Violin

2011 by Sibi Malayil

Till a decade before, the name Sibi Malayil used to give a minimum guarantee to Keralans that there should be something good. And two decades back, his name was enough to have an assurance that the movie would be excellent. Anybody who has watched his Thaniyaavarthanam, would not think twice to watch another movie of his. Like all other veteran directors of Malayalam cinema, he too is swimming in the lower tides of his career.

A girl and boy, with lots of problems behind them, meets and have problems and then fall in love. And there is a villain. 

Its the same old wine, in the old bottle, just with a new label sticked on. But even the wine isnt tasty, as if it was made from grapes collected from various wine yards. Violin ends up by and large a very ordinary of the ordinary movie. The same things that we have seen so many times, but with different actors.

Looking back, Sibi Malayil did well only when he had a good script. That is quite evident now. A director should be able to bring out something even from a poor script, just like Bala did with his Avan Ivan. That movie didnt had a good plot or script, but scene by scene, it was good. In fact many scenes would remain etched in the memory even many days after the show. That clearly proves Bala, is a great director. Even with that poor script, Bala managed to get brilliant performances out from his actors. Compare this with Sibi Malayil and he has really failed. There are only few scenes, very few, where he does good as a director. To repeatedly make his actors perform poorly, scene after scene, speaks very lowly about Sibi Malayil.

I am really falling for Nithya Menon. She is looking more and more gorgeous in each movie. But really wish, she hadnt done this movie at all. She will want to forget this movie very soon. Further evidence that the performance of an actor is at the hands of the director. There may not be anybody associated with this movie, who would want to project this movie at any point of their character, except the guy who played as a friend of the hero. He was excellent. 

Delhi Belly

2011 by Abhinay Deo

Since Lagaan happened, Amir Khan is always associated with good cinema, especially by the great Indian middle class. I think he called this production of his something like Adult Comedy. I was almost sure, this must be a desi remake or mixing up of many American Pie's, Loony Tunes, Euro trips or movies like that. Well, I was wrong and right also. Yet, another effort by Bollywood to make a hollywood movie in India. And this time, its in English too. So hopefully, he could try his luck at the Oscars, his dream forever.

Tashi and his two friends share a typical Indian Bachelor accommodation, somewhere in old Delhi. Tashi's airhostess girl friend, hands him a packet to be couriered to some address, which he further passes to his friends and finally this pack is mixed up with a pack of stool. Bad guys are after them for the packet. 

If one is in the right mood, you will laugh it out, during the whole movie. If at all you decide to think a little bit, you might find it , well a bit weird or strange or even ugly or like a hotch-spotch of many hollywood attempts. But let me admit, this is not a movie to think or wonder about some logics or anything like that. It is an out and out escapist fare, to just have some fun. And there is loads of fun, and to be frank, there are moments of brilliant fun. But mostly, I found it as desperate attempts to make a laugh. And here the desperate attempts are mostly around a bad stomache and frequent visits to the toilet, which lacks water and et all. Anyways the crowd was laughing it out.

But I found the movie ended up as neither Hollywood nor Indian. The characters sometimes behaves as if they are in America and sometimes as Indians. At times they spoke with an American accent and then real Indian English. So mostly it turns out as a Hollywoodish kind of comedy, meant not for children, but happening in India surrounded by Indian sensibilities. Or may be I am ignorant and there might be people in India who behaves as if they are neither American nor Indian. Possible. If at all, Indians used so much of 'fuck' in their talks and spoke out loud about 'blowjobs' and 'assholes', this movie is normal. May be there are and then I am wrong. When one character's girl friends walks out to another marriage, the guys thought is to appear at the wedding and scream - she has given me a blow job. Isnt all this taken directly out of hollywood scripts. May be the modern metro Indian youth, even the middle cass or lower middle class ones, might be dreaming America or Hollywood. If yes, then I am wrong for sure. Also, when lots of kissing happens in public and Indian public don't even care, then definitely India has changed and I am blind not to see the change.

Add to it the use of English and I wondered for how many Indians, is this movie made for. Even, small town educated Indians might not easily understand the English in many scenes. But there is some cheap fun and bit slap stick that all would understand. I really didnt understand why this movie was shot in English. The only point might be the need to reach a larger International audience. But I would say, they might not find it too much as an adult comedy. This might be adult comedy for Indians, but not for the west, I am afraid. Even if they did, they would only consider Bollywood has just joined the kinder garden for adult comedy.

I do not know the name of most actors in this movie, but the casting was brilliant and the performance of almost all of them too. Vijay Raaz as the gangster, was the best for me. Also that actress who played Maneka. Her expressions after the kissing in the car, were really brilliant. In spite of all this, I would still say the director deserves credit to make a sleek movie, with an excellent pace.

Should you want to just laugh, escape from stress then watch Delhi Belly. There is plenty of laugh and some are really brilliant.

But as an Indian, I feel really sad when we try to follow west to the hilt. 

Trois Couleurs: Blanc - Three Colours: White

1994 by Krzysztov Keislowski

The second movie in the Trois couleurs trilogy, based on white, the colour of equality in French tri color. It is more of a Polish French movie, than Blue which was only French. But what a brilliant movie it is, I like it even more than the first. A very different kind of revenge movie.

Karol is objecting the divorce petition by his wife Dominique, in a Paris court. Karol is from Poland and he is made to be understood that Dominique does not love him anymore. The only reason being Karol fails to consummate their marriage. Karol is almost humiliated, and lose all his assets to his ex wife. Moreover, he feels nearly like a beggar in Paris city. He meets another Pol, Mikolaj, who helps him to go to Poland. Karol starts some stupid work, but beats his boss into buying a large plot and cleverly resells it to his boss, making some money. He starts a new business with Mikolaj. He makes a will declaring all his assets to Dominique and then fakes his death. Dominique is promptly found guilty. 

This is such a brilliant revenge movie. Karol lose everything, he was in Paris streets with just 2 francs, and above all lost his self esteem during the divorce case. The reason for his failure on bed, which was fine before the marriage, is not mentioned but its clear the consummation alone was the reason behind the divorce. He leaves the life of a beggar in the city, before agreeing for a weird way of transfer to Poland with Mikolaj. Again, it is not mentioned, from where Karol manages the money to buy the land. Except for these couple of hitches, the plot is brilliant, bloody brilliant. In fact, once Karol has decided for his revenge, we can watch the rest of the movie only with a smile. For, the director really made us feel for Karol, with his humiliation in Paris. So we too will feel for his revenge. The whole execution of the revenge, hence, is extremely brilliant.

The master stroke here is definitely, the appearance of Karol in front of Dominique, when she is back after her ex husbands funeral. Even before Dominique thinks twice, Karol wins her and enjoy sex with her, after a long time. Well, Dominique doesnt see him in the morning and instead only finds some police man. Her phone call to Mikolaj then, asking about Karol, is one of the funniest scenes, brilliantly funny. Dominique seems to have convinced herself that all was a dream.

The final scene, when Karol takes a look at Dominique in jail, is bloody brilliant. Dominique sees him and it is for us to interpret, if she thinks it is reality or a dream, but her reaction clearly indicates she loves Karol again. I would rather think, Dominique feels it only as Karol in her dream. But for sure, Karol realises that he is back in her heart and his three streams of tears, was one of the most brilliant climatic frame of any movie I have seen.

I feel so happy to have watched this movie. It is quite different from the first in the triology series. In Blue, Juliet Binoche accidentally gets to watch a court room scene. That scene is actually from this movie. This may be nothing, but I found it brilliant. It was also nice to see the use of white, in a subdued way through out, in the movie. Wonderful cinematography and music too. An excellent performance by all actors, especially Zbigniew Zamachowsky as Karol.

When Blue, was nearly an anti - tragedy, White is nearly an anti - comedy, I would say.

As a movie, I enjoyed it thuroughly. But about the story, I cant help thinking that final end of the movie was a bit too much for the female. Of course the wife here was really cruel on her part, but she had a reason to claim divorce. Sex is as important as air and food. May be she could have been more kind with Karol. The final scene in jail, when she tells something to Karol through actions, it is so brilliant, that we would really feel sorry for Dominique. Yes, she was bad, but did she deserve such a big punishment, I am not sure. 

7 Khoon Maaf - 7 murders forgiven

2011 by Vishal Bhardwaj

Ever since India entered the globalisation era, Bollywood was one of the first Indian industrial sector who thought they could match with the world and prove they are part of a Super power nation. Sadly Bollywood  considered Hollywood as their blue print. And ever since Lagaan got nominated as one of the five entries for the foreign language movie at the Oscars, Bollywood has decided for sure that recognition by Hollywood is the ultimate test. Nothing wrong in vying for recognition. But the path they chose is to make similar movies like that of Hollywood. And they started doing this in its whole, movies which look alike to the ones from LA, not just in content, style (not just on how movie is shot and told, but even how their actors behaved and conducted themselves in front or behind the camera) or production but even adopted their promotion techniques. In between they ignored the fact that Lagaan as a movie had India written all over it. 90% of Bollywood movies, ever since, are just trying to look like Hollywood movies. 7 Khoon Maaf, is yet another movie which is a poor attempt to make a western style movie.

Susanna is searching for her love. She marries 7 times and ends up killing all of them, as each one of them were simply the wrong guy. And she escapes law each time too and finally chose spirituality. 

I dont know from where they got this plot. I, for one, found even that plot having a western touch. So right from the basics, I think it turns out to be a highly pretentious movie, that I can only feel sorry for Vishal Bharadwaj, who had made a much better movie in Kaminey. There might not be even one ordinary Indian who could identify with Susanna as a character. So flawed are Indian concepts on love and marriage.

The movie is narrated by a forensic doctor, who was bought up by Susanna, but the narration, even, is really poor and bohring. And dont worry about any logics here, as to how Susanna escapes the law at all. For, from the second or third, she starts pulling strings with the police officer in charge of the investigation, who himselves ends up as a later husband. Life with the first two husbands are detailed slightly, yes very lightly, and by the end of the first half, I was quite scared about watching through the rest 3 or 4.. Had it been only 2 or 3 husbands, and their life before and after was detailed more, may be, may be this movie would have been better. But it ends up as a really horrible watch. Imagine what will happen if a 100 meter sprinter is asked to run for 800 or 1500 meters race. The poor athlete will definitely complete the race, but he would drag it all along after the 400 or 500 meters.

The director and script writer really wanted to make it a special movie it seems. So they tried to make it look different in many ways from the rest. But, not even Susanna manages to touch our hearts. She doesnt even get any closer. However, there were still some brilliant moments. The Darling song was quite nice. So was the final dance sequence of Susanna when she becomes a nun. May be this would have been a better TV serial.

A real pretentious movie, which fails as such.

De Vrais Mensonges - True Lies

2009 by Pierre Salvadori

Julia Roberts is known all over the world for her roles in the romantic comedies. She is a nice actress with a beautiful charming smile. I think, Audrey Tautou is a much much better actress than Mrs. Roberts. Her smile is not as charming as Julia, but as an actor she is one or two levels above. But most people who know Julia would not have even heard about Audrey. Audrey, however, is lucky to be in French movies. The artistic and aesthetic sense of French is so much high than in Hollywood that even average French movies could be considered as classics, outside Europe.  Audrey Tautou keeps on playing wonderful roles.

Emilie runs a beauty salon. Her father, is in love with a 20 year old, is seeking divroce and her mother, Maddy, is depressed. Jean, who works in her salon, sends Emilie an anonymous love letter. Emilie is least interested, but then decides to send this letter to her mother to lift her spirits. Sure, it did, but then she had to make up two more letters on her own. Maddy mistakes Jean as her writer. Emilie is in serious trouble. 

This is a brilliant romantic comedy. Mistaken identities, misunderstandings, untold love, search for love, all its there, but there is a touch of class all over too. The characters are brilliant. Emilie really wants to help her mother come out of the depression so she doesnt think twice before sending her a love letter. Only later does she realise, how difficult it is to creat one by herself, which she cannot without the help of being drunk. At the same time, Emilie is somebody who walked out of a relationship when she realised her partner was more educated than her and is a man of letters. A simple reason, why the beautiful love letter, she received, didnt touch her at all. When she finds out that Jean is an intelligent chap, her irritation with him is wonderful. In fact the series of firing and reappointment of Jean is really funny. Maddy is depressed because of her husband, but she is a literature person so is moved by the adorable love letter. The way the love letter lift her spirits is really good. But she is soon depressed as the passion is absent in the second letter. Her search for the writer and her following up for Jean, and her final realisation of the truth it is all quite wonderful. Jean is a man of letters, knowing so many languages, who took up a maintenance job in the salon only to be near Emilie. But he is kind and sensuous too. So his frustration and kind of being out of mind, after the forced kiss with Maddie was really excellent. There are also couple of other small characters, like the partner of Emilie etc, who all does their part in the story.

Except for the final moments, when Maddy realises the truth or Emilie understands Jean, the movie moves on with brilliant moments of subtle fun. How can the French be so good. Its unbelievable, how some scenes, dialogues and characters are created. It is the reactions and expressions of the characters, of course with the situations, which makes the incredibly funny moments and it is really brilliant. Almost all the scenes, involving Emilie, Jean and Maddy for the three fourths of the movie offer excellent laughs. At the same time, we are also worried about their future and are touched by the three, for how things turn up for them towards the end. A small lovely turn brings the movie to a nice end.

Adurey Tautou is brilliant and brilliant. What an actress. She is living Emilie in the screen, is quite easy to say. But there were really tough scenes here where she had to give those spontaneous reactions and she excelled in each of them. A terrific performance. Nathalie Baye was also wonderful, especially when she was doing a spirited Maddy in love. The change of spirits was so lovely. Sami Bouajila was excellent as well. Couple of his moments, especially when Emilie walks in late at night to explain him that Maddy has mistaken him, was brilliant. Some of his reactions were hilarious. So was his excellent execution with the frustration and anger, after the forced kissing scene.

I had seen Hors de Prix from Mr. Salvadori. I am not sure, which is a better movie as both have very different themes, and if I have to pick I would definitely go for DVM. Whatever, Pierre Salvadori is a wonderful movie maker. De Vrais Mensonges is a beautiful movie and all credits should go for this man. My all time favourite romantic comedy was Notting Hill. I think De Vrais Mensonges is even classy than Notting Hill. All it lacks is the marketing support of a huge company from Hollywood. A great movie, at the end of which, I wish I was a writer to really express how I felt.

Hopefully, like in the case of many other movies, within a few years, this movie would be remade in Hollywood. I can see Julia Roberts playing Emilie and the movie becoming an international hit. Fans of Hollywood will again rave about the greatness of Hollywood (like it happened with many other remakes) and these brilliant artistes behind the original would be forgotten. 

Nootrenbadhu 180

2011 by Jayendra

There are two multiplex's in Kochi now. The ticket charges are more than double from the regular city cinemas. And when a movie release only in the multiplex, not in the regular cinemas, normally we would expect an out of the ordinary movie, as in India now many low budget, off beat, movies are released only in multiplex's. For me, with my work hours, Sundays are the only possibilities for cinema visits. The advantage with multiplex is that they have late night shows at 2245 and 2255 hrs. If I can manage to leave work some time earlier, then I can watch movies even on regular week days. But it is difficult to leave early and after all the effort, also the longer biking to reach these cinemas, which are all on the highway, spending more money, if the 'off beat' movie turns out disappointing, it is really a bad end to my day. Normally, I would never say I lost my money after watching even a really bad movie. I would rather regret the time lost. But this night, driving back home through the peaceful and empty road, I was wondering about my decision. I could have waited for a week more to see if this movie was going to release in the regular centres, than to hurry and waste this much money.

Ajay, a doctor from US, seems to be on a sabbatical in India, not worried about the past or future, but living the present. Unlike the similar ABCD's or IBCD's, he mingles with the unfortunate on the streets and even work with them and help them. Vidya, a local photo journalist, is drawn to him and Ajai flees when she propose to him.

The beginning of the movie and almos the whole of first half is actually very good. In fact, after 10 or 15 minutes, I felt sad that the theatre was half empty. The way it was picturised was brilliant. In fact, there is a song, which is brilliantly shot. If anyone watch this song in TV, I doubt if they could wait anymore to watch the movie. A wonderful sense of imagination by the director, ably assisted by the cinematographer and editor. And the moments Ajai goes through with his house owners and Vidya all look quite genuine and nice with some simple fun. But as and when Ajai's past, in the US, is flashed in pieces, we know it is just yet another one man two woman triangular tiki - taka. And finally thats what it turns out to be. The only difference is neither does the two woman meet, nor does the man pick. The reason for Ajai's problems is the same old reason which we have seen in hundreds of romantic comedies all over India and Hollywood. And towards the second half, that is exactly what the movie is. And Ajai, doesnt really seem to be doing anything at all about his problems. His characterisation is quite strange. But the whole difference is Ajai's decision at the end, which is really different for this kind of a story. Also the director hasn't gone over board with the emotions, which is a good plus.

Whatever, there are some wonderful performances here. Sidharth plays a role which he has mastered out now through so many Telugu movies. It is the gorgeous Nithya Menon, as Divya, who actually steals the lime light with her natural performance. Her expressions and reactions are mostly quite subtle. A brilliant under play. I cannot think about another actress who can under play so well. Add to that her charm, a kind that can be seen with the like of Scarlet Johanssson. I have never liked and been attracted so much by any actress, ever since I watched Shobana in Kanamarayathu, as an adolescent boy. I hope she continues like this. Priya Anand, as Renuka, I am afraid, cannot really act. She was good in some scenes, but she is just a typical Indian heroine. Veterans, Mouli and Geetha, as the house owners, did an excellent job, inspite of their small roles.

If technical aspects and lovely frames alone would make a beautiful movie, 180 is much above average. In fact, on this side it can match the best from around the world. However, as a movie, but for its different climax, it turns out pretty ordinary.

Sukkar Banat - Caramel

2007 by Nadine Labaki

One of the best things about the great movie, The Band's visit, was that inspite of its setting in a region filled with war and politics, it never looked into those aspects, just life. Sukkar Banat is set in Beirut, but it is a really funny movie and not once does it mention about the turmoils around. It can be easily mistaken as happening in Paris, as there is lot of French.

A simple, but funny, movie about few women. Three of them working in their beauty salon, one an aspiring model and another an older woman tailor, taking care of her older sick sister. 

I know many who think women ought to be ruled and women are much inferior to men. Similarly there are also people who would bluntly say women cannot be great behind the camera. Well, the beautiful Nadine Labaki, with her very first film, has made history. Her debutant venture is considered the most acclaimed movie from Lebanon, internationally. This charming woman, who is only 37, also plays Layale, the leading character as the Salon owner, who falls for a married man in her debut as a director. She is beautiful, charming and intelligent too. And she does something even many a man are hesitant to, acting and directing at the same time and is brilliant in both. Just one scene, when the police man who is attracted to Layale, watches her, talking to her lover, from the coffee shop across to her salon, is enough to prove her intelligence. I loved that scene. It was brilliant.

For, Sukkar Banat, allow us to have a peek at the lives of few women, their secrets, their aspirations et all and turns out as a very simple, but wonderful movie. The movie is full of simple things and it offers some simple fun. The characters are really interesting and we can easily identify with them, but still laugh at the scenes. The scene when Nisrine takes her fiancee for a family dinner is hilarious. So are some of the interludes by the sick old sister of Rosa. I think I had a smile through out, watching this movie. One scene, where the three ladies celebrate the marriage of Nisrine being fixed early was simply beautiful. In fact, I could find something, very touching, genuine and beautiful in almost all the scenes in this movie.

It is quite surprising to see how close we, India, are with Arab world in many aspects. The way the women made that celebratory (invoking) sound by moving their tongue was surprisingly shocking for me. So was the music, there is no doubt, from where we have the Ghazal music and some melodic patterns in Hindustani classical music.

For those who like extra ordinary camera works, this might be nothing, but I thought the cinematography to be wonderful as the camera was nearly like a candid partner to the 5 women. The music also was wonderful.

A very romantic movie about some women, but will be thoroughly enjoyed by men as well. And the most important male character in the movie, a beautiful police man wooing Layale, was really good too. 

Aadaminte Makan Abu

2011 by Salim Ahmad

I cannot remember when exactly I saw a real simple,but lovely, movie from India. In fact, there are hardly any movies in India in this genre. All our movies are full of some happenings or big turns, surprises, emotions, wonders and what not. In fact even simple plots would be manipulated to make it event ful, even by art house directors. When watching international movies, especially from Eastern and Northen Europe and some times from the middle east, I always wondered when Indians would be able to watch similar handling of this art from India. Finally, here it is, that too from a first time director.

An ageing couple's travails to fulfill their lifelong dream for a pilgrimage to Mecca.  

Thats all this movie is about. A poor couple, who struggles to live by themselves, goes over board with their life long dream and tries their best to achieve it. But more than that without making it look quite evident it also takes our attention to couple of other matters: The struggle of poor old parents who have to live for themselves without any care from their beloveds, and the realisation that nature is the most important aspect of our life, understand nature, protect it and nurture it. Its also an ode to humanity that every body cares for the good, irrespective of their beliefs.  The movie inspite of looking at the hardships of this poor couple, in fact is a kind of feel good film. It mostly have only good people as its characters. Every body in the village is kind and attentive to the old couple, most of their acquaintances are even ready to offer financial help, with the  full understanding of the incapability of the couple to pay back, every body only wishes them good. I would strongly say its the best simple feel good movie in India in a really really long time.

The start of the movie, with a wonderful still image, was a bit slow, but soon it takes us into the life of Abu and his wife. Some of the scenes were brilliant and touching, like the police verification, Abu's meeting with his old neighbour, Sulaiman, the final realisation of the mistake they did to nature and so on. But never does it go over board in its emotions. Brilliant. And the climax is excellent and intelligent too. Cant think of any other climax with such a lovely message.

I am one to think that one of the most serious problems with Malayalam cinema is its casting. And that mould is broken, successfully, by a debutant director. One of the primary reasons behind the success of this movie is its cast and all kudos should go to the director, since we do not have the practise of a casting director. Salim Kumar and Zarina  Wahab looks 200% perfect as the old couple. More than their facial expressions, its of course wonderful, what striked me was their body language. What an amazing and successful effort by both these actors. Salim Kumar grabbed this opportunity with both his hands, mind and soul and lived Abu on the screen.

AMA.. is beautifully shot by the veteran Madhu Ambat, who has kept his camera simple and conventional. He had lost some of his good name with his 90's Rajashilpi. I am not sure if AMA was shot on film, as there seems to be a lot of noise on the dark regions of some frames, digital possibly. At the same time some of the low light indoor shots and some shots of outdoors, around Abu's home also were wonderful. Excellent rendition of natural colours, unlike the lab saturated greens that we get to see in most films (especially Santhosh Sivan's). More than a few frames were reminiscent of beautiful still photographs.

Salim Ahmed deserves credit to make such a simple movie. Here is one movie from India, which could compete with similar movies from Europe and middle east. It is always the wrong movies, which we promote outside India. I really beleive, if Adaminte makan Abu and Aadukalam had managed some sorts of International release, it would have made all of us proud. Two different movies, but truly Indian and real pieces of artistic  excellence.

However, the dialogues changed their dialect between North Keralan and cinematic at times, which could have been avoided. The full picturisation of one of the songs could also have been avoided. To be frank, I didnt understand the impact of the character Ustad, in the script. It connects to Abu at couple of scenes, but is almost running a parallel line. Even without Ustad, AMA, would have been the same, I think.

How much I wish, this movie is seen by the general public in the west and even some parts of India, where being Muslim is almost a sin.   

Trois Couleurs: Bleu - Three Colours: Blue

1993 by Krzysztof Keislowski

The renowned Polish director made a triology of films in French, as an international production, and based the three films on the French Tri color , Blue, White and Red. The movie Blue, hence has Liberty as its theme. The main character of Blue seeks liberty from emotions.

Julie survives an accident, but lose her husband and daughter. Julie leaves the place and rents out an apartment in Paris. She wants to keep away from everything connected to her past. However, she can't be all alone as she comes across other lives, like a kind whore and slowly she realises that her husband had a mistress who is carrying now. But she too had some affair that she cannot hate the mistress. 

This movie is visually stunning. I cant help screaming it, its stunningly brilliant. Not just for its brilliant use of blue, but the cinematography raises this movie to another level. Dialogues are kept to a minimum, but I thought the camera was very eloquent.

The script is brilliant, trying to picturise a woman who wants to escape the emotions, but the final shot of the movie shows a crying Julie. Her scene with her mother (who mistakes her as her dead sister), with the whore who works in one of those explicit sex centres in Pigalle, all were touching and brilliant. In between it also brings out the fact that Julie wrote most or parts of the music for her dead husband, who was a famous contemporary musician.The movie ends when Julie finishes her husbands uncompleted work and offers assistance for her husbands mistress. She is also happy to find some solace in sex and love.  It was also quite brilliant, in between, that the whore is picturised as the most kind person from the locality, as the only person to help the sick street musician.

In fact, music is as important as the camera in this movie. A bit of her husbands music is brilliantly used at various points in this movie. This was simply wonderful. It was stunning how the music started all on a sudden on particular moments. And some of the camera movements together with this music, like when Julie runs her fingers through the music notations, were stunningly brilliant. Music is played only for short moments in parts, but it plays such an important part that the movie is almost a musical for me.

I will have to say Juliet Binoche lives as Julie. Who else to do this part. Juliet, Music and Cinematography is the heart and spine of this movie. And salute to this wonderful director, the brain behind this movie. A movie which should have been a tragedy is made to be quite an anti-tragedy.

He was a Quiet Man

This summary is not available. Please click here to view the post.

Los Abrazos Rotos - Broken Embraces

2009 by Pedro Almodovar

Pedro Almodovar is considered among one of the best directors in the last two decades, by many. He makes incredible love stories with unusal kind of characters. In fact there are much better Spanish directors, but he some how seems to be the most popular one.

A blind, middle aged script director, who still manages sexual adventures, is assisted by his agent and her son. When a new director approaches him for a script, the story some how seems to be associated to his past. This director is connected to his best love of the life and also his loss of sight. He has to go back to his past and set things out straight. 

This is not the very best of Almodovar, but I have to say this movie is like a drama filled with lots of thrill and surprises. In the beginning, Mateo is just a blind director, but slowly the movie jumps back and forth and what unfolds is not a triangular love story, but the story of two families in fact, or the story of four lovers. There is Lena, who works as the secretary to a billionaire business man Martel, but also works as a call girl to meet her parents medical needs and finally end up as a mistress to Martel himself. There is this obsessed and possessed love of the old man, Martel, to Lena. Mateo is the young director who actually falls in love with Lena during his directorial work. There is Judit, who is Mateo's agent, but did share a love life with Mateo many years back. Out of this Judit comes into real relevance only towards the latter half, although she is omnipresent, and holds some surprises. It is how Lena follows Martel, Mateo and Lena falling for each other with Martel strictly following them to make sure he doesnt lose Lena and the incidents there upon that makes the main story. To be frank, at least one of the surprises, for eg. about Deigo, Judit's son, doesnt make a big impact. But how everything is told makes this movie nearly like a thriller. It still drags a little bit towards the end. And it also really does not touch our innner heart. It stops some where before.

It is a wonderful film, nicely shot and edited. The colour combinations are typical of Almodovar, so is how the movie goes back and forth between the past and present.

Penelope Cruz, as Lena impress for sure. I was spoiled by her brilliant performance in Vicky Christina Barcelona, so always tends to compare, unintentional though. Jose Luis Gomes, as Martel is definitely the best performer. I especially liked his shot, trying to pretend like a dead man, after sex with his mistress, just to measure how much she cared for him, and his reaction to Lena's words how she detested sleeping with him.

Not the best of Almodovar, but it is still a good love story.

Tsubaki Sanjuro

1962 by Akiro Kurosawa

Samurai movies are always nice to watch and when it is from the eternal maestro, then it is a real treat. This was my second watch of Sanjuro, but it is still fresh and great.

Nine young samurais want to act against corruption in their clan. Walks in a wandering Ronin, who over heard them, and puts some sense into their thoughts and leads them in the right path, helping them to save their Chamberlain. 

This could be one of the most light hearted movie from the maestro. There are lots of light fun spread across the movie through the inexperienced samurais, the wife and daughter of the Chamberlian and of course through the strange and ill behaved Ronin, ie Sanjuro. For many young samurai's Sanjuro is ill behaved and behaves very unlikely for an aged Samurai. And the moments between these Samurais offer quite a good time for the viewer, simple but nice. Enters the two woman and the fun takes a very different and delicate turn, quite feminine. A very nice contrast in fact, during the whole operation to rescue the Chamberlain, from the male and female view points, offers not just fun but some delightful insights too.

It is the character of the Ronin, wonderfully played by Mifune, a favourite of Kurosawa, who form the back bone and leads the movie to its brilliant climax. Sanjuro and Hanbei, his real opponent, meets in the beginning, but their duel doesnt happen until the end of the movie, and what a brilliant scene it is. They both had respects to each other and Sanjuro really wanted to avoid this fight, as he considered both of them like 'good swords which should remain in their sheaths' (one of the insightful comment from the ladies), but Hanbei insists and this fight, which is over in a second, is really brilliant. It could even be seen as the highlight of this movie.

Toshiro Mifune steals the show among the actors. Wonderful cinematography too.

May be the best entertainer from the Maestro. 

Rathinirvedam

2011 by T K Rajeev Kumar

Late P. Padmarajan, even after decades, would be considered as one of the best 5 (or best 3) writer / director Malayalam cinema ever had. Almost all his scripts and directorial ventures struck some chord with Malayaalees. In fact many of them are considered classics. Even the young movie goers of today, when they watch a Padmarajan movie from 70 or 80's cant stop admiring this writer/director. For me his Rathi nirvedam (first released in '78) was his least impressive attempt. Only Ozhivukalam could be the script which can vie with Rathinirvedam as a less impressive script from Padmarajan. But even this Rathinirvedam, with an exceptional turn in the climax, turned out to be a cult movie in '78, proves how brilliant he was. Padmarajan's family permitted Rajeev Kumar to use any of his stories or scripts to work on, as Rajeev Kumar had earlier withdrawn one of his movie projects, upon realising the similarities in the story with Jnan Gandharvan, the last movie from Padmarajan before his untimely death. I still cannot understand why Rajeev Kumar chose Rathi nirvedam of all the stories from Padmarajan.

The desires and infatuations felt by a teenager, towards an older woman, nearing 30, from the neighbourhood makes up Rathinirvedam. 

I saw Rathinirvedam, as a teenager some time around 89/92, only when it came back to the theatres (mostly for porn reasons) when Malayalam cinema was filled with D grade soft porn movies between 86 and 90's. I was impressed by Jaya bharathi, but I couldnt believe how Padmarajan could write that script, which had very little of Padmarajan, as I was a big fan of that maestro. Rathinirvedam 2011 is an even bohring movie. A major drawback is the casting and performance of Shweta menon as Rathi. Ms. Menon looks too old for that role, nor does she hold the exotic/natural charm required for the village belle, Rathi. I found only 2 improvements from the '78 movie. The setting has been changed to the backwater region, from the hills, which  definitely helps the story settings. The title frames were wonderful.

I watched this movie in the Shenoys theatre in Ernakulam, one of the largest movie houses in Kerala. I think it has above 750 covers. It was 90% filled, but for such a woman oriented subject there were hardly 10 women  inside. I just would like to say how hypocritic Keralan society has turned out to be. Back in the 70's and 80's, there were many movies in Malayalam which had sex or sensuality as a theme or backdrop. Some of them, like Rathinirvedam, Avalude Raavukal, Thakara etc were also huge hits which became cult movies too. Back then, Malayaalee family audiences did not find anything wrong in watching these movies in a cinema house. My own parents have told me, how they watched Avalude Raavukal, with me and my brother as infant babies in a packed theatre. I myself have seen large family crowds (please read couples, not families with kids or teenagers) que up for a movie like Ee Noottaandile Mahaarogam (which was a real porn movie with explicit nudity, using a veil of medical advise on AIDS) in Ernakulam.

Fast forward to the 2000's and even with any hints of some cleavage show or sensuality in a movie, Keralan family audience would not venture into a movie house. {Rajeev Kumar made a brilliant movie in Kannezhuthi Pottum Thottu, which was a big flop. I hope he understood then that Keralan family audience would ignore any movie with plots having any kind of sensuality or seductions. So its quite perplexing that he still chose Rathinirvedam out of all Padmarajan movies. But this time, sure, his producer would be happy}.

I find this bloody hypocritic, especially when the same audiences are very enthusiastic to watch Bollywood flicks, which in fact have even much more cleavage shows than in movies like Rathinirvedam. There is NIL nudity in Rathinirvedam than some naval show. Actresses like Shweta Menon or for that reason, even Shakeela (who starred in lots of soft porn movies towards the end of 90's) exposes NIL, when compared to the prominent Bollywood heroines. But these unfortunate ladies are harrowed and the Bollywood ones are adored even inside the families. Some of the vulgar gesticulations in the name of dance, which even some western friends of mine considered shockingly vulgar and provocative, by these Bollywood celebrities, are enjoyed by the whole families in their living rooms. I can only take this as blatant hypocrisy.

At the same time, from the other side, it is true that the behaviour of the mass inside a movie house could be one reason why women keep away from theatre. For yesterday, the theatre was full of jovial chaos and the kind of applause Shweta Menon received, each and every time she came on the screen was unbelievable. Add to this the horrible kind of comments which were raised from every corner and the movie hall turned into some kind of hall filled with sexually malnutrition-ed and morally disoriented group of men, who didn't even mind rasing ugly comments, with a woman and husband sitting just next to them. It was really embarrassing actually. Every body thinks the biggest problem in Kerala is alcoholism. I would rather say, mis information and de orientation on matters of sex, lack of sexual choices, opportunities and sexual wisdom is more serious than the problems with alcohol.

A really bohring movie. Tornatore's Malena, showing the love of an adolescent to the  gorgeous Monica Bellucci is a 100 times better watch.

Avan Ivan

2011 by Bala

Self established directors around the world, often makes one movie which will stand out from their normal movies. It could be deliberate or just a mistake. But this has happened to many directors. Bala was a director who injected some fresh blood into Tamil main stream movies with his brand of parallel movies. He has done only a few of them in the last decade but all of them stood out and were successful too. This time, he decided to script it as well, and I guess he proves clearly he is a better director than a writer. He is more an artisan than an artist. For the first time, he makes a very light hearted movie and it is light hearted for sure and would have been brilliant, if he just kept it like that. Unfortunately, he has tried to put his stamp of intense climax into this light hearted story and the result is it ends up neither great, nor bad.

Two step brothers, Walter and Kumbideren are proud to carry on with their family tradition of petty thieving. Their common point of power is the single, local chieftain Highness, who is proud about all the land donations his family has done in the past. Then there are the two mothers and a father in an everybody knows every one kind of traditional small town. 

Highness is a brilliant character all through out. In Western and Central India, especially in Rajasthan, we have lots of such characters. Nice of Bala to create one in Tamil Nadu. He is so affectionate to the warring brothers. Walter an aspiring actor, strong but with some feminine qualities too, and Kumbideren who is an excellent thief, but not very strong, shrewd and clever though. These three characters are the back bone of this movie and they are really brilliant. With the occassional interferences from the two mothers, father and local police man, the movie carries on nicely with lot of hilarious moments. In fact the beginning of the movie is quite brilliant. But when the whole first half goes on like that, without anything serious happening, but only some fun, we know this is not typical Bala. In fact its the same with the second half too. We tend to forget about everything and laugh with these characters and then towards the fag end arrives a villain and the movie takes a climax, which has all the intensity of a tough and thrilling action scene, typical of some Bala movies. But, but, I think this is where Bala failed as a writer. Mostly his characters are quite different from the rest, but he puts them together with ordinary human beings and makes an extra ordinary movie. Here his characters are not that different, except for a wonderful Highness, and were good enough for simple fun. But he destroys that simple fun and makes it a revenge drama just for the last 15 minutes. Quite strange. Bala, the writer, failed us.

He could have made it a whole some light hearted movie, but decided to bring the fun to an end by taking the lives of one of his best characters ever, most unlikely character from Bala's school - the Highness, just to bring up some last minute thrill, I thought, this took away a lot from this movie. If he hadnt, it would have only just ended as a light movie from a great director, but instead it looks like Bala was not sure or got confused about how to end his plot. Such a pity. Also his creation of two female leads for the two thieves, wasn't a good idea. Sure they both, especially the police woman, gave some funny moments but all together doesn't contribute anything to the good for the movie. Instead make his story look even weak.

Having said that, I would still say he is an exceptional director. He is a master in drawing the best performances out of his ordinary actors. Vishal was brilliant, in fact stunningly brilliant. May be after 10 years, this movie will be remembered only for Vishal's performance as Walter. His Navarasa scene, a sqyint eyed character, was simply brilliant. That was a real made up scene, but he really took the opportunity with both his hands. Arya also was really good. After Aadukalam, G M Kumar as Highness proves once again his calibre. What a wonderful performance it was by the veteran. Except for the way the movie turns out in the end and for really not having anything serious in the plot, Bala still proves how good a director he is. Even the climax scenes, inspite of all what I said above, was beautifully shot. No doubts there. Scene by scene, he did great as a director. But failed as a writer. The performances by the two mothers, one being Ambika, were also very good.

The cinematography was excellent and so was the sound recording. Another great part was the back ground score. The Kuthu song scenes, the one in the beginning by Vishal and the one between Arya and his mother were also really excellent.

I dont know how this movie will fare in the box office. It ought to do some business at least for the good of Vishal and GM Kumar. In Kochi Multiplex, the response looked mixed. The Tamil crowd were laughing it out. Most Malayaalees weren't. I am not sure if they really understood the dialogues. For the fun, mostly, wasn't any slap stick. It was just raw and rustic dialogues between ordinary Tamil characters, the kind of ones that Malayaalees often look down upon. Or, may be, Bala didnt meet the expectations, which is true too.

Whatever, this movie will be remembered, I hope, for the performance of Vishal.

Mee Sindhutai Sapkal - I Sindhutai Sapkal

2010 by Ananth Mahadevan

India have produced only a few great biopic movies. And when it comes to living personalities it is nearly nil. Each and everytime I watch such a biopic in a foreign language, for eg movies on Ray or Malcolm X, I have wondered why our film makers are a big failure in this kind of movies. Sindhutai Sapkal is a living legend from Maharashtra, often called Mother Teresa of this state. I had only little knowledge about her, but this movie is an excellent biopic of this living legend.

12 year old Chindi has to take care of buffaloes and try hard to attend any school in between. Her father wants her to study, but her mother manges to get her married off, even before she attains puberty to a young man. Soon she is daughter of 2 boys and is carrying another. When there is a local issue between the poor villagers and the land lord, She speaks out for the villagers. To avenge this, the land lord lies to her husband that she is sleeping with the land lord. She is expelled from the husbands' home and gives birth to a girl in a  cow's barn. Even her mother is reluctant to support her. Sindhutai sings and begs to live. Soon she sets out on a fight to support orphans like herselves. 

The story might look simple, but it takes us through a journey from '59 to the present. The life of the 12 year old Chindi especially, is so well told and many scenes during this episode of Sindhutai's life are brilliantly shot. There are so many wonderfully moments which will create an impression on any kind hearts. And the most touching is of course the elderly husband approaching a 12 year old girl in a small sari, in the first night. And thereafter as she grows up, her life until she gives birth to her third child, is detailed in a 'brief' way. I must repeat this brief here, as the script or director never goes over board with any scenes. By Indian standards, it is all shot quite subtly, never going over board even for the scenes which would have normally been shot with an over dose of emotion. There after the second half of her life, where Sindhutai is a social personality, protecting orphans and working for them is told with an advanced pace, so as to keep the movie quite short. But the message is quite clear. So a lot of applause should go for the script and director. Having said that I must say, the director has taken every care on how the characters perform and in creating the general ambience and setting for the villages in the 60 - 70's. But he hasn't cared that much to check on the minute details of this period. But that is not quite important and are pardonable.

Mr. Mahadevan deserves a lot of praise to make such a movie with the emotional content kept under check. Through this life saga, in fact many problems faced by the majority unfortunates of India, especially women are high lighted. The denial of education, the journey at a very young age to husband's home, the dis pleasure by the husband and his family when the wife seems to be learned than the husband and so on  (all this is happening, even today in India, for a big majority of women). The first speech of Sindhutai, where she denounce Lord Ram, as he didnt take care of his wife, was simply good.

Its two different actors who have performed the young  (upto around 40 years)Sindhutai and the old. The younger one, by Tejaswini Pandit, especially, has given a beautiful performance. Cinematography was excellent. In fact it was brilliant in many scenes.

The movie is told through flash backs, as Sindhutai meets a pilot, performed by Mahadevan himself, in a flight.  This was nicely done, but at least in few stages, the moments for going back to the flash back, looked quite made up. Only a small hinge though.

A very good biopic, which I wish, all fortunate women of India should watch. 

Zuotian - QUITTING

2001 by Zhang Yang

I am not sure if I have ever seen something like this. We do get to see documentaries where real life characters enact their own life. But a whole movie?, that too enacting the whole trauma a family experienced? I do not know about any others.

Jia Hongsheng, graduated from Drama school in 89 and slowly built his acting career. He had couple of good films and during the rehearsal for a movie, he took into the practise of Marijuana and gets addicted. He quits acting and ends up in the apartment of his young sister, slowly becoming a complete introvert having hallucinations, living on his sister. His father, a peasant takes premature retirement and comes to the city with his wife to take care of their son. They really go through a terrific struggle before they will have their son back as normal. 

By 97 Jia is free of drugs and Mr. Yang made this movie using the same actor, his parents, sister and even the hospital staff. In fact it was during the rehearsal for Yang's movie that Jia first took drugs. What a great way to pay back for that small sin. Let me admit, I have seen so many movies which were all termed as movies for the family or family movie or about a family. But 200%, this is what a real family movie is.

Quitting is not shot in a typical movie format. Its beginning is quite different and we see that we are going to be taken through the lives of some people, as we are introduced to them. It really starts off as a movie with the arrival of his parents in Beijing. They know that their son is a drug addict and are shocked to see how he treats his own parents. But they have this brilliant will and are dedicated to suffer to any extent to get their son back to normality. So many scenes, honestly I must say, are difficult to bear. There is no vulgarity or blood shed or abuse or anything. But if one attaches any importance to family or your parents or your brothers or sisters, it is quite shocking and difficult to see how Jia treats his family. It is all the more difficult to bear the pain of his parents to go through the horrible treatment they receive from their son. But what comes through is the sheer love and dedication of a family, to suffer anything to get their son back to normality.

But, it is not all very painful and sad. Some of the scenes are genuinely simple and funny. Like how Jia's father wants to buy a music cassette of Beatles, for his son. But he doesnt have any idea about Beatles or Lennon, who Jia considers his idol or even his father. So many scenes carry a kind of fun, but at the same time carry a kind of sadness behind.

This movie does a brilliant service against drugs, I think. The whole family of Jia deserves applause and recognition for what they have done. For youngsters and parents alike, it must be an eye opener. It might be accused that it was easy as they really went through all this, but the performances have been brilliant. Especially Jia Hongsheng the actor and Jia Fengsen, the father.

This is a brilliant and touching movie, the best family movie. A must watch.

There is something though. A lot of scenes in this movie happens in the sisters apartment. And couple of times the camera zooms out, and we can see that its actually a set on a stage, each and every room designed on the stage. As and how the movie is told, this is not particularly relevant. But that was quite surprising, when it was done the first time. I am still not sure, what the director meant here. May be, just reminding us that its the same people acting out their real life once again, may be!

Gohatto - Taboo

1999 by Nagisa Oshima

It is very rarely that you watch a movie which have as the centre of plot, something that we do not like to be part of or even detest a lot, but still gets stunningly impressed by the whole movie. Homo sexuality is something that I cannot bear, though I understand and recognise that their feelings are part of nature too and I would always consider their rights to existence as important as mine. When I picked Gohatto dvd, I never thought I was going to experience some thing quite extra ordinary in cinema.

150 years ago in Japan, a recruitment for Samurais' is taking place in a Shinsengumi, a fuedal police force. Only two are chosen, Kano and Tashiro. Kano is the best warrior but he is charming and attractive and lot of samurais in the camp, including high officers fall for his beauty. There is a sea of suspicion and it is not sure who has fallen for him, who wishes to and who already have slept with him. At the same time, there are murders occuring too. 

Firstly, I never expected homo sexuality amongst a group of professional warriers, a group of men who could be termed the heights of Japaneese Machismo. Kano himself is the best warrior but when fighting against Tashiro, he is just ordinary as it is Tashiro who was the first to fall for him and who took punishment for him. There are lots of Taboos in the camp, but the intrusion of homo sexuality is left unchecked.

As one without much knowledge about Japaneese culture, this movie is not an easy movie to digest, especially since the sub titles didnt look perfect. But going after what we get to see, Gohatto is definitely a master piece. Everything is told in a subtle and restricted way that there is elegance all around. There is nothing happening in the action sense, but the whole plot is intriguing with full of surprise and suspense. We could still find ways and ways to explore more into the story and scenes.

I am still not sure if I understood the climax fully. Definitely this movie requires a second watch and I am afraid I will get too fond about this movie with each watch. There is a kind of subtle elegance written all through out the movie. And if ever we could call cinematography to be elegant, here is a prime contender. In fact the setting of the movie, the military camp, is devoid of colour. But what a work it is!! Brilliant use of lights and colours to go with the mood and in fact there is bare minimum movement from the camera. I wish Malayalam movie makers and reviewers watch this movie. It is important for all to see what exactly cinematography can do to a movie. Truly elegant work.

Still I must say, even if it is visually stunning and powerful by plot, the movie is still kind of cold. It is not going to touch us emotionally. I think that is what it is intended to be.

Shaitan

2011 by Bejoy Nambiar

I had watched Dileep Kumar's Devdas, in Doordarshan. So when I watched Bansali's Devdas I was disappointed. In fact the kind of promotion and reception it got had shocked me. Luckily, the brand who sponsors Cannes festival had just signed Aishwarya Rai then and hence they made Devdas an important movie in Cannes festival that year. Many people mistook it as a synonym of Indian movie, when it was only a poor Bollywood flick with high production values. The celebrity media in India raved all this as a success of Bollywood even without wondering why Devdas, after all, was screened in Cannes. Then came Dev D and I was not interested at all. But a friend who is as passionate about movies as I am, pushed me and I thought that was brilliant. I was stunned by the talent of Anurag Kashyap, the director. I , again a mistake, thought Shaitan was directed by Mr. Kashyap, for some strange reason and went. In few minutes realised, he is only a producer. In Tamil, when Shankar directs a movie, it is an out and out entertainer, but when he produces, all most all of them have turned out to be brilliant movies. In case of Mr. Kashyap it looks just opposite.

A small group of ultra rich spoiled youngsters ends up killing two bikers while having fun. The policeman who gets to them asks for a huge bribe to cover it up. The group's only choice is to kidnap one of them and find money. 

Almost all Indians looks up towards the west, just like most countries who were under colonial rule. The biggest achievement , for Bollywood, seems to be making movies that looks exactly like Hollywood. The result is there are fewer and fewer movies coming out of Bollywood which are genuinely Indian.

A good majority of Indians, even those of middle class from small towns might not understand the dialogues and actions of the young group in the early half of this movie. For the script seems to have taken up ideas from lots and lots of movies from abroad and created a plot line to begin with. To be frank, at this point the movie definitely looks different by Bollywood standards. My point that a good majority of Indians would wonder what is happening, still standing though.

But from the moment the kidnapping happens, it turns just ordinary and routine, a kind of kidnapping saga that has been explored by movie makers across the world, even from India. The only respite being the production values and the pace of the script.

The makers have created a traumatic past for one of the characters, who, by killing one of her mates gets out of her trauma. This trauma is picturised in a way to fool viewers into thinking that this is a classy production. Thats all. Also for a majority of Indians, the kind of life style and the actions by this spoiled youth group is something that most can't even dream about. So it might still look different, for some if they wish so. The way they have picturised some songs actually matches the pace of the movie that we may not even notice that a song has come and gone. But it is a real pity that this modern brand of movie makers, cant even make their own new songs and have to remix the old songs. I think there were two old songs remixed in this one.

Shaitan, might be promoted as a different movie by regular Bollywood goers, but it is only a slightly different average movie, which can only give a feeling of a wine made of grapes from prominent wine yards across the world. Those who know about wine will know, wine from mixed grapes are of poor quality.

Leader

2010 by Shekar Kammula

In India, we have seen lot of political movies. In fact, from around the end of 80's Malayalam movies got a procession of movies with political overtones, in which 99% happened to be quite on the same lines with the same kind of stuff. Some of them still were good entertainers. The best definitely was Panchavadippalam, by K G George relased some time in the mid of 80's. That was a sarcastic, but brilliant take on politics on the ground level. Recently Prakash Jha made Raajneeti, which I thought was just average normally, but it was above average stuff compared to the normal ones from Bollywood. So most North Indian media took it as a huge political movie. I just saw Leader, a Telugu movie and I found it miles ahead of Raajneeti, but no one outside the states of South India (barring Kerala) seems to know about it.

A corrupt Chief minister is killed and his young son, who was working in the US, arrives and takes charge. How he evolves into a leader of the masses is caught quite nicely in this excellent movie. 

This is not a very serious movie, it is actually an entertainer, but it is a great entertainer. Its story can be read almost every day in news papers in India, in parts. In fact everything that is happening in this movie is actually happening in India, not just as a single plot though. And it is only at the end, where a leader of the masses evolves, it turns cinematic, but not going over board.

For people worried about India, its corrupt system and politicians and the majority poor this is definitely an excellent movie. For, it is a feel good movie on contemporary politics.

It would be brilliant, if this movie will be released all over India, in Hindi or English, when we are seeing many, good and fake, fighting to find the black money outside India. The movie actually talks about black money which is stuffed in India itself.

The movie still has a few songs, but we may not even really notice how these songs come and go. It just melts down with the movie. Only in the second half, when there is a love angle, does the movie drags a little bit, bit it falls back into the track very soon. Even as an entertainer, I would say the direction was brilliant. It is an excellent movie under the technical categories too. Even the back ground score and songs are nice.

And Rana  Daggupati as the young Chief Minister was excellent. He has a wonderful charm and I am very impressed.

I really wish, this movie is shown all over India. 

Shankaranum Mohananum

2011 by T V Chandran

There have been so many movies which worked on the life after death and how some souls tried to interact with the living, after their death, some serious, some entertaining, some funny and some awful movies. As a plot for a whole movie, I think Shankaranum Mohananum is a new one in Malayalam, but its awfully flawed movie.

An elder brother, Shankaran dies the day after his marriage, from snake bite. The younger brother, Mohanan starts seeing him.

The script is horrible for many reasons and actually towards the second half of the movie, Mohanan starts seeing not just his brother but most dead souls around him. Even in a funny movie like Ghost Town (2008), it clearly established a simple reason why the protagonist was able to see the dead souls. Here there isnt any and towards the end, more souls are visible, without any reason which makes it even terrible. Forget this particular aspect, but even otherwise this movie doesnt interest us, I am afraid. It is not able to touch us in any ways, even light heartedly. Instead, sometimes we feel laughing out loud at the kind of fancy dress that is presented to us, for reasons what soever.

In spite of that, one aspect which was mentioned was quite interesting, I thought. That, the 9 months after death, when a soul is preparing for its next birth, its difficult to forget the events from the previous birth, this was quite interesting, but even when this is told, we really do not get moved, is definitely a fault of the director.  And the background music, I am afraid, is quite horrible.

The only good aspect, was the cinematography. It is not great, but that is one aspect which made the movie look good, at least, compared to the other movies from TV Chandran, an award winning director. Often his movies lack any kind of technical brilliance, barring one or two mentions like Pondanmaada.