Rewind - Best of Kollywood 2013

The year 2013 comes to a close. This year has given us a very mixed bag with big star masala entertainers raking in the moolah as usual. But we have also received some very prescient dramas, smiley face comedies, black comedies and the usual Tamil award circuit fare. Some major disappointments came in the form of big starrers turning damp squibs. In all this hullabaloo, it was however easy picking choices for the best in Kollywood this year. I hope it isn't as easy the next year.

The Lunchbox - 'Epic'stolary if you please!!!!

The Lunchbox, produced jointly by Karan Johar, Anurag Kashyap and UTV Motion Picture, brings to us the rare epistolary. If the acclaim it has garnered before release is anything to go by, The Lunchbox promises a naturalist fare. Two fine performers called Irrfan Khan and Nawazuddin Siddiqui have been cast in 2 of the 3 lead characters with Nimrat Kaur (the Cadbury Silk lady) being the third. As one watches the film, realisation dawns that the acclaim so garnered is ever so slightly misleading. The Lunchbox ever so subtly cuts out a shapely slice of life fare.

The plot traces the exchange of letters that happens between a lonely middle age insurance company employee and an unhappy housewife when (shockingly) the dabbawala delivers lunch meant for the latter's hubby to the former and how this transforms their lives.

To come to the performances, it is a feast of underplaying on display here. Irrfan Khan displays his easy natural flair by doing exactly what is expected of him. Be it the subtle show of frustration at constant nagging, the quick display of cunning for slight issues or the display of constant sadness, he has got it all ready with him. Nimrat Kaur packs in an equally good performance with the added advantage of her natural yet pretty looks. Nawazuddin Siddiqui keeps the humour element going throughout the film and gives a solid supporting act. Also worth mention is a small yet effective cameo by Lillete Dubey and the unseen 'Aunty' character. On the whole, the perfect elegant ensemble.

The director and writer Ritesh Batra remains as realist and as abstract as possible in his execution of his own strong subject matter. The screenplay is the definite hero of this film. The film utilizes minimal live dialogue and focuses on the facial expressions of it's characters through 70% of the run time. The story unfolds at a smooth pace for most part of the film with it getting a bit annoyingly glacial at the last 15 or so minutes of the film. Yet, what is most impressive is that the writer/director gives an apt abstract touch to conclude the film. A few plot threads are left open for the spectator to decide on. The transformation shown in the lead characters' lives is a perfect demonstration of delectable subtlety. The naturalism in the director's execution is deliciously consistent throughout.

Able technical work can be seen in almost all departments. The editing is smooth as silk and the Cinematography, as natural as the film itself. However, the most impressive work is done by the sound mixing and sound editing department. In a film where the music score is so slight, the spectator's involvement is kept alive by the apt mixing of natural urban hustle bustle and the set of daily noises. The most impressive touch was however when the sounds kept going on in the succeeding frame and stop abruptly when a character speaks out. The sound technicians are in for many awards this year.

To quote in short, The Lunchbox is an uncut gem. Natural with its own dirt and grit, yet as precious as its polished counterpart. Such unabashed display of subtle naturalism is very rarely seen on Indian screens. Had the film been a little less glacial in pacing, it would have been brilliant. However, it keeps itself to being good, salt of the earth stuff. It goes on to prove that every moment in mundane human life can give an engaging story to the spectator if narrated in the right manner.

3.5 on 5

Madras Cafe - Brain food with a dash of thrill

From the makers of last year's surprise smash Vicky Donor now give us a flick of a nearly polar opposite genre. Touted to be a gritty spy thriller set in the troubled times of Jaffna, Madras Cafe from director Shoojit Sircar, written by Somnath Dey and Shubendhu Bhattacharya and starring producer John Abraham, Nargis Fakhri, Ajay Ratnam, Siddharth Basu and Piyush Pandey among others, also presents an interpretation of the Indian Intelligence procedures to uncover the conspiracy behind the assassination of Ex-Prime Minister Rajiv Gandhi. Making this film in a non conducive environment as India must have been an uphill task indeed. In addition to courting ample controversies, this film has also earned the wrath of those sympathetic with the dwellers of Eelam. Transcending all these obstacles, Madras Cafe has hit the theatres and one finds that this film has a great deal more to offer than the regular espionage thrillers seen till date in Bollywood.

Plot:

The plot is set between the late 1980s and the date of the assassination i.e 1991. Vikram Singh, a RAW agent is sent to Jaffna to lead the field intelligence operations of the peace keeping forces. As he digs into his job, he finds out that there is a leak in his own organisation and that his own life is in danger. Furthermore, he finds out that all of this is insignificant and that it all opens up to a bigger conspiracy with long term National implications.

Story, Screenplay and Direction:

Madras Cafe is one such film where the script and direction are the 100% heroes. The characters in the film derive their well etched contours only due to the strength of the script. The script is absolutely made of stuff that says "No Nonsense". Some outstanding writing can be seen here. There is nothing conventionally Bollywood like in this film. The writers have filled the script with factual references and real life happenings whilst bringing in a plausible plot between the same. The events on screen move at a rapid pace with each being as intriguing as the other. What is notable is the pain taken to avoid references to any name or person whilst depicting actual persons. The story line is sound and rock solid. The only disadvantage here is that too much information has been crammed into the film. This means that those who are not aware of the events that make up the subject, will probably be flummoxed. The care taken for intricate details about intelligence operations and political crisis without any direct reference to any real historical figure is laudable. The film anyway succeeds in conveying the event intended to the viewer. Sircar gives this script the stellar direction it needs. The direction supersedes the incompetence of the lead actors to make a flick in which every event depicted speaks for itself. In a nutshell, the script is the winner all the way in Madras Cafe. It is the most brainiest script to come out this year.

Performances:

The performances by the lead actors are ordinary to the level of break even adequacy. John Abraham is well suited for his role owing to his robust physique. But he is as stiff in intense sequences as he always is. Nargis Fakhri gets a pivotal role in the nature of an on and off appearance and does a decent job of it. The rest of the cast has minor roles that supplement the plot. As said earlier, the film is totally story driven and the characters are mere cogs of the big machine.

Technicalities:

Technical aspects are sound. Kamaljeet Negi has canned the troubles of Jaffna very well. Through his lens, we can see a great deal of the script's effectiveness. Editing by Chandrashekhar. P is pitch perfect. The film drops in pace at no point of time and neither does any scene seem ineffective. The sequencing of the events is like a perfect set of pictures for a kinetoscope. The Background score by Shantanu Moitra is apt.

Madras Café is the kind of diet that Bollywood connoisseurs have been starving for. Though brainy thrillers are by no means non existent, they are very few and this one is perfect brain food. But prepare to be confused if you don’t know your history. A heavyweight thriller with a razor edge script and stellar direction, Madras Café is a gritty and harrowing reality check that in addition to providing a look at field level covert operations, also derives very well from one of the most tragic events in Indian History.

Rating : 3.5 on 5

Aadhalal Kadhal Seiveer - Teenage Naivety!!!!!

Director Suseenthiran has decided to go back to his original winning formula of using relative newcomers after the debacle called Rajapattai. What is most intriguing (positively shocking for some) is that his latest flick is a mere 106 minutes long (that is about the time when we get back to our seats after interval). This time around, he picks the subject of teenage romance and its naive nature which leads to one of the most dreaded form of societal stigma in India i.e premarital conception. This territory has been trodden upon in Tamil cinema only at the surface level (only to the extent of the Hero's sister doing the act and the ensuing suffering to be more precise). Given Suseenthiran's fantastic track record albeit with the black spot called Rajapattai, one can say that the film has a good chance of being as interesting as its premise. But the film more than lives up to that expectation. Starring newcomer Santosh Ramesh, Manisha Yadav(of Vazhakku En 18/9 fame), Jayaprakash, Poornima Jayaram (after how many years?) and Thulasi (Remember that child in Shankarabharanam?), Aadhalal Kadhal Seiveer is as mature as dramas can get.

The plot revolves around a whirlwind affair between two college mates that goes awry when the two lovers take that ultimate step. The girl becomes pregnant and their lives go into a free fall taking their parents along with them. 

Suseenthiran sticks to the point throughout the film. You will find no songs that are not for the situation, no scenes that do not add to the plot and no actor whose role is not connected with the plot. One is so pleasantly surprised with the striking delicacy with which the topic in question has been handled by the writer/director. The writing is so grassroot and so uncomplicated, its brilliant. The plot moves at a fast pace without compromising with even one bit of the sincerity required for so delicate a concept. The director has been so successful in projecting the teen lives of urban India and the very naivety of that age that one feels convinced that he has shot something straight out of reality. There are no big dialogues that come with the movie. The conclusion of the movie is one of the most striking and most melancholy conclusions ever. Yet, the movie delivers entertainment, food for thought and is unambiguous in conveying its message. It is an unqualified triumph for Suseenthiran.

Aadhalal Kadhal Seiveer is an example of perfect casting. Newcomer Santosh Ramesh both looks and acts his role in a form most close to reality. Manisha Yadav gives in a good performance too. The best performance however is that of Thulasi (yet again, remember that child who croons Dorakuna Ituvanti Seva in the climax of Shankarabharanam?). She plays a distressed modern day middle class mother to the hilt. Jayaprakash is adequate for his role. Poornima Jayaram is good in a 5-10 minute role as the male lead's mother (that apart, it was great to see her in screen again after nearly 3 decades). The rest of the characters including mainly the bunch of college mates is a good ensemble.

The technical aspects are adequate with special mention for the sharp editing by Antony and some hummable tunes by Yuvan Shankar Raja.

In addition to being the most mature take on teen foibles ever seen on Indian screens, Aadhalal Kadhal Seiveer is a must watch for every teen in town and also for the parents of our times, for it presents an unflinching view on one of the most dreaded societal maladies of contemporary times without compromising in the entertainment front (though the conclusion and the general atmosphere in the film are essentially melancholic). A most gripping teen drama.

Rating : 4 on 5

Lootera - l'amour Sublime....!!!!

So we have had a romantic saga with great results recently (Raanjhanaa). Now added to it is the feeling of nostalgia. If the trailers are anything to go by, Lootera promised a love story with considerable depth and with that shot of nostalgia (being the movie is set in 1953-54). Coming from the house of modern film auteur Anuraag Kashyap and the director of Udaan, Lootera is an adaptation of O'Henry's short story "The Last Leaf" albeit with ample modifications. The expectation meter is high and one tends to feel that this movie might be a letdown due to that uncanny feeling that high expectations might dampen the actual viewing. Rest assured folks, that feeling is an absolute bummer. Lootera is Indian cinema in its most sublime form.

The Plot:
The plot revolves around the romance of Pakhi and Varun. Pakhi, the child of a rich landlord, meets an archaeologist visiting them and sparks fly. They have a passionate affair. But a shocking truth about Varun leaves her devastated and recouping from extreme sadness and a bad bout of a near fatal disease. Then, Varun enters he life again. What happens then forms the rest of the movie.


Screenplay and Direction:
The screenplay is a triumph of sorts for Vikramaditya Motwane and Bhavani Iyer. Not many would be able to make a period movie without glamourising the setting with brash Bollywood stereotypes. The most striking point is the meticulous detailing of the period setting. Here is one movie that shows the 50s as they were. Using some strategically placed historical references, popular 50s Bollywood music and typical 50s mannerisms to great effect, the plot moves at a suitably glacial pace not compromising one bit with it. The writing is so smooth that one feels that the movie is longer than it actually is but to the best effect. It turns out to be a rich and satisfying platter of emotions and soul stirring moments. The dialogue in the movie is so minimal and so uncomplicated that without the fine work on the finer nuances of the screenplay, this movie would have been an empty shell. The direction by Motwane is to be highly lauded. He has managed to give his own screenplay the very director that it needed. His style is very reminiscent of Udaan.

The Performances:

The performance by Sonakshi Sinha is her career best. She has proved that she isn't the 'Desi glam doll' she has been cast as till date. Her effort to play the happy, sad and ailing times of her character with the finesse of Sridevi in English Vinglish has resulted in a sure shot accolade puller. Added to this is how apt she looks for her character. Ranveer Singh gives a performance quite unlike his loud, happy go lucky Band Baaja Baaraat character. He has underplayed his role suitably well. Other actors in the principal cast do not have much to do, but have been well cast to say the least.

Technical Aspects:

The music of the film is easy on the ears and mellifluous. Amit Trivedi has given one of his best scores. He proves that he is to Anurag Kashyap what A R Rahman is to Mani Ratnam. The background score is commendable too. Like in Udaan, much of the talk in the movie is done by the way of its music. The score in the intense emotional sequences of the movie acts as a catalyst to engage the viewer. The cinematography by  Mahendra Shetty is picture postcard perfect. Through his lens, one gets the feel of the 50s and through his camerawork, one gets the feel of the emotions on screen. His usage of natural surroundings and lush greenery in intimate sequences is immaculate. Editing by Namrata Rao is water tight and the set pieces are very reminiscent of the 50s.

Lootera is by far, the best picture of the year, the best film of Sonakshi Sinha, the best film of Ranveer Singh and has the best score of Amit Trivedi till date. Needless to say, it is a sublime romance saga which is bound to involve the viewer with its emotional frankness and many subtleties of filmmaking. Though one feels that the movie is longer than 135 minutes, it is the feeling of eating a delectable desert that lasts long enough to soak in the sweetness. Lootera is an engaging romance drama by the team of Udaan. One can expect it to be showered with assorted accolades in the awards season. Go watch Lootera and do yourself a favour that you will be grateful for. Any plot hole that you may find in the film is merely lint on a Pashmina shawl. Lootera showcases nostalgia and l'amour sublime like seen very rarely in Bollywood.

Rating - 5 on 5.

Raanjhanaa - Love.... Rife with Strife!!!

At the outset, I would like to warn you guys. Do not go to this movie expecting a rustic romcom like what was shown in the trailer. The truth is that all the events in the trailer unfold into a much more macabre atmosphere as the movie passes on. Years ago there came a man called Shakespeare whose inimitable style of writing created a genre in his own namesake. Many of his plays are known for their morally ambiguous characters, dark plots, violent times, human hatred and maddening passion. This flick helmed by Anand L Rai with a script by Himanshu Varma and starring Dhanush(or the Kolaveri guy), Sonam Kapoor, Swara Bhaskar, Mohammad Zeeshan Ayub and Abhay Deol(in a short but pivotal role), is a true to its roots member of the Shakespearean genre.

The Plot:

The plot is of romance rife with strife. Kundan, a Tamil brahmin boy living in Varanasi falls in love with Zoya, a Muslim girl. But his love is challenged by various elements which seem to be deigned by the almighty himself to tear both his love and his life apart. Zoya, who reciprocates the love in childhood, forgets it in adulthood, scoffing the former as mere immaturity is also tested by her own selfish motives, Kundan’s persistent stalking and her love for Akram, a student leader in her college. Woven into this mesh are Kundan’s childhood friends who try their level best to support him and dissuade him appropriately. What is the result of all of this, is what the rest of the story is about.

Screenplay and Direction:

Now, the review has to be split into two parts. One, for the first half, which is essentially the half that covers most of the entertainment in the movie. It is a set of cleverly sequenced events that unfold in a manner most quirky and full of wit. The writer must be commended for his whiplash dialogue work and fast moving screenplay. It is sure to bring claps and whistles in addition to making you go “wah wah”. The other, for the second half, which is the one where Shakespeare kicks in full on. In this half, you feel a sense of the gloomy and the macabre. Though the writer has not compromised on the dialogues, the story tends to sag and become a little unbelievable. One may feel that the writer has compromised on both logic and reason in this half, where some sequences seem quite unrealistic and ludicrous. Yet, that is just a verbal description of how Romeo and Juliet, Othello and Hamlet were. So true to the earth are the myriad emotions in play on screen, that some viewers might feel devastated for the characters on screen. A near commendable writing job. The director has improved significantly to his previous outing (Tanu Weds Manu). His effort this time seems much more mature and melancholy this time, much unlike the Tanu Weds Manu.

The Performances:

Among the actors, debutante Dhanush (a national award winner) gives a cracker of a performance. It is like he never runs out of fizz throughout the movie. His expressions, voice and rustic appearance are his prime allies. His work is whistle, clap and award worthy. Swara Bhaska

r and Mohammad Zeeshan Ayub as Dhanush’s friends are effervescent. They get the lion’s share of humorous situations and carry them off with elan. They equal Dhanush's role in terms of entertainment quotient. Sonam Kapoor and Abhay Deol give understated performances suiting their characters perfectly. On the whole it is a powerhouse ensemble.

The Technicalities:

A R Rahman, needless to say, is another hero for this film. His songs are salt of the earth stuff. All of the songs in the movie are purely situational. Yet, one feels that the movie could not have done well without the maestro’s melodious and folksy tunes. The Camera work by Nataraja Subrahmanyam captures the various colours of Varanasi life effectively. The other technicalities like Editing, Sound design etc are adequate.

It can be safely said that Raanjhanaa is one of the best films to come out this year and one of the most solid Romance sagas in the recent times. It is sure to make it big in the critics circle and the awards season. While the movie is likely to entertain you, it may even sometimes make you feel why the events in the second half are so illogical. Yet, this flick deserves a lot more than any movie in the Rs 100 Crore club. Raanjhanaa is the return of Shakespeare style melodrama with that slight dose of daft and sometimes stupid plot elements exclusive to the Shakespearean genre. Those with no taste for the myriad and stupid combo will abhor this film. As for me, I love Shakespeare...........

3.5 on 5

Bombay Talkies - A Portmanteau Ode to Bollywood

Bollywood completed its centenary recently. And to mark this milestone, 4 directors well renowned for their adeptness in the craft of contemporary cinema come together to make a portmanteau film with abstract subjects. Right from the title of the film, which is the name of the first film company of India to the story of the four different short films making up the anthology, one finds Bollywood’s influence everywhere. If all this was not delectable enough to insinuate a must watch feeling, there is also this stellar star cast adding up to the menu. And so, floored by the offer, the viewer goes into the theatre with the expectation meter swinging far right. And through the movie, one finds himself going through vistas of contemporary Hindi cinema. Yes people, Bombay Talkies is worth all the expectations.

Ajeeb Dastaan Hai Yeh – Karan Johar

Starring Rani Mukherjee, Randeep Hooda and Saquib Saleem, this segment directed by Karan Johar deals with the complex theme of homosexuality, lies and adultery. While the latter two are the director’s forte, he adds up the former into the theme for the novelty. Karan Johar’s stamp is evident throughout the 30 minute duration of his segment. But this time around, he packages the essence of drama in larger dollops. The result being a very thoughtful and graceful insight into the sexual turmoil caused due to living a lie and living against societal norms. Karan Johar masterfully weaves various scenes together and signs off with a subtle conclusion. He takes an oft bashed and cliched concept and shapes a simple tale of strained relationships from it. Very impressive and possibly, Karan Johar’s best work till date.

Star – Dibakar Banerjee

Starring Nawazuddin Siddiqui and Sadashiv Amrapurkar (after how long?), Dibakar Banerjee’s segment is the best among the four. It is a very simple story (Written originally by the doyen, Satyajit Ray) dealt with tender grassroot charm by the ace director. Nawazuddin Siddiqui and Sadashiv Amrapurkar excel in their respective roles of failed actors with expert grace. Dibakar Banerjee’s down to earth approach and the appropriate casting of the actors make a wonderful 30 minute look into a failed actor’s failing life and what happens when he gets a blink and miss role in a bigshot film. The director’s attention to the emotional core with subtle doses of quirky albeit sardonic humour provides charms and smiles galore. The conclusion may leave a lump in the throat for some, but for the others, it serves as one of the best conclusions to a short film ever. And yes, it was a delight watching Sadashiv Amrapurkar back on screen.

Sheila Ki Jawani – Zoya Akthar

Starring 2 child stars, an actress (whose names I shamefully do not know) and Ranvir Shorey, this segment written by Reema Kagti and co-written and directed by Zoya Akthar is the most uncomplicated of all four. It deals with the story of a boy from a middle class family who is struggling to reach his dream of becoming a dancer against the whims of both his father and the society at large. Zoya Akthar’s simple treatment of the very simple subject give it the charm of an olden day’s fairytale. The performance of the 4 member cast, especially that of the two kids will extend your smiley curve to the endless. Katrina Kaif gives a convincing cameo. The only disappointment lies in the way the film culminates. It is just too unconvincing and far fetched. Although Zoya Akthar makes you smile, the end leaves some disappointment. Yet, great work by her and Reema Kagti for making a simple smiley piece out of a seemingly ridiculous subject.

Murabba – Anurag Kashyap

The last in the list is Anurag Kashyap’s segment. It stars Vineet Kumar Singh and a well known face in the Indian soap opera world with a cameo by Amitabh Bachchan. Anurag Kashyap surprisingly delivers what must be his most lightweight fare. He adds in enough quirky moments and situations that elicit a few chuckles, even when the protagonist is going through the most hopeless time of his life. Anurag Kashyap proves that he is not all dark and harsh but can also tickle your funny bone if he is into the job. Written with apt pacing by the ace director, the most impressive part of this segment is the use of our own Big B as the plot driver. This may not be his best celluloid job and most of the admirers of his style will be disappointed to get a much too simple fare and an oft tread upon story from the offbeat director. But the others will chuckle to their heart’s content and leave with a big smile.

The Montage and the Song

And the portmanteau ends with the compulsory touch of nostalgia. Various frames are shown of the various actors and actresses from the Bollywood of times yore to the contemporary times. The only sore part of this montage is the title song that plays in the background, which though aptly worded, is very ordinary. But the sheer joy of watching all the glory of the Bollywood Celluloid as a montage is compelling.

The Technicalities

The technical ascpects of the movie are top notch with the camera work, the editing and the background music all being just perfect. The songs leave a lot to be desired. Even more because names like Amit Trivedi, Swanand Kirkire and Amitabh Bhattacharya are behind the music. But the songs turn out to be quite routine, with just one being easy on the ears.

Bombay Talkies is pure and blissful cinema. Though the subjects of all the four short films are skewed when compared to each other, the common tendril of Bollywood connects them into a seamless whole. All that is great about contemporary Bollywood is presented in a seamless way by the team of four directors. The portmanteau format has been successful in many cases in Bollywood. And here, it is no different. But we have the element of nostalgia as a bonus. For all those who love Bollywood, go treat yourself to a nice evening well worth being a celebration of the 100 years of Indian cinema. And for those who do not love Bollywood – You love cinema don’t you? If you do, go watch it.

A worthy tribute to our priceless repository called Bollywood and a clap worthy collection of mood pieces, this one is a show you must not miss. Directors should pay tribute to Bollywood more often.

My Oscar Picks - 2012

With the Oscar clock ticking away to its last few hours, we have speculations galore running everywhere. These are my personal choices among the nominees(not my  predictions). I am choosing for everything other than for a few technical awards(for I frankly cannot tell the difference between sound mixing and Editing and I cannot tell who did the make up better among other things) and the awards for documentaries and short films  :

Best Picture : Zero Dark Thirty

Dude, come on! Try making a film about a manhunt for America’s most wanted man without caring for how politically correct you are and you won’t get a film like this. 2 Hours and 36 minutes goes the movie and I could not feel my eyes blinking. And there is none of that typical action film tomfoolery here.Even the intense 45 minute climax manages to pump up your adrenaline without any loud bombastic ammo or gore. You get the feel of a lady’s might both in the leading lady (Jessica Chastain) and the director(Kathryn Bigelow). Sorry Bigelow, your stellar effort won’t get the Academy vote, but my vote goes to it hands down.

Best Director : Steven Spielberg (Lincoln)

I pick this one because the Academy so cruelly snubbed my personal favourites, Ben Affleck and Kathryn Bigelow (What the?). Spielberg pulled off a good historical,which he could have pulled off in his leisure time (this guy made Schindler’s List man). Everything about this movie had Spielberg stamped and sealed with wax across it. Yet, one must credit him with showing the cunning vote winning games played by the two political parties with such quirky realism, though his portrayal of the central character tends to be no more than an on screen eulogy.

Best Actor : Hugh Jackman (Les Miserables)

Yeah yeah!! I hear the boos coming already. Many would say – “Daniel Day Lewis. Duh!”. And though Daniel Day Lewis is destined to win it and become the record holder for Best Actor Oscars, I choose Hugh Jackman. It was a close call though. What with Denzel Washington giving that intense character study in Flight, Joaquin Phoenix rocking it as a sex addict in The Master and Bradley Cooper doing something he has never done before in Silver Linings Playbook, my mind was going berserk. But hold on. Les Miserables is probably the worst of all best picture nominees. Yet, it got there because of the sheer brawn of the performances in that film. I mean, who can sing, dance and be dramatic at the same time with such grace as jackman did in that film? Musicals are long gone from mainstram Hollywood trend. Yet, Jackman does a prisoner Jean Valjean with near Gene Kelly grace added with a dash of intense Marlon Brando. He’s going to lose it to Daniel Day Lewis (who is equally deserving). But I go with this guy for being the only thing I loved in a movie so inconsistent.

Best Actress : Jennifer Lawrence (Silver Linings Playbook)

Here we have a movie about 2 psychologically disturbed people finding love in their own madness, with the guy beating the crap out of the guy his wife has an affair with and the girl being a widow who has attempted suicide. But wait, this widow is none other than a 23 year old Jennifer Lawrence. She does a crazed woman with such ease that I felt my eyes widening and my jaw dropping in awe of her performance which transcends her youth and goes well into the fully matured cadre. This lady has done the most stunning act of the year and deserves the Oscar hands down.

 

Best Supporting Actor : Christoph Waltz (Django Unchained)

Sure, there isn’t that Tarantino meat in this movie, but it was the most stylish one this year. And Waltz does a diametrically opposite role to what he did in his previous outing with Tarantino (Inglourious Basterds – which won him how many awards?). And boy does he do it with panache. His role is the most meaty among all the supporting roles nominated here(not counting Philip Seymour Hoffman). He has all the clever wisecracks and the whiplash tongue play in the film with Jamie Foxx getting his share only after Waltz’s character is killed. Nope, there isn’t one supporting act so flamboyant as Dr King Schultz the Dentist bounty hunter and I choose this no good do gooder.

Best Supporting Actress : Anne Hathaway (Les Miserables)

Refer to what I said about Hugh Jackman’s performance and paste the description over here. This lady is absolutely intense in the 20 odd minute role she gets. And add to this, the fact that the other nominees seem to have been chosen merely for the purpose of giving the nomination (Seriously man, what did jacki Weaver do in Silver Linings Playbook that any other old lady like Angelica Huston could not have done? And Sally Field has done something that a veteran like her could pull off with ease, Helen Hunt bared it all in The Sessions, but so did Anne Hathaway in Love and other Drugs and Amy Adams who gets a role shorter than Hathaway’s afore said role in The Master). She’s gonna get the Oscar alright, and deservingly so.

Best Original Screenplay : Wes Anderson and  Roman Coppola (Moonrise Kingdom)

I chose them over Mark Boal (Zero Dark Thirty) only because I felt that they have written a screenplay so bordering on the ridiculous and yet, is so alluring and heartwarming. I mean, 2 kids do a jump and indulge in some pretty adult talk here, but the innocence of their thoughts of building their own Utopia is depicted in such an original way that it does justice to the title of this award. And add to this, the fact that I love Wes Anderson’s style of narrative.

Best Adapted Screenplay : Chris Terrio (Argo)

This movie has been severely snubbed by the Academy this year. It has swept so many other best picture awards and is touted to be the first one to win the Best Picture oscar without a Best Director nomination since Driving Miss Daisy won in 1989. The narrative is so tightly packed that I was hooked to the screen throughout the 2 hour length of the movie. The movie runs with a load of characters who have very high tension meters. In the process, the viewer gets an up shoot in his tension reading too. It is a politically correct and taut adaptation of a real life happening and deserves this award for Ben Affleck’s cruel snubbing by the Academy (yet again).

 

Best Animated Feature : The Pirates! Band of Misfits

I choose this because – One, I simply love Aardman’s stop motion animation, two, I loved Hugh Grant’s baritone in this film and three, I fall for the British charm in movies like the tree trunk that falls on Tom’s head after Jerry saws it). No other reasons guys. I liked all the movies in this category.

Best Forieign Language Film – Amour

Because, I haven’t watched any other movie nominated in this category. But this one will win it alright. It’s the only one that’s got a Best Picture nomination with it. So Duh!!!!

Best Original Score : Thomas Newman (Skyfall)

Because he has given the best score for a Bond movie after John Barry (who is the creator of all the classic Bond musical pieces). Plus, he has lost the award 7 times already, so I am keen on seeing this guy win it.

Best Original Song : Adele (Skyfall)

Because there is nothing about Adele’s rendition of this song that did not mesmerise me. And it is the best Bond theme song in a long time too. So Duh!!! (yet again)

Best Cinematography : Roger Deakins (Skyfall)

Now I hear a crowd go – “Dude!! Didn’t you watch Life ofPi?”. But I say, “Dude! That was 75% CGI. Hardly worth a win”. Roger Deakins canned the exotic locations shown in Skyfall in his typical style. The initial sequence of Skyfall wouldn’t have been half as effective had it not been for Deakins’ clever cinematography. I choose you Deakins. Just Like I chose Barry Ackroyd(who cinematogaphed Hurt Locker) over Maurio Fiore(who cinematographed 30% of Avatar which was mostly visual effects again).

Best Film Editing : William Goldenberg (Argo)

The editing job is so sharp in this film that it cuts through all inhibitions that come with watching a dialogue driven thriller. The high pressure atmosphere maintained throughout the movie is the result of an expert editing job. This one takes it from me hands down.

Best Visual Effects : Life of Pi

This one is the most grossly overrated movie of  the year and was watchable only because of the glossy visual effects. Plus, the Richard Parker factor prevails too. That tiger was CGI throughout. So I give it to Life of Pi. Because the movie ran and gained most of its acclaim only from the pure visual power of the effects in that filmi.

 

And the countdown to Kodak Theatre continues with the clock ticking away faster…………!!!!!!!!!!!!

 

 

 

 

Classics : Missamma

Vijaya Productions, helmed by the great producer duo Nagireddy and Chakrapani, was a powerhouse rather than a production house, for Telugu films of the finest evergreen quality. Beginning with the 1950 social drama Shavukaru, Vijaya productions belted out a slew of great movies through the 50s and the 60s. The credit for this is shared by the producer duo themselves, Writer Pingali Nagendra Rao, Directors L.V.Prasad, B.N.Reddy and Kamalakara Kameshwara Rao, Musicians Ghantasala, Pendyala and S.Rajeshwara Rao and the great actors of that time. But, the most striking piece of film making coming from this studio is the 1955 evergreen cross culture romantic comedy - Missamma. This film had an enviable crew. Director L.V.Prasad, a frequent associate of Vijaya, who was already well known as a director of high calibre owing to his previous directorial ventures like Vijaya’s Maiden venture Shavukaru and the silver jubilee hit Pelli Chesi Choodu(also from Vijaya), was roped in as the director. Pingali Nagendra Rao, known for his exceptional wit, satire and inimitable coinage of words (Dimpaka, Dingari etc being some of them) was roped in to pen the dialogue and write the lyrics for the screenplay written by Chakrapani himself. Saluri Rajeshwara Rao set the music for this film with a line up of sterling singers like A.M.Raja, P.Leela and P.Susheela. Cinematography was by the camera magician Marcus Bartley (yet another Vijaya Regular).  While the movie was a huge financial success and spurned remakes in various other Indian languages, its success endures till date because of all the subtle elements that are deftly weaved together to form a clean and wholesome family film. Starring Nandamuri Taraka Ramarao, Savitri, Relangi Venkataramaiah, S.V.Ranga Rao, Akkineni Nageshwara Rao, Jamuna Rani, Ramana Reddy, Allu Ramalingaiah, Rushyendramani and a host of other popular supporting characters actors of that time, Missamma is a film that is as enduring, as evergreen and as great as its huge star billing.

The Plot:

The film follows two simple story lines that are intricately connected to each other in a complex manner :

One story line follows an affluent family of a village called Appapuram consisting of a very respected man in the village(S.V.Ranga Rao), his wife, Daughter(Jamuna Rani) and Brother in law(ANR). The elderly man’s wife is passionate about a school run by the family as it is named after their long lost daughter Mahalakshmi. But bad times plague the school as the teachers of the school, one being the village physician(Allu Ramalingaiah) and the other being the Brother in law, a wannabe detective, are more interested in their alternate professions rather than teaching. Thus, a search for a new teacher couple is launched alongside a search of the long lost daughter.

The second Story line is that of Miss Mary(Savitri), a staunch Christian graduate and M.T.Rao(NTR) a graduate of secular thought. Both of them lose their jobs as tutors and are in dire straits when they come across the advertisement in the wanted columns given for a married couple as teachers. Cowed down by their despicable financial position, they engage reluctantly, in a charade by becoming the couple, with Devayya (Relangi), a clever and care free beggar,  as their servant. But Miss Mary is pursued relentlessly by a suitor and Creditor David(Ramana Reddy) who also happens to be a petty thief.

As the game of charade proceeds, the detective Brother in Law looks for the long lost daughter. All these threads run parallel to each other only to be intersected at one person, Miss Mary herself.

The Performances:

The movie is full of solid acting talent :-

NTR delivers a charmingly understated performance as a meek bachelor who is on the downside of life. It is possibly the most mature role played by NTR who was already known for his performances in social films. His dialogue delivery changes in tone to suit a bevy of different on screen situations from comedic to serious. He never lets his lead actor status to act as an obstacle for the movie (which is titularly and content wise oriented on a woman).

Savitri, as the titular Missamma, is fabulous. She gets to act as a fierce and independent woman which she does with her signature panache. Her character, being the main one, carries a lot of meat and plenty of scope for her to display histronics galore and she does justice to it. Her character’s quick temper outbursts and jealous  reactions are a treat to watch.

Relangi gives one of his best comedic performances. He is effervescent through out. His two man conversations with NTR and ANR leave one in splits.

Character Actor Ramana Reddy gets to play the comedic villain. His comedy sequences with Relangi are side splitting too.

S.V.Ranga Rao delivers a respectable yet spunky performance.

Jamuna Rani is effective as the young daughter of the house.

Akkineni Nageshwara Rao, the tragic hero then, shows his lighter side in this movie. He is the third pure comedian in this movie and is as good as any comedian in his role. A bevy of sequences featuring him leave smiles galore in one’s face.

The rest of the supporting cast like Allu Ramalingaiah and Rushyendramani is perfect.

To put it very briefly, Missamma features one of the most perfect ensemble performances in the history of Telugu films, period.

The Screenplay and the Direction:

The Screenplay is an adaptation of a Bengali Short story “Manmoyee Girls School”. It was adapted by Chakrapani himself. His adaptation is deft and crisp. The story is a very simple one and Chakrapani lets it remain that way. The strength of his screenplay lies in the situations that have been created by him. The movie is filled with diverse characters, each of which have been etched sharply into the screenplay. Right from a meek male graduate to a fierce female graduate, a bumbling wannabe detective to a despicable petty thief, a carefree beggar to a kindly rich landlord and a funnily robotic assistant to the detective, the movie contains every such character. Yet, this acts as the mainstay of the film. The ultimate success of Chakrapani is that he was able to craft a cross culture romance by limiting references to any particular culture and focusing more on the people. While the story is essentially that of a romantic comedy, the larger social message and social satire are beautifully embroidered into it. The story also unfolds beautifully with the various characters following their own track till finally, the conclusion brings them to one common point. All through, the screenplay is one of optimum quality. Pingali Nagendra Rao wrote the dialogues and the lyrics. The effervescence of Pingali’s dialogue is evident throughout the film. One can find every bit of his dialogue laced with a generous dose of humour, especially the sequences featuring Relangi along with other actors. The dialogue not only helps the narrative, but also sets the delightful setting to the narrative. There is no inadvertent use of heavy language of any kind, making this movie, a masterpiece of simplism. Definitely one of Pingali Nagendra Rao’s best works.

The Music and Lyrics:

The music of Missamma is as evergreen as the movie itself. Saluri Rajeshwara Rao set some very mellifluous tunes which have stood every test of time without withering in the slightest. The music is very typical of the 50s era. From traditional, festive, devotional, romantic and satirical, the music covers ample ground. The songs have aptly been woven into the screenplay to provide emphasis to the situations in which they have been placed. Simple instrumentation, which was a characteristic of the songs that Rajeshwara Rao used to tune, is apparent throughout. Pingali Nagendra Rao, a master of the telugu word, has written lyrics that range from the spiritual to the quirky. Be it the romantic duets by A.M.Rajah and P.Leela (Who hasn't heard the classic – Raavoyi Chandamama?), the sparkling dance duets between A.M Rajah and P.Suseela(Brundavanamadi Andaridi), the sarcasm laden songs performed by Relangi(Dharmam Cheyyi and Seetharaam) and the quirky philosophical ones(Aunante Kaadhanile and Thelusukonave Chelli). In fact, Pingali’s lyrics are so popular that one liners from them have become the titles of many subsequent Telugu films(Aaduvari maatalaku ardhale verule, Brundaavanam, Andarivaadu, Raavoyi Chandamama to name a few). The score only elevates the narrative of the film rather than being a hamper to its smooth flow. Marcus Bartley, a magician of the camera, provides some picture perfect visuals to the songs and the movie as a whole. His use of bright lighting on Savitri's face in the various song sequences makes one feel her character's expressions and emotions with mere sight(Special note for Emito ee maya, the effect of moonlight on Savitri's face is superb).

Thanks to its honest devotion to the very grassroot of Indian cinema, Missamma is an unqualified classic which transcended the cultural barriers of its era and set an example for cross cultural movies. While the movie in itself is L.V.Prasad’s piece-de-resistance, one cannot deny that romantic comedies have never been as clean and as true as this movie. Missamma has every element of good cinema and they are pieced together ever so subtly. The commendable ensemble performance, the melodies and the very quirkiness all around are some things that one will never see outside of this movie.

 

!!! An unqualified classic !!!

Special 26 - Taut, Witty and Enduring

The director who made the taut and snappy thriller “A Wednesday”, Neeraj Pandey, comes back after 4 years with a heist drama set in 1987. The movie has a fictional narrative set around true incidents that occurred in the 80s when a group of people posing as Government officials, conducted fake raids and stole huge sums. For this perilous venture, he ropes in his ‘A Wednesday’ cast members Anupam Kher and Jimmy Shergill along with Akshay Kumar, Manoj Bajpayee and Kajal Agarwal with a host of other popular supporting actors like Divya Dutta and Tiku Talsania. This venture can be termed perilous because there is high scope for goof ups in the writing and the presence of Akshay Kumar makes one ponder if Neeraj Pandey is also being sucked into the Bollywood masala black hole. One view of the movie and all these apprehensions are shattered. Special 26 has got all the brain that Neeraj Pandey invested in his first outing with sharp technical values.

PLOT:

The movie begins with a daring heist on a minister’s house by a group of people. A policeman who is misled by these con men into aiding them in the heist is determined to catch them red handed and takes the help of a real CBI officer. What follows is a game of wits and outwits that lead to quite an interesting conclusion.

PERFORMANCES:

Akshay Kumar has exercised an act of restraint and has given a very respectable performance as the lead con man, which acts as . But the real stars are Anupam Kher who gets into the skin of his character with the ease of a veteran, Manoj Bajpai who delivers a whiplash performance and Jimmy Shergill who plays a pivotal role with ease. Divya Dutta gets zilch scope and Kajal Agarwal is in a role that has been jammed into the screenplay just for the sake of a few unnecessary song sequences. The rest of the ensemble is perfectly cast and fit hand in glove with the characters given to them. Apart from the so called leading lady role given to Kajal Agarwal, the rest of the cast is impeccable and is among the many strong points of the movie.

SCREENPLAY AND DIRECTION:

Neeraj Pandey displays the same writing prowess as he did in his previous outing. The story is a simple one and warranted a narrative structure that could tread the thin tightrope between the viewer and his intelligence. The screenplay is so seamless that most of the sequences require the actors to give physical performances and the viewer is still gripped by the proceedings. He also does not throw flashy action sequences at the viewer and lets the tone and pace of the narrative to grip the viewer instead. The chain of events unfold at a decent pace marred only by the mundane romance track and songs that act more like potholes on a neat road. The direction is also quite slick. The attention to the details of 80s India are recreated with commendable accuracy by the director. The occasional acidic humour adds to the sheer fun of the film. Overall, a taut and tight screenplay which unfolds in a real crafty manner on the viewer, gripping him/her instantly from the start and sticks on like a limpet till the end.

TECHNICALITIES:

The film has outstanding technical values. The Art Direction is tasteful and accurate as required by the era. One gets the real feel of the 80s watching the screen. The visual effects, though quite obvious are quite effective.The background score by Surinder Sodhi gels well with the on screen proceedings and helps the film capture the viewers’ attention. Late Bobby Singh, the cinematographer of the film, leaves one of his best works behind him. The light sepia toned filters give the viewer a consistent sense of the 80s era. The camera angles and movements utilised by him act as narrative supports in sequences where the actors on screen have no more than physical performances (and these scenes are in abundance). The editing is as watertight as was needed for a character driven thriller like this one. What is the most commendable technical aspect of this film is the costume designing, which is very naturalistic and sealed to the roots of the real 80s. The costume designer goes kurtas and cotton pants at us instead of going the stereotypical bell bottoms and flower prints. The make up and hair styling is also very sober and easy on the eyes (thank god for no thick frame glass, buffs and huge sideburns). The abundance of naturalism is the mainstay of this film and it is helped to a large extent by the excellent technicalities.

Special 26 is a crafty, intelligent and sharply scripted heist thriller that grips you from L'Ouverture to exeunt. Had it not been for the flow marring romance track that slackens the consistent fast pace of the film, this would have equaled the likes of Kahaani. Yet, this is but a mere commercial indulgence in an abundance of fodder for the intelligent moviegoer. For the average Bollywood audience, this will prove to be the most wholesome entertainment fare of the last 5 years. A must watch for every one, this film will not leave anyone disappointed. Taut, witty, enduring and intelligent stuff from Neeraj Pandey.

4.5 on 5 (As a critic only 3.5 on 5 but as a viewer, who can expect such intelligent stuff in an Akshay Kumar movie???)

Vishwaroopam - The SPY DRAMA is Here

After oodles of controversies, carrying oodles of expectations and promising oodles of thrills comes the most awaited Tamil film of the year, Kamal Hassan’s Vishwaroopam. It is an understatement to say that there are high expectations. Kamal Hassan has been known to deliver movies that lie on the plane which is trodden by both the common viewer and the intelligent viewer. Yet, when it comes to movies directed by him, he has been a very self indulgent artist who has never let anyone or anything compromise his vision of what he wants his movie to be. He has been known to shape the contours and sculpt the shape of his flicks with a view to make them reflect his own thoughts spotlessly to the viewer. Perhaps this is why his directorials have not found place among popularly viewed films and yet have endured because of their aesthetic values. This time, he offers to us, what can be touted as an out and out commercial entertainer mainly because it is about a topic that has found place as being amongst the sure shot formulae of a profitable venture viz. spy thriller. And, having the expectation meter at a dizzy height, one walks into the theatre. As the movie progresses, one then finds out that this is not the normal commercial potboiler nor is it the average spy thriller. We find that Kamal, being the pioneer that he is, has created a new genre – THE SPY DRAMA. Starring Padmashri Kamal Hassan, Pooja Kumar, Andrea Jeremiah, Shekhar Kapoor, Jaideep Ahalawat and Nasser, Vishwaroopam is the most unconventional of all commercial films in a long time.

The Plot:

The life of Dr Nirupama, an aspiring Nuclear oncologist living in a marriage of convenience with Vishwanathan, a Kathak teacher, in New York goes into a tizzy after she gets to know that her seemingly feminine and feeble husband is not exactly what he is. He has a shady past involving a stint with the jihad in Afghanistan. His stint brings him in contact with Omar, a hardcore Jihadi, who wants to detonate a ‘dirty bomb’ in New York. Flash forward to the present and Vishwanathan and a mysterious set of people are on hot pursuit of Omar who has seemingly crystallised his plans. As the plot unfolds, the protagonists go through frequent brushes with death. What is the result of these events is what is unraveled in the movie.

                                                 The Performances:

Name Kamal Hassan and you can expect only the best. He has given a performance suitable to the character created by himself. He gets to play a Kathak teacher and he does so with near Feminine grace and he gets to play a Jihadi and does so with masculine roughness. It is a role that he could have puled off in his sleep. Rahul Bose provides the perfect foil to Kamal’s character. He is menacing and brutal as a hardcore Jihadi, though the Tamil that he speaks might not be placed by many immediately. Pooja Kumar’s role could have been written in a better manner. Though her performance is good, the scope of her role limits her to being the source of most of the wisecracks that provide slight comic relief in the film. Jaideep Ahalawat is neat. The rest of the cast is a bevy of cameo appearances with the most significant of them being Shekhar Kapoor and Nasser. Andrea Jeremiah gets a blink and miss role. The casting of the film is a mixed bag.  On the whole, a Two man Show by Hassan and Bose is what is significant and brilliant in the acting  department.

The Technicalities:

Vishwaroopam is a film with gargantuan technical standards. The cinematography is collection of panoramas and vistas. The visuals of the movie are its most strong technical achievement. The sequence involving Afghanistan is brilliantly shot. The art direction is impressive to say the least. The Jihad camps shown look very real. The soundtrack and score by Shankar Ehsaan Loy cater to the various situations very aptly and are amply supported by wonderful picturisation. The stunt choreography is brilliant and is on par with the slickest of Hollywood action films one has come across. The only failed technical aspect of the film is the editing which leaves scope for some slackening of pace instead of being watertight.

The Screenplay and Direction:

It is an out and out triumph for the Writer Kamal Hassan which could have been helmed in a better manner by the Director Kamal Hassan. The screenplay is backed by a very plausible plot. A few characters could have been more well defined and others eliminated altogether. The screenplay is a triumph mainly because it treads the plane of commercial entertainers without insulting the intelligence of an intelligent viewer. Kamal Hassan bravely intertwines the harrowing lives of terrorists in the root level. He makes an intense character study of the protagonist out of a movie meant to be a spy thriller. The screenplay slackens, but only in spurts. Otherwise, the writing is of paramount quality. The director Kamal Hassan on the other hand is indulgent. Excessive(sometimes unnecessary) usage of slow motion photography and the deliberate glacial pacing blunts the vision of the writer. However, the director is bold enough to stick to a zilch nonsense approach, which partially makes up for his stubborn indulgence. Also, certain scenes seem too amateurish (Eg : the two interrogation scenes in the film). Yet, there has been no depiction of terrorism as bold as this one in India. The director takes the Spy film genre into a new plane, that of the dramatic. And thus takes birth, a new genre, the spy drama. He sequence set in Afghanistan in Jihad camps is brilliantly executed. The writer-director also leaves certain questions unanswered along with the promise of a sequel. On the whole, a brilliant script gone slightly awry because of the deliberate direction. Kudos go to Kamal Hassan though, for letting the actors dub for themselves. For this acts as an add on to the movie even though the Tamil seems too strained in some sequences.

The Verdict:

Please collect your tickets and watch Vishwaroopam for its bold attempt at fusing commercial ingredients with harrowing ground realities and mounting it on a grand visual plane. Terrorism and Jihad has not yet been depicted in such a real manner that can be stomached by the intelligent palate. The director’s stubborn indulgence and heavy handed approach might prove a little taxing for the common viewer. For the intelligent viewer, there are zilch pitfalls. Despite all the small negatives that are prevalent through the film , Vishwaroopam is not to be ignored as it has ample aesthetic value. A bold attempt at commercial cinema which has to be emulated by many more film makers in India. This film will not disappoint you if you are patient with the directorial pitfalls. A mostly sharp, sometimes blunt thriller mixed with compelling drama and technical brilliance galore make this a wholesome watch. Please watch it for quenching the thirst for intelligent cinema as there is a dearth of such films in our industry. The SPY DRAMA is here.

Rating  - 3 on 5.