often.

Philosophy, Economics, History: I do not know whether everyone becomes a philosopher as they grow old, I certainly have become very interested in Philosophy and Economics in the last decade. If I was the kind who cared about framed certificates and laurels I would have gone back to school (online or evening college?) to get a degree or two in these subjects. But I am not, these podcasts are more than enough for me.

Philosophize This: This beginner-friendly podcast by Stephen West is where I started my learning-philosophy journey. I still have many episodes left to listen and I do not listen to it in chronological order. West is a bit of a smart-a3$, and you have to remember he is opinionated too, just like the rest of us, but it is an informative guided tour nevertheless, from the early beginnings of philosophy in Greece, pre-Socrates.

The History of Philosophy without any gaps: I got to this podcast after Philosophize This, which is probably the right progression. Prof. Peter Adamson, is much more detailed and extensive than Philosophize This while presenting the same content. I am slowly chomping away at this podcast as time permits.

History of Philosophy : India, Africa China : Most of the philosophy podcasts only have a few episodes for Eastern philosophy and it is always the Western perspective of Eastern Philosophy. This one bridges that gap.

An Economic History of the World since 1400s: This is technically not a podcast, but a college course or a book by Prof. Donald J. Harreld or a TV documentary series, I watched (listened) it as the latter, using my public library account, on Kanopy. For someone who developed an interest in economics after living for decades in a world created and controlled by economics, this was a great intro to 600 years of human economic history presented by the writer himself. Unless you cared about the occasional illustration, photographs and drawing, the whole series can be consumed just through audio,

The History of India podcast : A very in-depth podcast about the history of India from 6th century BC onwards, hosted by Kit Patrick. I am yet to find another podcast that covers the range of time this podcast covers, from 600 BCE to 700 CE, about India's history.

Fall of Civilizations :  Learning from failures is always a wise idea. Even though I am not in charge of an empire, I seem to be living in a failing one. This podcast looks at the collapse of a different civilization in each episode.

Arts, Architecture, Design .....  including things peripherally related to architecture like urban planning. 

99% Invisible: From one of the best podcast hosts/producers in the US, Roman Mars, this design podcast examines our every day environment and objects from a design angle. A top design, architecture and art podcast featured in many best-of lists.

Memory Palace: Nate DiMeo's voice is mesmerizing and soothing as he tells the stories of long forgotten people, places, things. Memory Palace is Podcast Americana at its finest and Nate DiMeo is how every podcaster should sound like if you ask me.

Articles of Interest: A podcast about what we wear. It is a "sub"-podcast of 99% Invisible.

Thinking Transportation: A podcast from Texas A & M Transportation Institute about transportation and planning. As a public transport enthusiast with some urban planning connections, I listen to keep it up with the world of transportation.

The Daily Poem : A poem a day is a podcast from the Academy of American Poets which present a previously unpublished poems from contemporary American poets, followed by a description of the poem and a re-read of the poem. A short and a calming podcast.

Science: All things under the wide umbrella of science.

Sean Carroll's Mindscape: While Carroll's own expertise is in physics, quantum mechanics, philosophy and cosmology, Mindscape dabbles in a wide variety of subjects talking to experts in pretty much every subject under the sun.

Redefining CyberSecurity: Working in technology, it is hard to escape the talk about cybersecurity and AI. This Sean Martin podcast covers the cyber security piece for me.

Stuff You Should Know : The title. I am not usually a fan of podcasts where there is more than one host with distracting banter and chuckles. This is one podcast I will excuse, even if it has two hosts, Charles W. "Chuck" Bryant and Josh Clark.

Brain Lenses : Hosted by Colin Wright, it is a podcast about how we see the world, ourselves and each other.

There are more podcasts to list like Reply All or Darknet Diaries. Maybe another day.

 I listen to podcasts on TuneIn Radio or AntennaPod, an open source podcast app. I don't really care for the podcasts that are only available on Apple podcasts(not an iPhone person) or Spotify. All these I've listed above are available in the two apps I use.


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Nov 11, 2024

Kummatty - A G. Aravindan Masterpiece

G. Aravindan's 1979 masterpiece, Kummatty is on Youtube, looking better than the original. The painstaking restoration effort, jointly done by World Cinema Foundation in the US, India’s Film Heritage Foundation and the Italian archive Fondazione Cineteca di Bologna has paid off. The vibrancy and the life in the restored print is unbelievable. The restored print is better than the original I had watched at least half a dozen times in my childhood. The restoration is a testament to the resolution and sharpness of the original analog film (Eastman color stock), even after all the negatives were lost and the restoration team had to rely on the positives, location shots and on the recollections of the original cinematographer.

Piper Kummatty and his band of followers.

Kummatty is a beautiful visual poem. A poem from a bygone Kerala, a Kerala that ceased to exist around the time the movie was made in the late seventies. It is the kind of movie you can show your American/western movie-buff friend representative of native Indian folklore on celluloid cautioning her/him the India depicted in this movie is as far removed from the present day India as snake-charmers and climbing rope-tricks.


A theyyam in the movie.

I first saw the movie when I was in 3 or 4 years old. It was promoted as a children's film. Although the director, G. Aravindan was of the opinion that he didn't consider it a children's film as he didn't like typifying his films, he said children may like it. Kerala state government went ahead and awarded it the best children's film for that year. Not to lose the opportunity to promote a world-class children's film, it was screened (almost) every weekend we visited the outdoor movie theater at the children's park at Napier Museum. I was traumatized every time I watched the movie. It was definitely not for little kids.

The mysterious figure of Kummatty, the dark vibe of the movie and the story (no spoilers) where one of my own kind (child) was thrown into deep 'existential' trouble and had to stay in that 'troubled' state waiting for the Kummatty to come back distressed me no end.

A real stray dog that landed a lead role in Kummatty.

G. Aravindan was not the most talkative of film makers. His films were contemplative visual poems. Kummatty is no different. When your main lead is a dog for the half the movie, dialog becomes dispensable. 

Aravindan's movies also served as vehicles for other talented people. Kummatty must be one of the finest cinematography projects ever helmed by Shaji N. Karun. In almost all of G. Aravindan's films, except the last couple, the camera was handled by the talented Shaji N. Karun. Well schooled in the mid to late twentieth century art house movie making techniques of long meditative shots and sparse dialog, Shaji N. Karun went on win Camera d'Or at Cannes with his own directorial debut composed along similar lines, Piravi, in 1989. 

G. Aravindan, Shaji N. Karun (photo courtesy Ramu Aravindan, son of G. Aravindan.)

The folk songs composed for Kummatty by Kavalam Narayana Panicker, set to music by M.G. Radhakrishnan have found a permanent place in the Malayalam cultural encyclopedia, with rebirths in the form of popular and rock songs by bands like Avial, decades after the movie was released.

Vilasini in one of the beautifully framed shots from Kummatty.

The only familiar face for me in this movie is of (Kuttyedathi) Vilasini. The choice of unknown actors or having common folks play part in his movie is also signature G. Aravindan. His movie, Kanchana Sita had tribal people from Andhra (location where it was filmed) playing main roles in that movie. Ashok who played the lead (kid), Chindan in Kummatty recently showed up at a screening of the restored version. Kummatty was the only movie he had ever acted in.


Kummatty's stash of animal crackers.
Kummatty sharing animal crackers treats with kids.








Kummatty is translated as 'the bogeyman' in the subtitles. I would disagree. Kummatty is not exactly a bogeyman, but he is more like a pied piper, luring kids with his songs, music, magic and animal crackers. Animal crackers are pretty symbolic in this story which is closely connected to animals. Unlike the piper from Hamlin, Kummatty has no ill intentions, he is an eternal child who finds joy and magic in the small things in life. The best compatriots he finds in his expeditions are children who share his sense of wonder and joy. 

Temple pond where Kummatty takes his bath, banyan tree and the temple in the background, where Chindan and his friends are seen watching the mysterious magic man.

Aravindan said Kummatty symbolized spring. He is a force of nature who visits a place according to his own schedule, like seasons. He comes after the rains, in spring, when lakes and ponds are abrim with water and nature is green and bountiful wearing its finest.

Evening market on the street, a common scene in mid twentieth century rural Kerala. Chindan played by Ashok is seen buying fish for his family's dinner.

Re-watching this timeless classic at the end of the first quarter of twenty-first century, it offers us a window into rural Kerala from half a century ago. None of these scenes will be naturally occurring anywhere in present-day Kerala. 

The social, political and cultural landscape of Kerala has irrevocably changed. The physical environment - built structures and the nature surrounding them, if they still exist untouched anywhere, are flanked by updated buildings and inundated with signs of progress like tin-sheet roofing or neon lighted billboards.

Chindan, with a pot of water, framed against the doorway of a typical Malabar home or temple, built of hewn laterite.

Kummatty was shot in my favorite part of the world, north Malabar. The rolling grasslands and sun burnt laterite hill tops of Kasargod where Kummatty frolics with his band of child followers is reminiscent of my childhood summers. The crimson faced theyyams and the local architecture in hewn laterite brings back memories of grand-parents and the cool interiors of ancestral homes. 

Kummatty takes us back to a lost world and a lost time,  where the pagan spiritual rituals, theyyams, bare chested grandmas and seasonal magic men co-existed with evening village markets and centuries-old banyan trees. At the discerning age I am now, Kummatty is no longer disturbing, the beautiful work of art has revealed itself, speaking of love, nature, (wo)man and the interconnectedness of it all. Thank you, G. Aravindan!


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Oct 11, 2024

Dev Anand & Guide (1965) - Hindi & English

Guide is a movie far ahead of its time - an ultra liberal redemptive take on a taboo subject. A dose of (reluctant) spiritualism and its hit songs may have sold the movie to the masses and made the Hindi version a phenomenal success at Bollywood box office. 

Dev Anand, Waheeda Rehman and a group of actors playing the role a film crew in Guide

What I appreciate are all the bold attempts it makes to address the conservative norms of sixties India, all packed smoothly and skillfully into a song-dance-melodrama bundle of a Bollywood movie.

I might be the minority here but I liked the English version of Guide better than the Hindi version of the legendary Bollywood movie. The English version of the Guide was written by the renowned author Pearl S. Buck and directed by Tad Danielewski. 

Both are two different movies, shot by two different directors, with almost the same set of actors, at the same locations, months apart. Guide might be the only Indian movie who had two birth fathers, a semi-identical twin movie!

Guide follows on the footsteps of Raju, a tourist guide in Udaipur, Rajasthan, India, played by the evergreen actor Dev Anand. We get to ride with Raju on his life's journey where he meets and falls in love with Rosie, a young girl, married to an aging archeologist who has no patience for her youthful spirit. The beautiful Waheeda Rehman essays the role of ebullient newly wed Rosie with stars in her eyes and her husband Marco is played by the multi-talented Kishore Sahu.

Dev Anand, Kishore Sahu & Waheeda Rehman in Guide (Hindi, 1965)

Guide is based on the famous Indian writer, R. K. Narayan's novel, The Guide. The Hindi version of the Guide was directed by Dev Anand's younger brother and successful director, Vijay Anand (Goldie.) The female characters in stories Dev Anand and his production house - Navketan Films had chosen to make movies of, including Rosie, are strong, lively, independent and modern in their outlook. 

Dev Anand during his best period of movie-making and acting between 1950 - 1980 was always on a quest to introduce new topics and broaden the views of typical Indian movie audience through his creations. He and the female leads often played morally ambiguous characters in his movies. Had they been in any other Hindi movie of the time they would have been harshly judged. No such negative scrutiny befell his movies. Adultery, long distance lovers falling out of love, black marketing, marijuana use by hippies were all explained with maturity and the right kind of conviction to get the buy-in from Indian audience who lapped up his movies and their chart-topping songs.

Dev Anand sitting on the ledge with Waheeda Rehman and Guru Dutt flanking him (Courtesy: Indian Express Archives)

Guide has the leading man (Raju played by Anand) and the leading lady engaging in an adulterous relationship. But they are also independent individuals on their own journeys who do not depend a lot on each other. This was a concept indigestible by Indian public of the sixties. But not only did Guide become a super hit movie, it is also one of a handful of movies that has secured a permanent place in a variety of top 10 list of Indian films from any era. 

Here is to Dev Anand - Indian film's liberal visionary and an evergreen style icon, who never lost his zest for life or creativity. His death came in the form of a cardiac arrest at the age of 88, two months after the release of his last film, Chargesheet in 2011, which he had both directed and produced! 
Dev Anand with his wife, actor Kalpana Kartik (Mona Singha) whom he married over a lunch break during a movie shoot





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Oct 3, 2024

Mother India (1957)

Mother India, the film, was the end result of a successful campaign by director Mehboob Khan to reclaim the title "Mother India" from the clutches of American author Katherine Mayo's critical work on Indian culture and society titled 'Mother India', released in 1927. Mayo's book was a scathing critique of India and its people and values and was intended to justify why Indians were not capable of self-rule at a time when all of India was firing and gearing up for freedom from British rule, which would happen 20 years later. Mahatma Gandhi called Mayo's a book, "report of a drain inspector sent out with the one purpose of opening and examining the drains of the country to be reported upon"

Soon after the independence of India in 1947, Mehboob Khan who had been intent on establishing right  Indian values on the big screen started work on remaking his own 1940 film, Aurat, by buying the production rights from the original production company. He intentionally called his film Mother India as a challenge to Mayo's work, in an attempt to eradicate the presence of Mayo's work from minds and history. An ethical or reverse astroturfing attempt that was a great success. If you google Mother India first several pages of search results are all related to Mother India, the movie or Yelp reviews of Mother India restaurants in various parts of the globe which are all Indian restaurants named paying homage to the iconic movie. Khan's Mother India was also influenced by movies based on Pearl S Buck novels - The Mother (1934) and The Good Earth (1931) and Russian films like Mother (1926) and Our Daily Bread (1934.)

The nationalistic pride of the new democratic nation is upheld high by the socialist and constructivist stylization of the movie. The iconic poster of Mother India with bold upward angles where the lead actor Nargis is seen holding up  the plough all by herself shows the determination of the rising new nation, the motherland, as Indians call their country (home country is feminine in all Indian languages) represented by the struggling but determined mother in the movie. The image is also reminiscent of Jesus on the cross, who if you ask me, was the first recorded socialist in (religious) history. The Soviet post-revolutionary posters dunked in constructivist ethos showcasing the rise of the proletariat came much later, but I am pretty sure all of these influences helped design the classic poster of Mother India.

This Mehboob Khan magnum opus usually features in top 10 list of Indian movies. It was India's first ever submission for the Academy Awards for the best foreign language film in 1958 and was chosen as one of the five nominations for that category. It also came close to winning the best foreign film Oscar losing out to Federico Fellini's Nights of Cabiria by a single vote.















The script by Wajahat Mirza & S. Ali Raza was deliberately written to show the emancipation, self reliance, empowerment and strength of Indian women.  The lead characters were portrayed by Nargiz, Raaj Kumar, Sunil Dutt and Rajendra Kumar with exemplary brilliance and the film became a turning point in their careers. Nargiz who was an established actor at the time fell in love with Sunil Dutt who played her son in the movie (they were the same age in real life) and went on marry to Dutt a year later. She won several national and international awards for her role in Mother India which was her last major film before she quit films post-marriage. For all the other three actors, Mother India kickstarted their careers and made them household names for years to come. 

The ending of Mother India culminates with the moral dilemma of the mother who is called to make the ultimate sacrifice that could be asked of any mother. To me, this ending is strangely reminiscent of the ending of another film four decades later featuring Nargiz and Sunil Dutt's actor son Sanjay Dutt - Vastav, where the mother commits to making the same ultimate sacrifice, a la Mother India v 2.0.


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Jun 19, 2024

Civil War: A curtain-raiser

Bananas are coming home to roost from all the banana republics the United Fruit Company States had planted. FBI has been disbanded, Canadian $ is the $ of choice, trading at several times the value of the American one and Texas and California have joined hands against the sitting President who is on his third term - the civil war is on.


From the director of other such disturbing classics with uplifting BGM like Annihilation and Ex Machina and the writer of 28 Days Later, Alex Garland, this dystopian peep into what is still a possibility, is a bold move for this time in U.S history.  

A bunch of journalists are the lead characters in this film which helps the director justify the detached and neutral observer track the film tries to stay on. Kirsten Dunst, as the de-sensitized photo journalist Lee is amazing and Brazilian actor Wagner Moura, the other lead just about keeps up with Dunst. I am not really sold on the waif like-wannabe-photo-journalist Jesse. Maybe Jesse's character was the only way some thematic depth and chaos could be added to the story. Otherwise it would be a war-road trip movie about some hardened (photo)journalists chasing a civil war without making many foolish decisions that might put their and their compatriots' lives at risk. Less drama overall, which is not something that sells a movie.


The film hits you hard with the imagery and symbolism of United State of America as a war torn country. The effect is amplified by mind blowing sound and music tracks. Modern warfare and the devastation that it brings along have never crossed into this nation of interstate highways, perfect lawns with even more perfect sprinkler systems and a god assigned in perpetuity to shower blessings on it. Here is hoping this empire does not fall this way. God (really need to) Bless the USA (this time.)

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Jun 9, 2024

Varshangalkku Sesham - A Vineeth Sreenivasan nod to Malayalam cinema

A nod that placed Kannur on the map of Kerala movie-dom. For me, that is the redeeming factor of Malayalam movies directed by Vineeth Sreenivasan. The slang, the accent/dialect, the people and the stories of Kannur (the director's birth-city and mine) were never given much prominence in Malayalam films or literature before Vineeth Sreenivasan appeared on the horizon with his youthful, sentimental films set in the region.

Vineeth's Hallmark-card-designed-for-Kerala type of movies is not exactly my cuppa, nor is this latest one from him, Varshangalkku Sesham. But the opening scene set in the director's familiar north Malabari environs with the perfect casting of his own brother Dhyan Sreenivasan, Malayalam's favorite slacker-hero, delivering his brother's lines with an innate comedic flair is a performance so pitch-perfect that it almost absolves the film's overindulgence in nostalgia.

Interestingly, the director's father, the iconic Sreenivasan , has long been a cinematic ambassador for the Kannur dialect, employing it in most of his roles regardless of his character's origin. However, his own directorial works—the cult classics  Vadakkunokki Yantram and Chinthavishtaya Shyamala,—while both commercial and critical hits, could have been set anywhere in Kerala.


The signature dialect in Malayalam movies of the eighties and nineties, when I was growing up, was the mid-Kerala Valluvandandan dialect which was supposedly the proper Malayalam for literature and films and therefore considered classy at the time. Kudos, Vineeth Sreenivasan for making Kannur and Kannur accent and dialect mainstream. Chennai (formerly Madras) and its people are next in line to thank Vineeth S. for making their city and culture the other geographical cornerstone of his directorial ventures.

Varshangalkku Sesham is meta movie, a nested node of nods.

A nod to the night breeze of north Kerala, a meteorological discovery made by the director in early 2010s. A nod to north Malabar. A nod to Madras/ Chennai . A nod to Kodambakkam. A nod to Tamil, Tamilnadu and sambhar sadam. 

A nod to yesteryear's directors. A nod to Priyadarshan and his production design style. The village scenes in the beginning almost feels like ghost-directed or designed by Priyadarshan's production designer. A nod to Mohanlal, a very weak nod at that, aided just by genes. A nod and a new life-line for Nivin Pauly. A nod to the nameless side-kicks. A nod to music, musicians especially violinists. A nod to polka dots, reaffirming their eternal status as retro, no matter which decade. 

A nod to old style Indian melodrama,  the millennial version.  A nod to Mohanlal style mund-flick. A nod to the new-generation version of the iconic Malayalam duo Dasan & Vijayan, immortalized by the actor dads of this movie's lead actors.  A nod to friends and family, who have contributed to Vineeth's success through the years.  A meta nod to characters, dialog and music from Malayalam movies of the past.   

Varshangalkku Sesham (transl. Years Later) is a nod to all things Malayalam cinema in an ensemble entertainer package, neatly packed and tied with a bow of gooey-Vineeth Sreenivasan-goodness.  It might also be a personal reciprocation effort from Vineeth Sreenivasan, paying respect to the stalwarts of Malayalam cinema like Mohanlal and Priyadarshan by creating central characters in this film to fit the progeny of these stalwarts. Although Pranav Mohanlal and Kalyani Priyadarshan are the weakest links in this movie. Dhyan Sreenivasan, shows he can act and has the range to play complex characters. 

Nivin Pauly's career is thrown a life-line and an opportunity to hit back at his critics with dialog penned by his bestie - Vineeth S. Director turned actor - Basil Joseph, Aju Varghese, Neeraj Madhav, music-director turned actor Shaan Rahman, Neeta Pillai, Deepak Parambol and Sreeram Ramachandran bring up the rear supporting the talented bro-team in this syrupy nod to Malayalam film world.



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May 13, 2024

Manjummel Boys - where boys will be/remain boys : A review

Manjummel Boys is a survival cave-rescue movie based on a real life rescue event that happened at Guna Caves (previously called Devil's Kitchen) near Kodaikanal in the Western Ghats region of south India in 2006. 

This is another one of those pan south-Indian movies (other recent ones I have reviewed in this category are Premalu and Aavesham) responding to the possibilities of profit-making through streaming  and OTT platforms where a movie needs to transcend, meta-relate, hyperlink across language and regional barriers. Bilingual characters, diverse locations across the country,  a supporting cast of regional actors from the area where the story takes place and other regional influences baked into the narrative are strategies to grab more eyeballs and box-office bucks. Setting this movie in Kodaikanal will also help boost the Tamilnadu tourism industry. Nothing wrong with making products people want.

To attract Tamil moviegoers and strike box office gold, Manjummel Boys frequently references the 1991 Tamil film Gunaa and its music, specifically the song sequence filmed at the Devil's Kitchen cave system featuring the legendary Kamal Haasan. After Gunaa's release, the cave acquired a unique identity, being renamed as the Guna Caves, setting it apart from the countless rock caverns across the globe  all going by the name of devil's kitchen. This devil dude might be quite a chef, had a kitchen at every port of call. 

Manjummel Boys also belong to my 'favorite' emerging genre in Malayalam, which I call the MCMs or Man Child Movies in this blog. In the real life incident which served as the inspiration for Manjummel Boys, it is actually a group of young boys from Manjummel between the ages of 17 and 21 who go on a tourist expedition to Guna caves and one of them slips and falls down a deep crevasse. They have the excuse of their under-developed pre-frontal cortex for the risky decisions they might have made.

the real Manjummel boys

But what is the excuse for the men in this movie where all the actors who play the 'boys' look like 30+ year old men who have not really grown up and are still displaying the antics of teenage boys. This is one place the director should have curbed his creative liberty and recruited some real youngsters, instead of Soubin Shahir, a decent actor, but looks forty.  To me Manjummel Boys is a literal man-child movie filled with men-children.

A targeted social media blitzkrieg in the days immediately after the  film's release must have paid off. The S.Indian social media frenzy over this movie could have very well been generated in bot farms in the wilds of Asiatic continent. That is the only reason I can think of why Manjummel Boys became a hit beyond compare. It is an okay movie, but there are survival movies that have been told better  including Thirteen Lives, Castaway, Society of the Snow, The 33 etc. Considering that language and geography are no barriers in this streaming global media landscape, where movie-makers has easy access to inspiration without much perspiration, this movie could have been  made better. 

The script is practically non-existent, and character development is sorely lacking. The characters' dynamics and relationships are left largely to guesswork. The current theater-going audience in Kerala seems to be mostly Gen Z and younger millennials. This realization makes me feel like a fossil in a world where anyone over 40 is considered a 'boomer.' Therefore please take note that this review comes from someone a couple of generations removed. Manjummel Boys appears to be a movie tailored for the TikTok/Instagram reels generation, whose attention spans are challenged by coherent scripts. In fact, the director Chidambaram S. Poduval's previous film, Jan.e.man, was more relatable.

But let me not rain on Manjummel Boys' parade entirely. The movie deserves praise for its strong technical execution, particularly the cinematography, production design, and sound work. Recreating the cavernous underworld of Guna caves, complete with vertigo-inducing visual effects of a bone-rattling plummet into the craggy depths is expertly crafted. 

If there's one scene that elevates the film, it's the portrayal of that pivotal fall - the turning point of the story. The way it casually unfolds onscreen with creativity and nuance is quite impressive. It catches the viewer a bit off-guard, highlighting the creative brilliance of the director.If only he had recruited some young teen Youtube stars or Insta-influencers, instead of thirty plus year old men to play boys....... 

 



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