Blog | Amodini's Movie Reviews - Part 81Amodini's Movie Reviews | Movie Reviews by Year, Genre and Rating

Review : Jab we met

Posted on November 17, 2007 by amodini

Rating : Above average (3.6/5)
Genre : Comedy / Drama
Year : 2007
Running time : 2 hours 24 minutes
Director : Imtiaz Ali
Cast : Shahid Kapoor, Kareena Kapoor, Tarun Arora, Kiran Joneja, Divya Seth

JAB WE MET : ROMANCE DONE RIGHT !

This film is the cutesy kind of romantic flick, which has been such a nice, breezy watch, that you hate to nitpick. Ali’s second directorial venture after “Socha na tha”, he does it again, producing an entertaining film which exudes bonhomie and good humor. Yes, it is filmi, but it’s a commercial film, and will never be considered India’s entry to the Oscars, so I’m quite comfy with it not being all arty-sharty. And yes, the second half does get a little heavy and stretched, but for an unassuming film to come out of nowhere, and give me three hours of enjoyment, where hyped-up big banner films are crashing like the duds that they are, warms the cockles of one’s heart.

Aditya Kashyap (Shahid Kapur), a very rich, young industrialist, leaves home after a stressful time, and meets up with Geet (Kareena), a bubbly, vivacious, pretty young Sardarni, who talks nineteen to the dozen. Geet, once she’s figured out that Aditya is running away from something, offers her help, and won’t take no for an answer. All Aditya wants is to be left alone, so someone like garrulous Geet is anathema. However fate intervenes to throw them together for a couple of days. Things go all awkward when Aditya finds himself falling for Geet, who’s all set to start her new life with the love of her life, Anshuman (Tarun). . .

Shahid and Kareena make a charming pair; the chemistry definitely helps the film. Kareena gives a pretty good performance, her best after Omkara, and channels her natural perkiness into Geet’s attractive yet borderline annoying character. Since the film majorly hinges on Geet’s character, it is to her credit that the film works; any other actress and I’d have been champing at the bit. Shahid does really well too, appearing suave, and sweet, and nice – quite the prince on the white steed.

The film is mainly about the two young things, and their journey from being mere co-passengers on a train to potential soul-mates. So the conversation is young, and fresh and sounds like real talk. The characters, which encompass Aditya’s family (an estranged mom played by Hum Log’s Manjhli Divya Seth – anyone remember Hum Log ?) and Geet’s Punjabi parivar complete with mother (Kiran Joneja), father, sister, Chacha, and grand-father, are a tad filmi and cliched, (because like ALL Punjabis in the universe, they live in a palatial bungalow with a large central courtyard, drink tons of lassi, and dance the bhangra at the drop of a hat) but still pretty well-developed and believable. And the film works because we really do care about Geet and Aditya, their lives, and problems, and how they end up.

Ali takes us through a light, breezy first half. Lots of sparkly, and funny dialogue, mostly courtesy Geet’s non-stop chatter (she wonders what the difference is between a mountain and a hill, while Aditya deadpans), and Aditya’s taciturn responses, grace the first 1.5 hours. The second half takes a more serious downturn and relies on emotion, and feelings rather heavily. The direction is fairly tight, and the story pretty innovative. I mean it’s still boy meets girl etc., but told with such lightness of spirit, and humor, that it doesn’t seem jaded at all. Into the film, Ali also manages to sprinkle tasteful ditties on life and love – quite a nice change from the vulgar innuendoes one has gotten used to seeing in Desi cinema. The film has very good music. “Nagada, nagada” and “Mauja, mauja” are 2 catchy Bhangra based numbers. I also loved “Yeh Ishq hai” although the music seemed familiar, sort of.

Although a classy film, please use your judgement when taking kids to see it; a few dialogues contain references to rape, and there’s a liplock at the end of the film. Compared to all the terrible trash spewed out in films like Partner, Golmaal etc, this might seem like peanuts, but still. All in all, JWM is an entertaining 2.5 hours, and well worth your money and your time.

Posted in 2007, All Netflix, bollywood, comedy, family-friendly, Hindi movies on Netflix, rating-G, recommended | 9 Comments

Review : Om Shanti Om

Posted on November 11, 2007 by amodini

[amazon_link id=”B00124ONSI” target=”_blank” container=”” container_class=”” ][/amazon_link]Rating : Below average (2.75/5)
Genre : Comedy / Drama
Year : 2007
Running time : 2 hours 48 minutes
Director : Farah Khan
Cast : Shahrukh Khan, Deepika Padukone, Shreyas Talpade, Arjun Rampal, Kiron Kher

OM SHANTI OM : SPOOF ME SILLY !

Farah Khan is all about delivering entertainment – nothing arty-sharty about it. “Main hoon na” was enjoyable, if a bit inane (and that’s probably brother Sajid’s influence). So when she, along with producer SRK goes all out to promote OSO, one believes that a good three hours of mindless fun are to be had, rubs one’s hands in glee, and proceeds to the ticket-counter forthwith. The Sunday morning show that I went to was pretty full, for a Sunday morning show. I mean, who really wakes up to watch a Hindi film at 11 o’clock in the morn, except for yours truly ? Thus, duly impressed, and untainted by the perusal of Internet reviews, I found myself looking forward to the film. And really I hadn’t lost hope in the first half. But, hai! Those illusions – how they shatter !

First things first – OSO was almost a direct plot copy of Rishi Kapoor, Simi Garewal starrer Karz. Granted that that had a female villain, and this has a male version, OSO still pitted good against evil with the evil-doer brought to justice by the re-incarnated hero. Shahrukh Khan plays junior film artiste Om Prakash Makhija, in love with superstar ShantiPriya (Deepika). When on saving her from a set fire, he earns her gratitude, he also discovers she’s in love someone else. When her lover attempts to kill her, and succeeds, Om dies attempting to save her. Om is reborn, and on coming face-to-face with the killer, tries to mete out justice, the dramatic way. Unfortunately I don’t care a whit by this time, because he seems more passionate about dancing with the 31 stars in the title song, than in avenging the crime.

The first half of the film is set in the 70s and is laced with spoofs. As if the hair-dos, and the bell-bottoms weren’t enough, Farah’s got SRK on a giant LP, a la Rishi Kapoor, doing jiggly dance moves to the original OSO (Karz) number. There’s not a trick in the book she hasn’t used, from giving the super-star hungry masses their daily fix of Bollywood by way of the star-studded “Om Shanti Om” song, to the creatively titled Dard-e-disco number, to putting SRK in a red Superhero costume and sending him flying around rescuing damsels in distress (read Malaika looking all pouty in a red gown). Cliches scatter like confetti as Farah laughs at the film industry – there’s the all-suffering Nirupa Roy like Maa, played by Kirron Kher, the none too subtle digs at the Govinda Ahujas and Sooraj Barjatyas of Bollywood.

So you think what’s wrong with spoofing it up ? Nothing really (I enjoyed them), except I’d like to see the spoofs held up by the plot, and not the other way around. Too many spoofs, too little story – the meat’s getting a little thin on the bones, what ?

Still, to be fair, the first half breezes past quite quickly, and I’ve winced only a couple of times. Now, in the second half – I’m so bored. Farah’s running out of spoofs, and the film, it must progress. And progress it does. Very slip-shoddily. The scenes in which re-incarnated Om hatches his plan to make the criminal confess, are so lacking in finesse, that they look like rough takes. And I can’t help the comparisons; where in Karz the overtly dramatic replay of events engineered to scare the killer, seemed plausible (going by Bollywoodian plausibility standards), here it seems so hare-brained that it reminds me of the pathetic who-dun-its that once screened only on DoorDarshan.

There’s also a massive problem of character development, in that there is none. Who are Om, Shanti, Sandy really ? What do they think, what makes them tick ? And most importantly, why should we care about them ? Redeeming qualities, anyone ? Farah falters with OSO in not realizing that spoofs and Bollywoodian numbers held up by a barely there plot, does not a film make. And if you do want that crutch, in moderation please. If all I wanted to do was ogle a bunch of filmi stars shake their thang-thangs, I’d watch a filmi award show.

As far as the acting goes, this film suits SRK to a T. After all, who better to ham it up in a hammy film, that the King of Hamdom, himself ? SRK hems and haws, does the wiggly eyebrow thing, whimpers and pouts by turns. As for the 6-pack abs, he could sprout an 8-pack and it wouldn’t affect his oomph quotient any. Yes the man absolutely radiates charm, but sex appeal ? Not so much. Shreyas Talpade, as Om’s pal, Pappu is quite good. He is however reeled in and forced to toe the clichéd line in the second half, to the film’s detriment.

Hindi film debutante, model Deepika Padukone, is nothing if not stunning. Ms. LongLegs acts decently enough, can gyrate adequately to fit into desi cinema, and displays the flattest, most toned tummy this side of the Himalayas (why is no-one talking about her abs ?) She appears young and unaffected, and really the only one eliciting any sympathy from moi. And talking of long legs, let’s not forget Arjun Rampal, looking quite dapper as villain Mukesh. His pencil thin moustache suited him no end, and although he, in comparison to SRK’s bare-chested appearances was quite clothed in the film, he oozed oomph through every available pore. His acting was quite OK, partly probably due to the fact that his role required him to appear sinister and to NOT ham it up. The remaining stalwart Kirron Kher gives a cringe-worthy performance as Om’s mother, and it’s not even her fault.

I cannot qualify the direction as even average; the film lost it’s moorings in the second half, and veered from one crazy strategizing session to the other. The dialogues are OK. The music – I was floored by the almost magical “Aankhon mein teri”, and on the whole the songs are good and the picturisation adequate. It’s a pity the film isn’t.

Even if this film begs for comparisons with oldie super-hit Karz, I’d rather liken it to last year’s Dhoom 2, for it’s very superficial treatment. I do not doubt, that just like D2, OSO will do well; for the masses swooning at Bollywood’s feet, this might be just what the doctor ordered. However if you are looking for an actual film, and not just spoofs, clichés, jokes, and item numbers strung together in a very, very skimpily attired plot, OSO is not for you. You might end up watching this film for it’s ability to laugh at itself, the heady rush of nostalgia it triggers, or it’s funny moments (and there are many), but no need to hurry, you know ? If you’ve got better things to do, do them first.

Posted in 2007, bollywood, rating-G, thriller | 1 Comment

Review : Heyy Babyy

Posted on November 9, 2007 by amodini

Rating : Below average (2.8/5)
Genre : Comedy
Year : 2007
Running time : 2 hours 25 minutes
Director : Sajid Khan
Cast : Akshay Kumar, Fardeen Khan, Reitesh Deshmukh, Vidya Balan, baby Johana

HEY BABYY : HAMMING IT UP !

Some time back Sajid Khan used to have this TV show called “Ikke pe Ikka”. It was this mad-cap show which looked like it was pretty adhoc and script-less. It featured Sajid and a host of other characters and Sajid’s trademark zany sense of humor. Sometimes dizzy, sometimes shitty, sometimes funny and sometimes not so much. He did whatever he wanted. “Hey Baby” seemed pretty much like the show – scriptless and adhoc.

Yes, yes, I know it’s inspired from the 1987 film “Three men and a baby”, and it does stick to the story atleast in the beginning. But, ah, problems begin when the director decides to go all original on us, and hands us some rather convoluted turns (coz we are desi and all, you know) in the second half. Oh, and also be prepared for the obligatory dose of desi emotion. However where I found the original film rather heartwarming, this one drags at places, especially at places where Sajid is unable to overcome his “me Tarzan – you Jane” attitude towards women in general.

Arush (Kumar), Ali (Fardeen), Tanmay (Riteish) are three desi Casanovas – you know the works – totally objectify women, sleep around with a host of women etc. And, yes, lest I forget they are all allergic to the concept of true love, marriage and commitment. The three live together, and amazingly hold down jobs, although whenever we see them they are either partying, stalking women or making asses of themselves.

Into this totally bindaas lifestyle, comes a baby, delivered to their door-step, with a note which tells them in none too polite a tone, to take care of their daughter. The question is who’s daughter is she ? At the rate at which the three have been, excuse the language, spewing their seed around, she could be either of the three’s.

The three used to their bachelor life-styles, take the baby in all right, but don’t know what to do with her. They don’t know what to feed her, have no clue that kids have excretionary functions too, and in short act like a bunch of retards. When with time, they finally learn how to take care of the kid, they are completely besotted with her, and turn into not only adoring Dads but good human beings (I’m rolling my eyes too, but what did you expect ?). Just as they are getting comfy with the fathering bit, in walks the irate mother, and she wants the kid back . . .

Frankly I found the film silly. The first half mainly deals with the happy-go-lucky lives of the three, and the impact of the kid on their lives. Even if we assume that men when faced with a baby turn into morons of the first order (and they do not I assure you), the film stretches this into such length that I’m longing for Sajid Khan to get a move on. The second half turns into sopping melodrama, which does nothing to better the film.

Plus I’m pretty sure that Sajid wrote some of the dialogues atleast . Sample a few : Child protective services worker saying to trio “I’ve heard you three have a baby and there is no woman in the house”. I didn’t know whether to laugh out loud or shake Sajid Khan until his teeth fell out. Then there is Tanmay (Riteish’s character) saying to baby, “First I was bad, now I am Dad”. Ewww – talk about cheesy ! You grit your teeth and move on. And then there is super-intelligent heroine Isha telling Arush : “How amazing ! We both live in Australia and never meet and we come to India and we meet.” Well, you know what Sajid ? Australia’s a rather large country.

However, kudos to the actors for doing a fairly decent job – Akshay with his comic flair, and Fardeen with his Anglicised side accentuated. Riteish is just himself which is good enough. Now, Vidya Balan, she displays star power. I cannot by any stretch of imagination call her thin, or even slim. All she has is fairly decent acting skills and a beautiful face, and she puts it to good use, as the baby’s Mom, carrying the film without revealing any of that famous skin. Quite Madhabala-ish, really.

Direction is decent, dialogues crappy, and songs good. This is Sajid’s contribution to the world pool of silliness, and I do hope he stops with this film – he’s done more than his fair share. The film abounds in Sajid-style toilet humor, and while slap-sticky, poop-in-the-face (literally) jokes might amuse the kids, the sexist references definitely won’t.

You might watch this film, on a lazy Sunday afternoon, when you hanker for a dumb, desi film along with that serving of pakoras. The pakoras better be good. Because the film – it ain’t.

Posted in 2007, bollywood, comedy, ecstatically stupid | 3 Comments

Review : Johnny Gaddar

Posted on October 28, 2007 by amodini

Review : Johnny Gaddar
Rating : Very good (4.3/5)
Genre : Thriller
Year : 2007
Director : Sriram Raghavan
Cast : Neil Nitin Mukesh, Vinay Pathak, Govind Namdeo, Zakir Hussain, Daya Shetty, Ahswini Kalsekar, Rimi Sen

JOHNNY GADDAR : YOU SAY PULP, I SAY FICTION

Johnny Gaddar is not your usual who-dun-it. It’s more of a we-know-who-dun-it , but did-he-get-away-with-it ? It reminds me of the “James Hadley Chase” genre. We know who the criminal is (aren’t they all ?) and what the crime is. We also know that the plan has gone horribly wrong. What we don’ know is how it will end.

Our protagonist is a very unlikely one. Quite probably a person you’d take at face value, no undertones to this one. A handsome young man, clean, good-looking – the world to conquer and all that. And honest you know ? Not one to cheat or rob his friends, you know ? Keeps his word, that one. Only there’s a woman he’s involved with. She’s in a hard place and there seems to be no way in this world for the two of them to be together. Unless, unless of course, he takes this one risk. Just this one, oh, only one risk. And they’ll be free. Free. And no one will be able to touch them. Just like that . . .

One crime, then two, then . . . And its not like he’s a hard, resilient criminal either; at being threatened and beaten the man crumbles, weeps, repents, says he didn’t want to do it, but circumstances forced his hand. What was one to do after all ? He didn’t want to do it, didn’t he say ? It was all an accident, a big mistake, didn’t he say ? It just happened . . .

Neil Nitin Mukesh, is the hero here, if you will, our very unlikely protagonist. He plays Vikram, the junior-most member of a gang of 5 men running gambling/fencing activities and other small con jobs. The other 4 are Seshadri (Dharmendra), Shardul (Zakir Hussain), Prakash (Vinay Pathak) and Shiva (Daya Shetty). When a large money-making opportunity presents itself to Seshadri via his police detective friend Kalyan (Govind Namdeo), he shares it with the other four.

Now Vikram is having an affair with Mini (Rimi Sen), Shardul’s wife. And they can think of no better way of getting away from vicious Shardul than going abroad where no on will find them. However going abroad takes money, and that Vikram can get only one way – by turning double-crosser . . .

JG is the kind of film you wait an year for. January, February . . . the months go on, and it’s all a vast desert. JG finally is the oasis. Quite certainly the definition of pulp fiction in desi cinema, JG marks a new twist in the hindi thriller genre. It’s style is quite cut and dry, and engrossingly so. We do know who’s the bad guy so to speak, the unknowns come later.

Neil M. makes his debut with this film and it is not un-impressive. Making good use of his choclatey-soft looks, Neil adequately portrays Vikram. There is a lack of finesse in his acting, but if this is the begining , the future definitely looks bright. Rimi Sen, she of the heaving bosom, graces the screen, but heavy breathing is what she brings to the film. I’d have preferred someone who could act without sounding like she was succumbing to hyper-ventilation. The other female in the film, Prakash’s wife, played by Ashwini Kalsekar, is quite fantastic in her limited screen time. Playing by turns, the shrew, the nag and the desperate wife at the end of her tether, Ashwini brings her character to life.

Not much need be said about Vinay Pathak, Govind Namdeo or Zakir Hussain for they present immaculate performances. Dharmendra as the aging Seshadri, is OK. And so is Shetty in his small role.

The film pays homage to it’s inspirations – Vikram routinely reads or atleast pretends to read James Hadley Chase novels, and snatches of dated Hindi cinema appear throughout the film. Sriram Raghavan, the director, who in his earlier film, Ek Hasina Thi (which is #2 in my Top 10 Suspense hindi film list), dealt with the ire of a woman scorned, takes on a totally different subject and does a wonderful job with JG. The story’s interesting, screenplay tight, and the direction deft. I wish the acting had been superb instead of average, but one can’t have everything, can one ?

It’s not just this film, but the general trend nowdays in thriller/crime, negative-toned desi cinema is for the film to feature an unlikely protagonist. The criminal is no longer a snarling Neanderthal, but a suave, soft-spoken, clean-profiled young man with spunk and brains (Don etc.). He looks the guy next door but nicer, and if you could hear his thoughts it’d make your blood run cold. So much more interesting than outright evil. He could almost be the hero, except he’s not. He’s the anti-hero. And yet you can’t hate him. Subtlety finds it’s niche, and intelligent cinema is born.

A very adult-themed film, JG features sexual situations/references and bits of gory violence, and is unsuitable for children. For the grown-ups however, the best thing about JG is it’s absolute unpredictability; just when you think you have it all figured out, it turns and goes the other way. And if that is not enough for you, let me also add that the film finishes up beautifully, because it delivers the kind of justice I find most satisfying – the poetic kinds. I have waited quite a while to see Bollywood do a John Travolta. And to it’s credit, this film, a must-see, makes the wait worth-while.

Posted in 2007, bollywood, drama, outstanding, rating-PG13, recommended, thriller | 7 Comments

An ode to fallen films

Posted on October 15, 2007 by amodini

I interrupt regular programming to bring to you an ode. It’s an inspired ode. It’s a song, which describes the condition of our fallen films. I currently have no reviews to pen unless I make a trek into memory-land, since can’t go and see the new releases for fear of losing my mind. And it’s not like I haven’t suffered enough for this year – I did see Partner AND Apne, both within 30 days of each other, which somewhat increased the trauma.

After the disastrous reviews of “Laaga chunari mein daag” which I was eagerly anticipating, I seem to be losing my in-born, child-like trust in humanity. My list of Worst films of 2007 is getting very long – how will I pare it down ? I despair of having 10 films to make the list of Best films of 2007. One breaks into a cold sweat.

Anyway, here’s the ode.

Another one bites the dust
Another one bites the dust
And another one gone, and another one gone
Another one bites the dust
Hey, I’m gonna get you too
Another one bites the dust

Another one bites the dust
Another one bites the dust
Another one bites the dust
Another one bites the dust
There are plenty of ways you can hurt a man
And bring him to the ground
You can beat him
You can cheat him
You can treat him to a desi film
When he’s down
But I’m ready, yes I’m ready for you
I’m standing on my own two feet
Out of the doorway the movies rip
Repeating the sound of the beat

Posted in bollywood | 8 Comments

“Om Shanti Om” vs. Saawariya

Posted on October 3, 2007 by amodini

2007’s been such a slow year for films. I can count the number of decent movies on my fingers. Which is what makes me wait with bated breath for the Oct. 12th release of “Laga chunari mein daag”. And then ofcourse come the mega-movies OSO and Saawariya. Both release on the same day, so with all the hype going around, votes are split on which will better the other. The writers at PlanetBollywood (including yours truly) had a discussion on this, the results of which are presented in this article.

Me, I’m going to watch OSO first.

Posted in bollywood | 1 Comment

Review : Everybody says I’m fine

Posted on September 21, 2007 by amodini

Rating : Above average (3.7/5)
Genre : Drama
Year : 2001
Running time : 1 hr and 40 minutes
Director : Rahul Bose
Cast : Rehaan Engineer, Pooja Bhatt, Koel Purie, Boman Irani, Anahita Ueroi, Rahul Bose, Sharokh Bharucha, Junelia Aguilar

EVERYBODY SAYS I’M FINE (ESIF) : INTERESTING !

This film is directed by Rahul Bose, and he acts in it too. In the first half I was inclined to dismiss him as a director, because the film had a surreal, psychedelic, disjointed quality to it, as though shot by an amateur. No sophistication, no smoothening over awkward moments, just the bald truth put out very crudely. Like someone was shooting a home movie. However it gets better, so a large dose of patience is in order.

The story is a little surreal too – it’s about a popular hair-dresser to the richie-rich (who else actually goes in for Rs.1100 trims ?) Xen who after a traumatic childhood experience, is able to listen to people’s thoughts. Not always though, but only when he’s connected to them – like when he’s cutting their hair.

Now Xen, who’s also the owner of the beauty salon where he cuts hair, is a very, very nice guy, to the point where I’m thinking – how can such a nice guy actually run a successful business ? So he treats his co-workers very well, is welcoming to all his patrons (although he can hear all their sordid thoughts) and is a do-gooder kind of a guy. So, when he knows a person is in trouble, he does what he can to help. You’d think hearing everyone’s anguish and filth would be troubling for oneself, yeah ? Apparently for Xen too, who in his apartment above the salon, has the TV switched on but forever on mute, lives very quietly, and seems to have hardly any friends or life besides his work.

Into this odd life comes Nikita. She’s come to have a hair-cut but when Xen cuts her hair, much to his surprise he can’t hear a thing. It’s like she has no thoughts ! Xen is attracted to Nikita, but soon discovers that she’s plagued by her own demons . . .

The film seemed to come together as time went by, and Bose actually managed to cobble together some quite poignant scenes. The film’s characters seemed a little angular, as in not well-rounded or well-fleshed out, probably because we see them only in the hair salon or in close proximity to it. The outside world is kind of shut out, which it can’t possibly be – not in India, where noises and smells of your surroundings (however posh they might be) come seeping in. The main protagonist Rehan Engineer, seemed a little wooden-faced but did OK, while Brit-desi Koel Puri playing Nikita, just about managed. Some of the other characters – Tanya, a rich socialite having trouble in her marital home, was well portrayed by Pooja Bhatt. And Boman Irani had a small part – that of Mr. Mittal, which he as usual was immaculate in.

An interesting film, this is primarily in English, with a smattering of Hindi (Hinglish if you please). It is pretty adult-themed, ie; topics unsuitable for children. ESIF is also very stylistically shot, and may not appeal to viewers looking for a “traditional” film. It has an interesting story to tell though, so if you arm yourself with some patience and forbearance, you might actually like this one.

Posted in bollywood, rating-PG13 | 4 Comments

Review : The Namesake

Posted on September 18, 2007 by amodini

Rating : Good (4/5)
Genre : Drama
Year : 2006
Running time : 2 hours
Director : Mira Nair
Cast : Tabu, Irfan Khan, Kal Penn, Zuleikha Robinson, Jacinda Barrett

THE NAMESAKE : HEART-FELT

I haven’t read “The Namesake”, the book upon which this film is based. I found it slow and ponderous, and so very “Bengali” that I couldn’t identify with it. I had to give it up mid-way. The film however, gets rid of the slow-paced bits, and makes the “Bengaliness” more like “desi-ness”, which isn’t hard to identify with.

The film is about Ashoke and Ashima Ganguli, a Bengali couple, who move to the States, because of Ashoke’s job. Ashoke has come to the US of his own accord, but Ashima, though prepared to follow her husband, is the true immigrant, uprooted from the culture, society and family she is so very firmly entrenched in, back home. Once in her husband’s apartment in cold New York, Ashima learns new ways, and fashions her life around her family (a son and a daughter are born to them). The film moves forward with the kids growing up, and their apparent estrangement with the ways of their parents.

One imagines Ashoke and Ashima to be in an older age-group; Lahiri probably based her characters on adults her parents’ age. A generation back they were few desis and fewer desi-specific facilities (desi shops, restaurants, movie-theatres). It isn’t I imagine, like today, where in bigger cities, 24×7 desi radio stations are aplenty and you could just as easily see a Hindi film in a theatre, as you could the latest “Bourne Ultimatum”. I wasn’t born in the States, but much like Ashima moved here with my husband, which means that inspite of the generation gap, I sort of see Ashima’s view-point. And it’s not hard to roll back the years a little and see life as it may have been, and in your mind sympathise with Ashoke and Ashima as their values from back home conflict with the ones their kids assimilate from the society around them.

Friends told me that the film is depressing. I didn’t find it so. There are ups-and-downs in the film, tragedies and moments of happiness sprinkled through, but where in reality do you find anything different ? I choose to look at the film as one on coming to be at peace with yourself, you culture and your identity. Whereas Ashoke and Ashima have come to live permanently in their adopted country, they already have very well-developed identities, strong notions of culture, and know how and where they fit in. It is Gogol (and sister Sonia’s) struggle with their cross-cultural status, which is the focal point of the film.

The film is quite short, and that keeps it one the straight and narrow; indulgent forays into details (such as the book has) could have derailed it. The story is well-knit, the direction crisp, and the screen-play deft. Nair could not have chosen a better set of actors that Tabu and Irfan Khan to play Ashima and Ashoke respectively. Although Tabu doesn’t look very Bengali, she still manages to essay her role very well. And Khan plays Ashoke’s character with a vulnerability, which reminds me of my parents (it might remind you of yours). The scene with him at the airport bidding goodbye to Ashima as he heads off to another city for 6 months, renders the relationship between husband and wife beautifully.

Our very own Kalpen bhai (Kal Penn), as Gogol, does quite well too. Zuleikha Robinson plays Gogol’s love interest with panache. The cast also features a whole set of plentiful Mashis (apparently Lahiri played one of them, but was unable to locate her) and lots of relatives in India, all well-cast and realistic looking.

The film portrays both sides of the culture-conflict – that of the parents, and the other of Gogol (and the youngsters). It doesn’t take sides, doesn’t get preachy or moralistic on us, which garners it big-time brownie points from me. Gogol roams around carrying his awkward name and the cultural baggage his desi upbringing begets him, all the while trying to shrug it off and fit in with the society he sees around him. Ultimately it’s a question of culture and identity, and of Gogol finding his. But I also liked the fact that the film brought to the fore the fact that morality and culture are a state of mind, and just because people share your skin color doesn’t mean they were meant to be your soul-mates.

Posted in bollywood, drama, recommended | 7 Comments

Mini-reviews : Films I must mention

Posted on September 13, 2007 by amodini

I normally never do this folks, but I’m writing this because these are just absolutely wonderful films, and worth watching. This is kind of inspiring me to do a whole my-favorite-oldie list, but that’s another post. Now these movies – they are old-old films, but quite fantastic, and come to mind now because I read about them on other filmi blogs. All these films I saw via good old DoorDarshan, so they are atleast 15 years old. The regional ones, I saw subtitled, via DD’s Sat/Sun regional film slot (saw quite a few very good films that way), but I keep forgetting their names. Out of the 4 below 1 is missing a name, so if anyone has a clue, please let me know. Anyway they are :

1. Swami (1977) :

This film has been discussed in quite a bit of detail at FilmiGeek, and it’s about a young intellectual woman, who has a half-serious affair – more of an attachment really with a young visitor (Vikram – anyone remember “Julie” ?), but is married off to an older widower (Girish Karnad). Although this film held some regressive views on a woman’s place in society (ideally married and a home-maker – what use books, etc.), I thought the character of her husband was remarkable, since it portrayed a man not emasculated by his wife’s sexuality.

2. Main zinda hoon (1988) :

Dicussed at Yves’s blog, this one’s kind of a stark look at a the life of a newly-wed wife, deserted by her husband (we don’t know why), and his sudden reappearance, after she has built up a life on her own. This is one the films you don’t easily forget, because it reflects societal expectations from a woman, and quite brutally shows you the truth behind the we-are-so-liberal facade. Deepti Naval plays the main character.

3. Sutradhar : This Marathi film (thanks to commenter Hareesh for giving me the name of the film) starred Smita Patil and Nana Patekar. Patekar played the role of a right-thinking political activist who wants to work for the people. He slowly gets corrupted as he becomes a minister and gets more and more entrenched into the political system. Patil played his just-as-idealistic young wife, who sees the changes in him and cannot bear to see everything she loved in this man get corrupted. It’s quite something watching Patil’s love for her husband turn into something resembling revulsion and distaste, until she decides she can take it no more.

4. Veedu (house) (1988) : Archana starred in this Tamil film (thanks to commenter Ravi for giving me the name of this film). The story is of this middle-class young girl, Sudha, a clerk in Chennai, who has a younger sibling, and a retired grand-father, and no familial support to speak of. She saves up and dreams of building a home for herself, and finally buys some land, and starts construction. When the home is built – it takes a toll emotionally and financially, since she’s battling corruption and other problems, she finds out that the land was reserved for some purpose or other, and her house couldn’t be built there in the first place. The film ends there, but as it finishes, you know that the Sudha’s journey hasn’t. She still has battles to fight, and you are with her commiserating, and wishing her an easier life.

Posted in bollywood, recommended | 7 Comments

Review : The Blue Umbrella

Posted on September 5, 2007 by amodini

Rating : Above average(3.6/5)
Genre : Drama
Year : 2005
Running time : 1 hr and 30 minutes
Director : Vishal Bharadwaj
Cast : Pankaj Kapoor, Shreya Sharma

THE BLUE UMBRELLA : CAPTIVATING !

I remember reading Ruskin Bond’s “A Flight of pigeons” many years ago, and being totally immersed in the story. The film which was based upon it, “Junoon”, was also one of the better films of that decade. Bond also wrote the “Blue Umbrella” and although the two are very different stories, both still contain the unmistakable flavor of India, the realism, and the attention to detail, that characterizes Bond’s work.

The Blue Umbrella is set in the foothills of Himachal – beautiful leafy green broad plains, and hills and valleys where sheep graze. Life is lazy, the world is small, and peppered with tourists. In this small world, or village, however you choose to see it, lives Nandkishor, a tea-seller with a small shack on the street. Avaricious and tight-fisted, old Nandu covets the beautiful things he sees. He sells small eatables and toffees to the kids of the village on credit, and in return confiscates their beloved possessions. So when Biniya, a little girl from the village obtains a bright blue Japanese umbrella from some tourists in exchange for her bear-claw locket, Nandkishor immediately desires it. And he is not the only one – the local school-teacher’s wife Lilavati (she prefers Lily) wants it too.

Biniya however loves her blue umbrella and takes it everywhere with her. She won’t even think of parting with it, even when Nandkishore offers her tempting sweets and other goodies. One day as Biniya is herding her flock of sheep, she sets down her umbrella nearby and cannot find it later. She is bereft. Everyone professes ignorance; they even come console Biniya, but she is suspicious of Nandkishore . . .

This is a slow tale, built from the lives and situations of a specific group of people. It dwells on one happening – that of the theft of Biniya’s prized umbrella. And this theft, takes on momentous proportions; the entire film hinges on it. So well is the atmosphere of the film built up, that it seems quite natural that a blue umbrella should be the talk of the town, getting envious glances everywhere it goes with it’s proud owner. The film is very attuned to the story – they both share the same languorous gait; lots of little asides where we see hopping, skipping children, singing songs and generally frolicking. Things move slowly, and one gets the feeling that life takes it’s own lazy way around the village.

The characters have also been sketched out believably. Pankaj Kapoor, attired in his grimy sleeveless sweater and kurta-pyjama, is quite apt as the old, capricious Nandkishore. As expected, acting-wise he does an immaculate job . Little Shreya Sharma as the long-haired, salwar-kameez clad Biniya deserves accolades for her acting, since she portrays Biniya’s innocence and smarts very well. Even the smaller roles have been developed very well; Biniya has a believable mother who scolds her for exchanging her bear-claw locket, and a protective older brother.

This is touted to be a children’s film, but I would qualify it further by saying that this is film for older children – those that will appreciate the tumult caused by the loss of one’s prized possessions, and the symbolic play of greed and covetousness. Plus the slow pace of the film will not hold a young one’s attention for long. And in this age of instant gratification, it’s a little hard to expect little kids to appreciate Biniya’s happiness in life’s little pleasures (One wishes it were so). Older kids might (my older kid did) but that’s not a given. This film’s story if taken literally is quite dated and/or rural – prized possessions for most urban kids are not umbrellas. However the umbrella is symbolically significant, and it might only be an older child or adult who can decipher that.

This film was quite an interesting watch, in it’s look at desire and greed. Desire dwells everywhere, even in the heart of an old, spent, tea-vendor in a non-descript village. I would never have thought Bond’s short story as adequate fodder for a feature film, but in Bharadwaj’s talented hands, this story comes to life. It’s a simple tale told honestly, sans the usual vulgarity and melodrama, and well-worth the watch.

Posted in bollywood, drama, family-friendly, recommended | 2 Comments