All the talk of the film’s ‘poverty porn’ and obsession with garbage and faeces is just that- crap. Not nearly a masterpiece, Boyle’s film is uplifting, buoyant and celebrates life and Bollywood

Originally published on NOWRUNNING.COM

Is there anything really left to say about Slumdog Millionaire? It’s been described in every way possible, from extraordinary to exploitative, from masterful to mundane. Slumdog Millionaire, to me hardly remains as much a film as it is a phenomenon, and admittedly it does feel silly adding my two insignificant cents to the million.

Well, if you ask me, here’s my humble take. Did I like it? Yes, very much so. But I would be lying if I said it blew me away, and even more so if I didn’t admit that I was a tad underwhelmed- but you could blame it on my great expectations from this Dickensian tale of adversity, adventure and unswerving love.

Danny Boyle brilliantly crafts this rags-to-riches tale treating the subject with humility, respect and dignity, immersing him in the milieu and yet maintaining his uniquely kinetic style without forcibly imposing a ‘foreign’ style on the film, and this is no ordinary achievement. Boyle’s enthusiasm and spirit is difficult to resist, and even harder not to admire.

This is undeniably a pure masala plot that feeds of the most classic of Bollywood themes, and I can’t help but wonder if the ingredients that make up this film would have been better handled in the hands of say, a Bhardwaj instead of a Boyle, of what a masterful Indian filmmaker could have made of this material… but well, I guess I’ll just let that thought be, for the rueful fact is that no big producer in India would touch this film with a bargepole.

Boyle, along with his exceptional cinematographer Anthony Dod Mantle don’t look at slum life with lingering pity, instead what we get is a celebration of life and the sheer spirit to survive and win, against all odds. Set to AR Rahman’s music, the images create an oddly beautiful, even poetic landscape that throbs and pulsates with life.

Simon Beaufoy’s screenplay, skillfully adapted from Vikas Swarup’s novel Q&A is taut and never less than gripping, and while it might be easy to nitpick and point loopholes and accents, this is clearly not a film about the tiny details and complaining about them is pretty pointless. The English and Hindi mix is handled pretty darn well, especially in the first half, and while it compromises on the authenticity, the writers have clearly done their best. If there is a weak spot in the film, it would have to be the central love story which did not come across as affecting enough to me, and I would perhaps blame some of that on Frieda Pinto who came across as a little lackluster despite a reasonably attractive presence. The rest of the cast is pitch perfect- right from Dev Patel as the pure-hearted Jamal and Madhur Mittal as his street smart brother Salim to the other supporting players- Anil Kapoor, Irrfan Khan and Ankur Vikal.

But the actors who really shine and give the film its most touching and endearing moments are without doubt the youngest- Azharuddin Mohammed Ismail, Ayush Mahesh Khedekar, and Rubiana Ali who play Salim, Jamal and Latika in the earliest parts of the film- the innocence they bring to the film is undescribably incredible, and for me, these little unsung heroes alone warrant that you watch this film.

In the end- of course- it’s Danny Boyle, who like Jamal doggedly and devotedly jumps into a cesspool of s**t, and emerges wonderfully triumphant, even as some accuse him of ‘cheating’. And thus, even as Slumdog didn’t quite make it from exciting and compelling to exhilarating and magical for me- I don’t for a second grudge the film its glory. After all, maybe the answer behind its success is simply (d).

Destiny, that is.

Aditya Chopra’s latest doesn’t disappoint- and brings back the magic to Yash Raj Films

Originally published on NOWRUNNING.COM

I walked into the movie hall, the same two questions that made me, and perhaps, many others so eager to watch Rab Ne Bana Di Jodi was bouncing and ricocheting in my head with alarming velocity. Will Aditya Chopra pull it off superbly? Or will he botch it up unforgivably?

I was convinced the answer could lie only at one of the two extremes- and why not? This is Aditya Chopra’s first film after eight years, and this film had to be big- even if it meant a gargantuan disappointment- something we have almost come to take for granted from the Yash Raj banner of late.

Well, you know what? Aditya Chopra just managed to pull the carpet from under my feet. And while this review may make some feel like the subsequent ‘fall’ has made me lose my head, frankly, my dear- I don’t give a damn if this Rabs them the wrong way.

Rab Ne Bana Di Jodi isn’t even a 'great' film, but it gave me a feeling I had long forgotten- of soaring out of the theatre, having watched a film that swept me off and won me over, so much that I didn’t really care to nit-pick. Now that is precisely what ‘Yash Raj films’ were meant to do in the first place, isn’t it?

Rab Ne Bana Di Jodi does just that. I didn’t care that it was overlong, or that it was packed with those terribly cheesy references to the banner’s own films and more than a dozen of those syrupy scenes. All I know is that it was a jolly good Yash Raj Film, one that finally left me feeling really good. For that simple fact, I think it needs to be loved for just what it is, quite like its immensely endearing lead character.

And what a lead character- Surinder Sahni is as hard not to like as WALL-E- one look into his eyes, and your heart melts. It’s difficult not to feel for Suri as this unattractive, timid, bespectacled bloke earnestly yearns for his wife’s elusive love. He wants her so much that he transforms himself into another person, but will she ever love him for what he really is?

The much-guarded story of RNBDJ was leaked quite a while back- and yes, it pretty much plays out the way you heard it- Mr. Sahni becomes Raj Kapoor and plays the double role of husband and dance-partner, and yes, the wife never spots the difference. While it sounds implausible, it’s really a tale about multiple identities, suppressed desires, marital incompatibility and above all- pure love- that almost verges on magic realism. The strokes, expectedly though are pretty broad- and while I would be kidding myself if I expected finer details and nuances in this movie- but RNBDJ also often surprised me with its depth, something that Chopra did earlier this year too, in the much lighter and sillier Bachna Ae Haseeno which he wrote.

It all works, through all the hiccups and howlers, simply because at its center lies a rare honesty and an all rounder charmer called Shah Rukh Khan. As Suri, he wonderfully creates an instantly lovable, relatable and real hero, and how you root for the proverbial guy with a heart of gold. And as Raj Kapoor, he is equally delightful, as he mocks and lampoons himself with wry disdain, strutting around in those tight, colorful t-shirts and denims- totally unafraid of making a fool of him - and in the process, he and Chopra have fun deconstructing and reinventing the ‘Raj’ persona. Shah Rukh constantly treads a fine line, making Suri extraordinary and special within his ordinary exterior, precariously balancing flair with restraint, and yet he goes out on a limb to give us a really good time without making a big deal or ham sandwich of it.

Meanwhile, Anushka Sharma makes for a very believable Punjabi kudi, and compliments are in order for sheer confidence, strong screen presence and a dazzling smile- as Taani, she does an admirable job of creating empathy for a character who’s not really particularly well written. And here is a ‘virginal’ Yash Raj heroine who shouts ‘b**ch!’ without as much as a twitch, as she makes a bike swerve with astonishing spunk and verve. Dhoom to that, I say.

Yes, there’s a terribly gimmicky and needless Bollywood-through-the-ages song (with the customary guest appearances) that Farah Khan has done earlier and better. Yes, the music reaches a crescendo ever too often, and while decent, it could have been better. Yes, it occasionally lays it on real thick with emotion and endless talk about tujhme/usme/kisme Rab dikhta hai. And yet, for those 2 hours and 40 minutes I was pretty enthralled, and what’s more- I enjoyed a Hindi movie in a way that I had not in a long time- elated, enraptured and exhilarated.

I won’t go into details and spoil it for you. Watch it, make sure you watch it with your heart, and more likely than not, you’ll love it. And for once, I won’t be cringing when I see a big Bollywood film become a super-hit. That's why I'm going to really stick out my neck here- simply because, yes, Messrs Chopra- this time, I think you’ve really earned it.

Yes, Dibakar Banerjee has done it again. It was always going to be tough to beat that terrific debut called Khosla Ka Ghosla- an unforgettable gem of a film that admittedly occupies a place in my favorite movies list. Oye Lucky Lucky Oye may not be as memorable as that charming dramedy, but it is as brilliant, and perhaps a far more complex and layered film.

OLLO is a richly textured parable about a lower middle class boy and his unswerving ambition to make it to or break into the nouveau riche, and Dibakar Banerjee’s thoroughly real characters and inspiring
attention to detail gives an amazingly slice-of-life feel to the film. Karthik Vijay’s cinematography along with the excellent costume design and art direction makes each frame and surrounding come alive. The
subtly depicted emotional turmoil and the expertly portrayed social portrait of an emerging class war makes Lucky’s journey thoroughly compelling, and while the story of the film may seem one-note to some, it is frankly anything but that. Banerjee also ups the style and slickness quotient with OLLO, and I thoroughly enjoyed his use of music and wonderfully stylized sequences in the film.

Abhay Deol couldn’t be better cast in this role of a superchor with the face of a saint, and he turns in a splendidly understated and nuanced performance, one that holds our attention throughout without
ever calling for it. This is a star turn, and Deol infuses Lucky with rare vulnerability and charm, making us root for the lovable thief all the way. The supporting cast is sparkling too, and while Paresh Rawal
is an obvious joy to watch as he creates three wonderfully quirky characters, Neetu Chandra stuns with her attractive, graceful presence- she is definitely a talent to look out for.

OLLO is definitely one of the best films I’ve seen this year and in a long time, and it’s a real pity that it arrives amongst us amidst some of the darkest and saddest times in India and the world- a time when I admittedly couldn’t even enjoy the film fully. Here’s ending this review with a prayer for peace, and with the hope that life comes back to ‘normal’ soon- despite knowing that our lives may never be the same again. After all, in life as in films, the show has to go on…

The chill refuses to leave my spine.

The horrifying images keep replaying in my head.

The heart weeps.

What has happened today in Mumbai is abominable, and words fail to describe the sheer scale of the tragedy. Mumbai, my heart and prayers are with you. May all those innocent people who have lost their lives rest in peace and those who have to deal with the loss find the strength to do so.

Amen.

Yuvvraaj sees Subhash Ghai go for a six
Originally published on NOWRUNNING.COM

How the mighty have fallen. Really.

I sincerely hope Yuvvraaj is the last film we see from Subhash Ghai. While it almost seems cruel to write off the 'showman' in such a callous, even seemingly casual fashion, my words, I assure you aren't without reason.

Ghai may not have been a true master filmmaker ever, but he sure knew well how to make his kind of cinema, and he made it with a grand enthusiasm and fervor which was uniquely his own. But the admirable conviction of the showman, struggling to keep pace with changing times has become increasingly misplaced- and if his recent films-Yaadein, Kisna and Black And White (not nearly as bad as the last two, but inexcusably tepid) weren't sad proof enough, Yuvvraaj drives the point home. Real hard.

Midway through Yuvvraaj, my friend wondered aloud whether the second half would bring some respite from the agony. And pat came the answer, in Zayed Khan's faux drunken drawl-

'Forget it, it's all over.'

You know Ghai's really gone for a six with Yuvvraaj (no pun intended) as soon as the first song plays on screen. While this is probably one of AR Rahman's weakest and least memorable film scores, Ghai kills it completely on screen with horrid picturisation filled with tacky computer graphics and unbelievably random, disjointed and thoroughly limp visuals. For perhaps the first time ever, I saw Subhash Ghai not knowing what to do with a song, unable to capture it onscreen.

Ghai's Desi musical Rain Man is sheer unbearable pain, man. Honestly, just about the only thing overwhelming about Yuvvraaj is its sheer badness. It's muddled, gaudy, pretentious, terribly acted and hands down, the worst film of the year and I say this with confidence, despite the fact that 2008 isn't even over yet. And while it must have made poor old Beethoven do somersaults in his grave, trust me when I say- that is the least of the film's problems.

For a film so over the top- a pack of wolves stare at you from a painting as relatives straight from a Balaji soap plot havoc- Yuvvraaj is starved of any genuine drama or emotional heft, even of the most shamelessly melodramatic kind. That the actors in the film (with the sole exception of Anil Kapoor who turns in a respectable act, even if he hardly resembles an autistic person) are thoroughly incapable of dramatic performances doesn't really help.

Salman's endless goofball antics tire, while Katrina looks exquisitely pained playing the cello beside the fire. Seriously speaking, Zayed Khan is perhaps the actor I enjoyed watching the most in this film, for he at least brought temporary relief in this lurid cinematic nightmare- his superb albeit unintentional comic timing keeps you chuckling once in a while.

Yes, that's perhaps all the entertainment you can expect in this film that is filled with so much sound and fury signifying nothing, it can only be described as an assault on one's senses and sensibilities. And hence, to conclude- while it would indeed be sadden me to see Ghai end his directorial career having stumbled so spectacularly- I still hope this is his last film. Because while a pessimist may think that things can't get any worse than this, an optimist knows they can.

Originally published on NOWRUNNING.COM 

Bhelcome, o, bhelcome- all you sajjan members of the audience. Benegal Babu's latest phillum is one rather unsatisfying chillum and leaves one with mixed feelings, as by its end it clearly overstays its bhelcome. Welcome To Sajjanpur is that breeze of fresh air that doesn't quite blow you away.

What it's about: The film is a social satire set in a quaint North Indian village with its unique bunch of colorful characters- or as many may argue- caricatures. The film unfolds through the eyes of Mahadev (played by Shreyas Talpade), an aspiring novelist, who being the only literate individual in the hamlet earns a living by writing eloquently worded letters for the many illiterate people in the village. The film and its characters thus unfold through the protagonist's bittersweet encounters with them.

What didn't work: Okay, bad things first. There's not much of a story here, in the first place, and the film depends almost totally on its characters, most of which are hardly memorable or exceptionally performed. The satirical yarn is more preachy than sharp, and at nearly three hours, it clearly begins to descend into tedium. Perhaps the makers realized this, and hence we have an abruptly wrapped up end that leaves us even more dissatisfied. Shantanu Moitra's music, barring the peppy and upbeat Sitaram number, is tepid and eminently forgettable, besides the fact that the listlessly picturised songs only hamper the narrative. The film also often feels oddly staged and the writing very play-like, and while this may be deliberate, it somehow doesn't really work. But the main flaw here is the screenplay, which meanders way too much into fickle subplots, many of which are pretty pointless.

What worked: Shreyas Talpade. The actor mostly reduced to playing sidekicks finally gets his due in a film again after Iqbal and Dor, and he doesn't disappoint. Talpade is endearing and earnest and he is definitely the glue that keeps you on your seat and the disjointed screenplay from falling apart totally. Writer Ashok Mishra may have faltered otherwise, but he writes with an assured hand, and his dialogues even when risqué have an old-world charm and a nice, understated quality to them except when they preach too blatantly. Of the supporting cast, watch out for Ravi Jhankal who is clearly the standout in the supporting cast for his stellar and spirited portrayal of the feisty eunuch Munnibai. While it lacks it depth or coherence, Welcome To Sajjanpur is clearly both well intentioned and socially responsible, both salient features of all of Shyam Benegal's films.

Bottom line: People expecting too much out of Shyam Benegal, considering his past body of work are bound to be disappointed. Still, the weight of expectation aside, Welcome To Sajjanpur is not a bad watch- it's honest cinema that's rare to come by these days, even if it is ultimately deeply flawed.

For better or for worse- presenting a review of Rituparno Ghosh’s new film in verse

Originally published on NOWRUNNING.COM