Sunday, April 22, 2012
Saturday, February 25, 2012
THE ROAD TO THE OSCARS: 2012
Is it just me or do you too feel that this year’s selection for the Oscars isn’t a selection of the best of the year. Some films are good, few are OK but and a few others plain boring. I haven’t been able to catch up on some like My Week with Marilyn or Extremely Loud & Incredible Close but here’s a heads-up on the rest.
THE BEST OF THE LOT
The Descendants
His wife has slipped into a coma and George Clooney is left alone to parent two difficult daughters. The complications keep piling up and we go along. Typical Alexander Payne fare with moments that will stay with you for long. George Clooney, excellent as always. Hope this one gets its due when the winners are announced.
A Better Life
The Bicycle Thief is obviously an inspiration for this one. An illegal Mexican immigrant and his son face a tough time when their truck, a means of livelihood is stolen. Damian Bichir’s soft, understated performance is a treat to watch.
Moneyball
A baseball manager has to deliver the goods on a shoestring budget. His first purchase is a statistician low on confidence but high on data. They pick up players who come in cheap but have great potential. This is a sports film with most of the games being played off the field. Based on a true story. Brad Pitt and Jonah Hill are too good.
The Girl with the Dragon Tattoo
I had read the book and seen the Swedish version of the movie. So I was pretty sure this one will have nothing new to offer. Was proven wrong as it gripped me as much as its predecessors. There’s something inherently fascinating about Mikael Blomkvist (Lisbeth Salander becomes interesting only in the second and third book). Daniel Craig looks and acts the part, not reminding us of a certain Mr. James Bond. And David Fincher can always be counted upon to give you a good thriller
Tinker Tailor Soldier Spy
I can’t say I understood everything that transpired in this film. I even gave up the book after a hundred odd pages. But still there’s no denying that this is a superbly mounted film. Spies aren’t always James Bonds, they can quite ordinary too. George Smiley (Gary Oldman) is brought back to uncover a suspected mole. The film makes a grave mistake which every suspense film should avoid. If I tell you what, I’ll give away the ending. But that doesn’t dilute the overall experience.
The Iron Lady
Less than two hours are not enough to do justice to the story of Margaret Thatcher. Perhaps that is why this isn’t a great film. But Meryl Streep in the titular role is superlative. Immediately after the film, I saw a Youtube video of Thatcher. Streep has got everything down pat, the accent, the voice, the gait, the diction and the expression.
A Seperation
I haven’t seen a film like this ever, nor do I think, I ever will. Good films take you along with them, this one also asks you to make a moral judgment. And it isn’t easy. The human character is flawed and yet it’s inherently good. The matchless screenplay beautifully brings out this dichotomy. I was floored.
Bridesmaids
After watching this film, I must have recommended it to at least half a dozen people. The laughs keep coming in thick and fast. Co-written by Kristen Wiig who also stars, the film seems like an extended Saturday Night Live skit. Each actor suits his or her role perfectly. A must watch. There, I have recommended it some more.
Margin Call
Margin Call charts one day in the life of an investment bank, the day before it starts dumping its inferior goods. A move that collectively led to the recession of 2008. A nice ensemble cast but veterans Kevin Spacey and Jeremy Irons stand out. You will identify with it, especially if you have ever worked in a corporate environment.
The Ides of March
A superbly written film about the politics that goes behind a political campaign. With stand out performances by Ryan Gosling and George Clooney who also has directed. The film always stays one step ahead of the viewer keeping him guessing.
The Help
This is one of the better films you will see on the subject of racism. The focus is on domestic helps and the exploitation they suffer at the hands of their mistresses. Of course the treatment isn’t heavy – Viola Davis’ serious maid if offset by Octavia Spencer’s feisty maid. Even the whites in the film do a fab job.
HO-HUM
The Artist
A silent movie star obstinately refuses to make a transition to the talkies and pays the price. The film is shot in black and white and is silent. Just like the good old days it portrays. After this initial novelty value wears off, you realize it isn’t terribly inventive. Just plain simple. Directed by Michel Hazanavicius and starring Jean Dujardin and Berenice Bejo.
Hugo
A fictionalized account of the re-discovery of pioneering filmmaker, George Melies told through the eyes of a couple of kids. The set pieces and production values are superb, something you would not associate a Martin Scorsese film with. But the storytelling is very clichéd, once again something you would not associate a Martin Scorsese film with. It was soap-opera-esque; I was easily able to guess what the next bit of dialogue is going to be.
Beginners
This is a whimsical film with at least two stories running parallel to each other. One with Ewan McGregor as he finds a new girlfriend and the second with his father who has recently come out of the closet about his sexual preference, and is dying of cancer. Not much of a thinking man’s movie, but good performances.
Albert Nobbs
A woman takes up employment in a hotel dressed up as a man because a female will not do for the job. Glenn Close is superb in the role but what undermines the performance is that she continues to look like a woman to all of us.
WHAT WAS THE ACADEMY THINKING
Midnight in Paris
I just fail to see what the world sees in this film. A struggling writer (Owen Wilson) in Paris meets his idols when nightly he is transported to the era of Hemingway, Fitzgerald, Dali and Bunuel. Another fantasy like Allen’s The Purple Rose of Cairo but not half as involving.
The Tree of Life
This film is like modern art, you need someone to point out its meaning to you. Terrence Malick’s take on life, death and an overbearing parent. Visually arresting but boring otherwise.
War Horse
Is this film being nominated just because it’s a Steven Spielberg film? A fine horse keeps changing masters during World War I, each more compassionate than the other. The cinematography and the scale are impressive, the film isn’t.
THE BEST OF THE LOT
The Descendants
His wife has slipped into a coma and George Clooney is left alone to parent two difficult daughters. The complications keep piling up and we go along. Typical Alexander Payne fare with moments that will stay with you for long. George Clooney, excellent as always. Hope this one gets its due when the winners are announced.
A Better Life
The Bicycle Thief is obviously an inspiration for this one. An illegal Mexican immigrant and his son face a tough time when their truck, a means of livelihood is stolen. Damian Bichir’s soft, understated performance is a treat to watch.
Moneyball
A baseball manager has to deliver the goods on a shoestring budget. His first purchase is a statistician low on confidence but high on data. They pick up players who come in cheap but have great potential. This is a sports film with most of the games being played off the field. Based on a true story. Brad Pitt and Jonah Hill are too good.
The Girl with the Dragon Tattoo
I had read the book and seen the Swedish version of the movie. So I was pretty sure this one will have nothing new to offer. Was proven wrong as it gripped me as much as its predecessors. There’s something inherently fascinating about Mikael Blomkvist (Lisbeth Salander becomes interesting only in the second and third book). Daniel Craig looks and acts the part, not reminding us of a certain Mr. James Bond. And David Fincher can always be counted upon to give you a good thriller
Tinker Tailor Soldier Spy
I can’t say I understood everything that transpired in this film. I even gave up the book after a hundred odd pages. But still there’s no denying that this is a superbly mounted film. Spies aren’t always James Bonds, they can quite ordinary too. George Smiley (Gary Oldman) is brought back to uncover a suspected mole. The film makes a grave mistake which every suspense film should avoid. If I tell you what, I’ll give away the ending. But that doesn’t dilute the overall experience.
The Iron Lady
Less than two hours are not enough to do justice to the story of Margaret Thatcher. Perhaps that is why this isn’t a great film. But Meryl Streep in the titular role is superlative. Immediately after the film, I saw a Youtube video of Thatcher. Streep has got everything down pat, the accent, the voice, the gait, the diction and the expression.
A Seperation
I haven’t seen a film like this ever, nor do I think, I ever will. Good films take you along with them, this one also asks you to make a moral judgment. And it isn’t easy. The human character is flawed and yet it’s inherently good. The matchless screenplay beautifully brings out this dichotomy. I was floored.
Bridesmaids
After watching this film, I must have recommended it to at least half a dozen people. The laughs keep coming in thick and fast. Co-written by Kristen Wiig who also stars, the film seems like an extended Saturday Night Live skit. Each actor suits his or her role perfectly. A must watch. There, I have recommended it some more.
Margin Call
Margin Call charts one day in the life of an investment bank, the day before it starts dumping its inferior goods. A move that collectively led to the recession of 2008. A nice ensemble cast but veterans Kevin Spacey and Jeremy Irons stand out. You will identify with it, especially if you have ever worked in a corporate environment.
The Ides of March
A superbly written film about the politics that goes behind a political campaign. With stand out performances by Ryan Gosling and George Clooney who also has directed. The film always stays one step ahead of the viewer keeping him guessing.
The Help
This is one of the better films you will see on the subject of racism. The focus is on domestic helps and the exploitation they suffer at the hands of their mistresses. Of course the treatment isn’t heavy – Viola Davis’ serious maid if offset by Octavia Spencer’s feisty maid. Even the whites in the film do a fab job.
HO-HUM
The Artist
A silent movie star obstinately refuses to make a transition to the talkies and pays the price. The film is shot in black and white and is silent. Just like the good old days it portrays. After this initial novelty value wears off, you realize it isn’t terribly inventive. Just plain simple. Directed by Michel Hazanavicius and starring Jean Dujardin and Berenice Bejo.
Hugo
A fictionalized account of the re-discovery of pioneering filmmaker, George Melies told through the eyes of a couple of kids. The set pieces and production values are superb, something you would not associate a Martin Scorsese film with. But the storytelling is very clichéd, once again something you would not associate a Martin Scorsese film with. It was soap-opera-esque; I was easily able to guess what the next bit of dialogue is going to be.
Beginners
This is a whimsical film with at least two stories running parallel to each other. One with Ewan McGregor as he finds a new girlfriend and the second with his father who has recently come out of the closet about his sexual preference, and is dying of cancer. Not much of a thinking man’s movie, but good performances.
Albert Nobbs
A woman takes up employment in a hotel dressed up as a man because a female will not do for the job. Glenn Close is superb in the role but what undermines the performance is that she continues to look like a woman to all of us.
WHAT WAS THE ACADEMY THINKING
Midnight in Paris
I just fail to see what the world sees in this film. A struggling writer (Owen Wilson) in Paris meets his idols when nightly he is transported to the era of Hemingway, Fitzgerald, Dali and Bunuel. Another fantasy like Allen’s The Purple Rose of Cairo but not half as involving.
The Tree of Life
This film is like modern art, you need someone to point out its meaning to you. Terrence Malick’s take on life, death and an overbearing parent. Visually arresting but boring otherwise.
War Horse
Is this film being nominated just because it’s a Steven Spielberg film? A fine horse keeps changing masters during World War I, each more compassionate than the other. The cinematography and the scale are impressive, the film isn’t.
Monday, January 16, 2012
THE BEST OF BOLLYWOOD 2011
Even though the heading on top says ‘Best’, this is more like a favourites list. Films that I would rate as the most watchable amongst all Bollywood releases in 2011. First, I’ll get the honorable mentions out of the way. Sudhir Mishra’s racy Yeh Saali Zindagi and Raj Nidimoru and Krishna D K’s Shor in the City would be on the fringes of my Top 10 list. Those that make the final cut are these:
# 10 Dum Maaro Dum
What I liked most about Rohan Sippy’s DMD was that there was no main protagonist in the film. Abhishek Bachchan could easily have been the hero around which the film revolves, but here the story in central. Everyone is just playing a character. An interesting take on the drug trade in Goa. I have also memorized a few of the dialogues from the film.
# 9 Chillar Party
There used to be a time when a child actor used to be the weakest link in a film. Annoying and screechy, directors never gave them their due. But here’s a film that has a cast comprising of only school kids. And whaddya know, they are awesome actors too. Directors Nitesh Tiwari and Vikas Bahl lose it in the last segment, but otherwise, this is a very entertaining film.
# 8 Pyaar Ka Punchnama
Some may call this film sexist. I call it shot purely from the male point of view. Three friends in three different kinds of relationships with their girlfriends. Some introspection, a lot of hilarity. Kartik Tiwari, Rayo Bakhirta and Divyendu Sharma are memorable in the lead roles. On similar lines, Dil To Bachcha Hai Ji released earlier in the same year did not have the same spunk.
# 7 Sahi Dhandhe Galat Bande
Chances are you haven’t seen this film. Then make good your loss, immediately. A quartet live off petty crimes in a small town somewhere in North India. Then one day the government comes in on a land acquisition spree. Their conscience is awakened and they support the rebels, albeit, silently. Pravin Dabas is a better director than actor. The film has a certain rustic charm that’s rubs onto you. Good music too.
# 6 Stanley Ka Dabba
Amol Gupte kicked this off as a workshop for kids which has snowballed into this innocent film which is as light as a snowflake. A simple storyline with a nice ensemble cast. The end borders on preachy-ness, but that can be forgiven. In the lead role, Partho (Gupte’s son) is a gem.
# 5 Mujhse Fraandship Karoge
Hollywood churns out plenty of such films each year. Fast and witty and about the trials and tribulations of college life. The story can be ‘whatever’, the finished product looks the same. YashRaj ventures into this zone and comes out trumps. There’s never a dull moment in this film. And if you don’t the joke, you probably belong to the previous generation.
# 4 I Am Kalam
The third film in this list starring child actors. A kid from an aristocratic family befriends another kid who works at a roadside dhaba. It’s a mutually beneficial relationship for both of them a rewarding experience for the viewer. Uniformly good performances and a good directorial debut by Nila Madhab Panda.
# 3 Delhi Belly
Delhi Belly is a watershed event in Indian cinema. Too profound a statement but consider this - no film before this has been as irreverent AND managed to capture a mass audience. Curses flow about freely, scatological humour is commonplace and no joke is too cheap to crack. Most of it is funny too. This I believe is the shape of things to come.
# 2 That Girl in Yellow Boots
Trust Anurag Kashyap to break new ground with every film. He eschews something vaguely described as “Indian sensibilities” and gives us a film that may make you recoil in disgust. What a lovely feeling that is. A film has generated an emotion in you. A girl comes to India looking for her absentee father and takes up work with a seedy massage parlour to fund her search. The end is not much of a revelation, yet it’s beautifully plotted.
# 1 Zindagi Na Mile Dobara
Call me crazy for naming this as the best film of the year. But I could not find anything much wrong with it. Why even Hrithik and Katrina don’t get on your nerves. Three friends (the others being Farhan Akhtar and Abhay Deol) are off to a holiday in Spain with excess baggage. The leave rejuvenated as different people. Solid performances, measured direction by Zoya Akhtar and peppy music. What else do you need?
# 10 Dum Maaro Dum
What I liked most about Rohan Sippy’s DMD was that there was no main protagonist in the film. Abhishek Bachchan could easily have been the hero around which the film revolves, but here the story in central. Everyone is just playing a character. An interesting take on the drug trade in Goa. I have also memorized a few of the dialogues from the film.
# 9 Chillar Party
There used to be a time when a child actor used to be the weakest link in a film. Annoying and screechy, directors never gave them their due. But here’s a film that has a cast comprising of only school kids. And whaddya know, they are awesome actors too. Directors Nitesh Tiwari and Vikas Bahl lose it in the last segment, but otherwise, this is a very entertaining film.
# 8 Pyaar Ka Punchnama
Some may call this film sexist. I call it shot purely from the male point of view. Three friends in three different kinds of relationships with their girlfriends. Some introspection, a lot of hilarity. Kartik Tiwari, Rayo Bakhirta and Divyendu Sharma are memorable in the lead roles. On similar lines, Dil To Bachcha Hai Ji released earlier in the same year did not have the same spunk.
# 7 Sahi Dhandhe Galat Bande
Chances are you haven’t seen this film. Then make good your loss, immediately. A quartet live off petty crimes in a small town somewhere in North India. Then one day the government comes in on a land acquisition spree. Their conscience is awakened and they support the rebels, albeit, silently. Pravin Dabas is a better director than actor. The film has a certain rustic charm that’s rubs onto you. Good music too.
# 6 Stanley Ka Dabba
Amol Gupte kicked this off as a workshop for kids which has snowballed into this innocent film which is as light as a snowflake. A simple storyline with a nice ensemble cast. The end borders on preachy-ness, but that can be forgiven. In the lead role, Partho (Gupte’s son) is a gem.
# 5 Mujhse Fraandship Karoge
Hollywood churns out plenty of such films each year. Fast and witty and about the trials and tribulations of college life. The story can be ‘whatever’, the finished product looks the same. YashRaj ventures into this zone and comes out trumps. There’s never a dull moment in this film. And if you don’t the joke, you probably belong to the previous generation.
# 4 I Am Kalam
The third film in this list starring child actors. A kid from an aristocratic family befriends another kid who works at a roadside dhaba. It’s a mutually beneficial relationship for both of them a rewarding experience for the viewer. Uniformly good performances and a good directorial debut by Nila Madhab Panda.
# 3 Delhi Belly
Delhi Belly is a watershed event in Indian cinema. Too profound a statement but consider this - no film before this has been as irreverent AND managed to capture a mass audience. Curses flow about freely, scatological humour is commonplace and no joke is too cheap to crack. Most of it is funny too. This I believe is the shape of things to come.
# 2 That Girl in Yellow Boots
Trust Anurag Kashyap to break new ground with every film. He eschews something vaguely described as “Indian sensibilities” and gives us a film that may make you recoil in disgust. What a lovely feeling that is. A film has generated an emotion in you. A girl comes to India looking for her absentee father and takes up work with a seedy massage parlour to fund her search. The end is not much of a revelation, yet it’s beautifully plotted.
# 1 Zindagi Na Mile Dobara
Call me crazy for naming this as the best film of the year. But I could not find anything much wrong with it. Why even Hrithik and Katrina don’t get on your nerves. Three friends (the others being Farhan Akhtar and Abhay Deol) are off to a holiday in Spain with excess baggage. The leave rejuvenated as different people. Solid performances, measured direction by Zoya Akhtar and peppy music. What else do you need?
Sunday, January 1, 2012
ASIAN FILM FESTIVAL 2011, DAY 8: RANG PHUSKIYA
Had missed Siddiq Barmak’s Osama on the first day so was in no mood to miss Opium War on the last. The former may have been critically acclaimed but this one was a turkey. A film with two stranded American soldiers and a harem living out of a tank. The booklet mentioned that the cast comprised of non-professional actors. Well it showed.
Fortunately, the second film, My Marlon and Brando was much better. Directed by Husseiyin Karabey, it traced the journey of a Turkish actress who wishes to meet her love in Iraq who sends her ‘video love letters’. War is setting in in Iraq and crossing the border becomes as arduous task. What was exemplary was that the actress was played by an overweight, not conventionally good looking actress; someone you would never imagine in a lead role. It could have been an even better film had it not been concluded abruptly.
Yasujiro Ozu time with Drifting Weeds. His themes keep repeating film after film, yet they are always a delight to watch.
And now for the most infuriating part of the entire festival. The closing film was to be Ketan Mehta’s Rang Rasiya. Perhaps the most talked about film of the festival after A Seperation. A notice on the door announced that it would be replaced by Kikuo Kawasaki’s David and Kamal. Substitutions are pretty common at film fests but how can you replace the closing film? Kiran Shantaram later mentioned that bureaucracy was to blame. If that be the reason, it’s a real disgrace.
The closing ceremony itself started an hour late. So what’s new you may ask. Some minister Deosthale’s ultra-boring speech was greeted with catcalls and out-of-turn clapping throughout. Serves him right for playing the mike-obsessed minister who reads out his speech without even looking up. Don’t have the entire roster of awards with me but Cairo 678 won the grand prize. This I was expecting. The NETPAC recognition went to Gangor. This I wasn’t.
The closing film was a film in English set in Jerusalem and directed by a Japanese. About a friendship between two young boys, one a have and the other a have-not. Sort of like I Am Kalam. It was a crowd-pleaser and short in running length. A lukewarm end to an OK fest.
Fortunately, the second film, My Marlon and Brando was much better. Directed by Husseiyin Karabey, it traced the journey of a Turkish actress who wishes to meet her love in Iraq who sends her ‘video love letters’. War is setting in in Iraq and crossing the border becomes as arduous task. What was exemplary was that the actress was played by an overweight, not conventionally good looking actress; someone you would never imagine in a lead role. It could have been an even better film had it not been concluded abruptly.
Yasujiro Ozu time with Drifting Weeds. His themes keep repeating film after film, yet they are always a delight to watch.
And now for the most infuriating part of the entire festival. The closing film was to be Ketan Mehta’s Rang Rasiya. Perhaps the most talked about film of the festival after A Seperation. A notice on the door announced that it would be replaced by Kikuo Kawasaki’s David and Kamal. Substitutions are pretty common at film fests but how can you replace the closing film? Kiran Shantaram later mentioned that bureaucracy was to blame. If that be the reason, it’s a real disgrace.
The closing ceremony itself started an hour late. So what’s new you may ask. Some minister Deosthale’s ultra-boring speech was greeted with catcalls and out-of-turn clapping throughout. Serves him right for playing the mike-obsessed minister who reads out his speech without even looking up. Don’t have the entire roster of awards with me but Cairo 678 won the grand prize. This I was expecting. The NETPAC recognition went to Gangor. This I wasn’t.
The closing film was a film in English set in Jerusalem and directed by a Japanese. About a friendship between two young boys, one a have and the other a have-not. Sort of like I Am Kalam. It was a crowd-pleaser and short in running length. A lukewarm end to an OK fest.
ASIAN FILM FESTIVAL 2011, DAY 6: THE COMPETITION HEATS UP
On any other day, I would have been curious to see a film in competition but after A Seperation, I had decided to hound down all Asghar Farhadi films. So I gave up Diago for Dancing in the Dust. Two men as different as chalk and cheese are brought together in a vast, empty landscape. Their back-story no longer matters, its their interaction that becomes the crux of the film. It’s a scenario that has been experimented with by several filmmakers. This one wasn’t the greatest of efforts. Maybe A Seperation had raised my expectations.
From the first day itself, I had felt that the schedule was packed like a can of sardines. In the mini-theatre, you could watch as many as six films in a day! You barely have time to relieve yourself between films. This became evident when I missed the first half hour of Gajendra Ahire’s Nav Savanav Chi Vel Hoti. Ultimately, it didn’t matter because it wasn’t a very good film. A family becomes involved in a kidnapping when the event takes place in their apartment. It had Bharat Jadhav in a serious role for a change.
Cairo 678, which was replaced by Kathapurusham earlier finally put up an appearance. Another hyperlinked film but this time on the central theme of sexual harassment in Egypt. I have a feeling this one will be in the jury’s shortlist.
The Yasujiro Ozu fix for the day was The Munekata Sisters. Standard Ozu stuff with a dash of humour.
Once again, thanks to the schedule, was late for The Other Bank, my first film from Georgia. A 12 year old boy crosses over from Georgia to Abkhazia, a dangerous move considering the war has led to deep-rooted prejudices amongst people. Director George Ovashvili has extracted a superb performance from the kid, Tedo Bekhauri.
Each country has its war which serves as the fountainhead for inspiring works of art. Bangladesh has the 1971 war of independence. The film Guerilla is based on it. There are great war films and there are heart-felt ones. This belongs to the second category. You can easily make out director Nasiruddin Yousuff has experienced most of what transpires in the film. It may not hold up as a cinematic gem but it’s the most genuine film I have seen in this festival. The jury will be pleased.
From the first day itself, I had felt that the schedule was packed like a can of sardines. In the mini-theatre, you could watch as many as six films in a day! You barely have time to relieve yourself between films. This became evident when I missed the first half hour of Gajendra Ahire’s Nav Savanav Chi Vel Hoti. Ultimately, it didn’t matter because it wasn’t a very good film. A family becomes involved in a kidnapping when the event takes place in their apartment. It had Bharat Jadhav in a serious role for a change.
Cairo 678, which was replaced by Kathapurusham earlier finally put up an appearance. Another hyperlinked film but this time on the central theme of sexual harassment in Egypt. I have a feeling this one will be in the jury’s shortlist.
The Yasujiro Ozu fix for the day was The Munekata Sisters. Standard Ozu stuff with a dash of humour.
Once again, thanks to the schedule, was late for The Other Bank, my first film from Georgia. A 12 year old boy crosses over from Georgia to Abkhazia, a dangerous move considering the war has led to deep-rooted prejudices amongst people. Director George Ovashvili has extracted a superb performance from the kid, Tedo Bekhauri.
Each country has its war which serves as the fountainhead for inspiring works of art. Bangladesh has the 1971 war of independence. The film Guerilla is based on it. There are great war films and there are heart-felt ones. This belongs to the second category. You can easily make out director Nasiruddin Yousuff has experienced most of what transpires in the film. It may not hold up as a cinematic gem but it’s the most genuine film I have seen in this festival. The jury will be pleased.
Tuesday, December 27, 2011
ASIAN FILM FESTIVAL 2011, DAY 4: FILM OF THE YEAR
An Indo-Italian production, Gangor by Italo Spinnely, opened my day. Based on a short story by Mahashweta Devi, it traced the journey of a photographer who, in a bid to expose the atrocities against tribals, publishes a stark photo of a tribal woman feeding her child. He thinks its art. The locals call the woman a slut and want a piece of her. The photographer attempts to reconnect with the woman, leading to one fateful meeting. The first half held my interest but the second half just fell apart. Seems unlikely this one will wow the jury.
After lunch, Ahmad Abdalla’s Heliopolis from Egypt. I am getting a bit tired of hyperlinked films. As long as there is a central theme, a little bit of hyperlinking is fine. But when it’s the only USP, it’s boring. The gentleman next to me was snoring. Honest.
Was Seven Samurai based on a true story? Sarath Weerasekera’s Gaamini would have you believe so. The LTTE massacre 50 odd denizens of a small Sri Lankan village. In retaliation they set up their own defense with the help of the army. The story maybe true but the treatment was total Kurosawa. Only not as brilliant. The best scenes were the training scenes, Otherwise it was forgettable. The jury will be overlooking this one too.
Since day one, there has been a buzz about this movie. Not only has it won top honours at various festivals, Roger Ebert has listed it as his Best Film of the Year. Asghar Farhadi’s A Seperation is all that and more. I can’t find words to describe it. It’s a rare film that tests the audience’s intelligence, inviting him or her to take sides. I don’t think I blinked even once. If you still haven’t seen it, watch it at the first available instance.
Yasujiro Ozu once again to call curtains for the day. A calibrated Tokyo Story about an ageing couple and their chequered relationship with their children, Fortunately, unlike Day 2, the reel co-operated and we were able to enjoy the film in its entirety.
After lunch, Ahmad Abdalla’s Heliopolis from Egypt. I am getting a bit tired of hyperlinked films. As long as there is a central theme, a little bit of hyperlinking is fine. But when it’s the only USP, it’s boring. The gentleman next to me was snoring. Honest.
Was Seven Samurai based on a true story? Sarath Weerasekera’s Gaamini would have you believe so. The LTTE massacre 50 odd denizens of a small Sri Lankan village. In retaliation they set up their own defense with the help of the army. The story maybe true but the treatment was total Kurosawa. Only not as brilliant. The best scenes were the training scenes, Otherwise it was forgettable. The jury will be overlooking this one too.
Since day one, there has been a buzz about this movie. Not only has it won top honours at various festivals, Roger Ebert has listed it as his Best Film of the Year. Asghar Farhadi’s A Seperation is all that and more. I can’t find words to describe it. It’s a rare film that tests the audience’s intelligence, inviting him or her to take sides. I don’t think I blinked even once. If you still haven’t seen it, watch it at the first available instance.
Yasujiro Ozu once again to call curtains for the day. A calibrated Tokyo Story about an ageing couple and their chequered relationship with their children, Fortunately, unlike Day 2, the reel co-operated and we were able to enjoy the film in its entirety.
Monday, December 26, 2011
ASIAN FILM FESTIVAL 2011, DAY 3: BACK TO SCHOOL
What a start to the day it was! The Marathi film Shaala was screened to a rousing response from the crowd. Based on a popular novel by Milind Bokil, the film captured the essence of what it means to be a pre-pubescent in school. Though it was set against the backdrop of the Emergency, it never got heavy-handed or preachy. Instead, it had loads of humour and poignant moments. Director Sujay Dahake announced that it will be getting a public release on January 20th. Don’t miss it then!
The in-competition Cairo 678’s prints did not make it in time. So it was substituted by Adoor Gopalkrishnan’s Kathapurusham. Even better I thought. The print was clean, which enhanced the experience by several notches. A love story set amidst the Marxist revolution. I wish Adoor Gopalkrishnan’s films become as easily available on DVD as Ray’s.
Up next was another in-competition film, the Iranian Kiss of Rain. About a poor boy who steals to buy a mandatory gift for his fiancée nut later mends his ways. Politely put, don’t expect this one to win the grand prize.
This year, under a section called European Connection, the Asian Film Fest is featuring several films by the Polish director Jan Jakub Kolski. One of them is Venice, about a home that houses wives and children of men fighting in the World War II. They have turned their flooded basement into a mini-Venice where they live out their fantasies. Though the film had several memorable scenes, overall I felt it was too cluttered and unfocussed.
Many sagging days at film festivals are perked up for me by a Dan Wolman film. Today was no different. His Valley of Strength was about a lot of things – Jews migrating to Palestine, a hard life on arid land, conflict between the Arabs and the Jews and a hideous secret. Even though this was the last show of a tiring day, not once did I feel drowsy. The best part is that Wolman is always around after his film for a chat. As I left, I saw him engaged in conversation with someone else. I’ll wait for my turn next time.
The in-competition Cairo 678’s prints did not make it in time. So it was substituted by Adoor Gopalkrishnan’s Kathapurusham. Even better I thought. The print was clean, which enhanced the experience by several notches. A love story set amidst the Marxist revolution. I wish Adoor Gopalkrishnan’s films become as easily available on DVD as Ray’s.
Up next was another in-competition film, the Iranian Kiss of Rain. About a poor boy who steals to buy a mandatory gift for his fiancée nut later mends his ways. Politely put, don’t expect this one to win the grand prize.
This year, under a section called European Connection, the Asian Film Fest is featuring several films by the Polish director Jan Jakub Kolski. One of them is Venice, about a home that houses wives and children of men fighting in the World War II. They have turned their flooded basement into a mini-Venice where they live out their fantasies. Though the film had several memorable scenes, overall I felt it was too cluttered and unfocussed.
Many sagging days at film festivals are perked up for me by a Dan Wolman film. Today was no different. His Valley of Strength was about a lot of things – Jews migrating to Palestine, a hard life on arid land, conflict between the Arabs and the Jews and a hideous secret. Even though this was the last show of a tiring day, not once did I feel drowsy. The best part is that Wolman is always around after his film for a chat. As I left, I saw him engaged in conversation with someone else. I’ll wait for my turn next time.
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