Saturday, March 20, 2010

LSD – Sach ki Hawas



Love Sex aur Dhokha is the nightmare you have after sleeping on a Sunday marathon of shuffling through reruns of Emotional Attyachar, India TV and Splitsville – while stuffing your mouth with bowls full of spicy nachos and gulping down diet coke. It's honest, and hence it's upsetting. And for that, God bless Dibakar Bannerjee to have claimed this subject before the ever so realist Madhur Bhandarkar and crew zeroed down on this topic from their 101 schoolboy essays book. Lest we’d have seen a film thoughtfully titled as ‘Hidden Camera’ offering us a guided tour into the world of video shooting with the who’s who of the industry.

Dibakar Bannerjee yet again takes an objective stance while he blows up the hypocricies and idiosyncracies from day-to-day lives to a 35mm screen. To a level where all its oddities and quirkiness become evident with a tinge of tongue in cheek subtlety. If Oye Lucky Lucky Oye was one such dark satire, LSD goes a step further by being a brazen, in-your-face comment on a society’s obsession with the truth – which is better when naked and scandalous (like the Loki Local song in the film). But beyond the sensational title and promos, edgy mode of digital camera shooting and camera angles mocking at established convention, LSD does come out as a very sensitive film and is disturbing for the same reason. The credit for which goes to the characters conceived by Dibakar Bannerjee and Kanu Behl and executed equally well by the fresh recruit of actors. As has been with his earlier films, each character is very well thought of and seem to stick with you till well beyond the film. Be it the ostentatios father, the yet another delhi girl in the other assistant in the mall, or the Bhojpuri touch in Naina….all had a touch of brilliance about them. I also paused at the name of Raj Kumar Yadav in the cast– which sounded strangely familiar, and on recollecting, I remembered why

Cut to about four years back when I landed up at the gates of FTII for a play being put up by their final year acting students. Unprepared as ever, my friend (yes I have one I promise!) and I didn’t have the passes which the guard was adamant on for allowing us entry that day. While we were trying to coax our way in, there was this guy hanging about at the entrance with his friends who, seeing our predicament, came up with a scheme of telling the guard we were there to meet someone in the hostel, and then asking us to take his name at further checkpoints till we finally infiltrated our way to the auditorium on campus. And as we went, we were followed by many more people using the same name. The result was an overly packed audi filled beyond its capacity, with a certain Raj Kumar Yadav to thank. I’d use this name further during my subsequent visits to FTII (and once elsewhere) in the event I was ever questioned by the guard about the person to meet, and so while the face faded away in my memory, the name stuck with me. It was pleasing to see the same name finally appear in credits and seeing the (t)humping start he got in his career. (ok bad joke)
Coming back, the question of LSD being a good or a bad film lies secondary to the fact that it’s a significant film. To get a mainstream release for an experimental whim of a director is one thing, but to have Balaji backing a venture such as this is triumph enough for the industry seemingly coming of age.

Sunday, February 14, 2010

baKHAN: Once upon a time in India

Kachra can spin the ball, yet cannot be picked because the Zamindars and the Mukhiyas of the land do not approve of his caste. One man rises to open their eyes and after a long melodramatic speech, the people are miraculously transformed to a tear-jerking climax.

And while Aamir Khan could only have pulled it off onscreen, it takes the King/Dr./Lord Shahrukh Khan to do it in real life. It’s a different matter that he might have earlier retorted to Shobha De questioning his silence on 26/11 about how he’s an actor and not a person to opine on political matters, this time it indeed was grave. For it was cricket. It’s also a different matter that his upcoming film was banking heavily on overseas south asian audience....but then isn't co-incidence the only logical explanation too for lets say the sudden big bang or even perfect solar eclipses?

So it was only fair that the King Khan tweets (pun intended) his bold ‘Pakistani players should have been chosen’ statement. At first, you can’t help but appreciate his celebrated tongue in cheek witticism when he said that. Almost as ironical as his trying to look macho while saying ‘Mardo waali strong cream’ in a men’s fairness cream advert, for this was coming from a man who himself was part of the auction that happened. But that initial snigger is broken by the realization…’hold on…he’s serious?’

So he was. But where he’d have expected his mumbling to reach the other side of the border under the covering fire of cacophony of the governments fighting over the same, he seemed to get caught at the wrong end. Like that kid in school whose voice is just part of the classroom noise till without warning the class inadvertently goes quiet leaving his voice exposed. This is where the old dying tiger smells its prey which has mistakenly stumbled up right in its den. And the Thakreys rise from their deep slumber to pop their knuckles and crack their necks. What follows is an exchange of messages little fiercer than love notes where the media plays the messenger and the country nods its head left and right in the tennis match that follows.

The situation builds up to the notes of beethoven’s symphony#9 and as with its ending crescendo, Ruckus is created, police step in, and Mumbai is yet again put at war with itself to determine its identity. MNIK stands symbolic of this identity and the fight is now to save it from becoming the property of the goons. It finally releases amidst the chaos and ends up opening to packed houses across the country.

This is the happy ending. Our hero and the director celebrate the success of their film over champagne in their bubble bath, the new recruits of sena finally got a practical intro to their course ‘Tearing posters 101’, and the general public sleeps well after having ensured the success of the film in their fight against tyranny. This was easier than buying the Che Guevara T-shirts. This was rebellion delivered right at the doorsteps. That leaves just the Pakistani players, but they can always wait for the next IPL.

All is now well in this country.

Thursday, November 27, 2008

For I cannot sleep tonight...

It’s tough to gather thoughts with the tv blaring in front of you of the increasing death count…10 it was then 40..60 and now 80…perhaps this number will still rise against the hopes, the prayers of all Indians tonight.

Behind all the chaos, I take about 15 minutes to realize that my brother now lives in that city, and another 15 minutes after speaking to him about another close friend in that very area. They’re both alright, but the sense of relief still eludes me. 'This too shall pass' said Helen Steiner, but am only afraid that it will. It shall pass as yet another tragedy for the country, marked as always, with heroics, with sympathy stories, and finally with the triumph of human spirit to have coped with the night of terror. News reports shall flood the papers for coming weeks, television media already is and shall continue to get its share, and chances are – a film or two would be made for this night. But why should I write and rant in a commotion of a million voices, who might already be screaming their lungs out on this? Simply because I can’t find any other outlet for the anger, the grief that I feel now. It’s a feeling of being violated and then muted, where I can’t do anything but sit locked in my house and watch what the news channels feed in. Images of a cop pointing a gun at a taxi carrying a family – asking them to disembark for checking, People crawling on the roads, blood on the streets near leopold cafĂ©, terrorists passing in a jeep firing shots at civilians, reporters, death of Hemant Karkare…all makes your blood boil…but there’s nothing to direct this angst against…. For the accused, they fire from behind the curtains. The government, though answerable for the security lapse, cannot be help responsible as for these situations one can only prepare a counter-action. What must the proletariat do here? They must burn from within, till normality is restored, which is by when they learn to live with the scar.
And so here I write…seeing my people die, buildings burnt, and my country’s honour challenged…here I write, for there’s little I can do but mourn my impotence.

Tuesday, November 04, 2008

Ladakh Photoblog




uploading a few...before the photos rot away in my memory stick!

http://vatsal.co.nr/ladakh

Saturday, June 07, 2008

A rough guide to pune

Cities open themselves up easier than towns
As for a town learning to be a city
There are two ballads that fill the air
Both ir-resonate and out of tune
Today I shall act deaf to one

Pick a dowdy-old motorbike
Go by its natural pace
Enough for those short on time to blur past
Enough for exposing a bearded old man
Off to the library on a moped

Take the teak bent-chair by the window at an Irani restraunt
That lie detached even to the busy roads outside
The morning sun illuminates the hot vapours filling the room
And your ears are inadvertently lent
to the morning chatter that talketh the town

the time to visit the city would be mid afternoon
when chairs lie upturned on the tables
and shutters all but few inches from being shut
signifying the lure of an afternoon nap
that overpowers the city’s commerce

Right behind these sleeping shops
There lie old wadas revealed
With vast open patios
Dotted with wooden columns
Still dark and wet from the rain that fell last

Driving up, behind the canopy of trees
The wadas fuse to make parsi houses that further give way to Victorian villas
Some unable to find place in post british india
With surrounding gardens that lost the fight to uneven vegetation
And dilapidated boundaries and moss eaten walls

There’s more the town speaks
Of films, academia and culture
Of Gandhi, Rajneesh and scholars
The voice may be diminished, but it relentlessly hums
With the profundity of a rudra veena if one lends it a ear

An agglomeration became a town, a city
trickling its way through the barriers in time
there’s a time when you join the flow
its where you grow and the city grows with you
and learn the ease that lies in tandem
like wheels on a bicycle – never to outpace each other

Friday, April 11, 2008

the world turned upside down

What if South was Up and east was right?

a funny thought crossed my mind today...and suddenly I start feeling disoriented. Disillusioned further with how no text-book ever prints the map upside down, left-side up or numerous other permutations.

Sunday, December 02, 2007

I was one of the insatiables. The ones you'd always find sitting closest to the screen. Why do we sit so close? Maybe it was because we wanted to receive the images first. When they were still new, still fresh. Before they cleared the hurdles of the rows behind us. Before they'd been relayed back from row to row, spectator to spectator; until worn out, secondhand, the size of a postage stamp, it returned to the projectionist's cabin. Maybe, too, the screen was really a screen. It screened us... from the world.

- Matthew (The Dreamers)

Saturday, September 01, 2007

The Edukators




excellent direction… touching the right cause…witty dialogs…patchy camerawork…


To put it all together…a work of art ! :)

But as I said…found it just skimming over the cause in the end…

Some lines that I could pick from the film(/subtitles):

Jan: Rebellion is difficult now.
Before all it took was dope and long hair...and the establishment was automatically against you.
What was considered subversive then you can buy in shops today...Che Guevara T-shirts or anarchy stickers.
-----
Note on the wall: Your days of plenty are numbered.
-----
Jule: When I was little...with my friends...we played house with dolls
It was so real for them. They were so into it. I was never able to forget they were only dolls.
I always felt like...more of a watcher than a player
You know?
I still feel like that...in real life

Jan: It's the matrix.
If you see it you can't be living in it.
-----
Jan: How can someone with your past live the way you do? You must have had ideals.

Hardenberg: My father told me: "Under 30 and not liberal, no heart"
"Over 30 and still liberal, no brains"

Saturday, August 25, 2007

Down and Out in Paris and London - an excerpt


it's the book in my bag currently...a semi-autobiographical novel about a writer's struggle and his tryst with poverty in the two cities..read on..

George Orwell
Down and Out in Paris and London
CHAPTER XXII

For what they are worth I want to give my opinions about the life of a Paris PLONGEUR. When one comes to think of it, it is strange that thousands of people in a great modem city should spend their waking hours swabbing dishes in hot dens underground. The question I am raising is why this life goes on—what purpose it serves, and who wants it to continue, and why I am not taking the merely rebellious, FAINEANT attitude. I am trying to consider the social significance of a PLONGEUR’S life.
I think one should start by saying that a PLONGEUR is one of the slaves of the modem world. Not that there is any need to whine over him, for he is better off than many manual workers, but still, he is no freer than if he were bought and sold. His work is servile and without art; he is paid just enough to keep him alive; his only holiday is the sack. He is cut off from marriage, or, if he marries, his wife must work too. Except by a lucky chance, he has no escape from this life, save into prison. At this moment there are men with university degrees scrubbing dishes in Paris for ten or fifteen hours a day. One cannot say that it is mere idleness on their part, for an idle man cannot be a PLONGEUR; they have simply been trapped by a routine which makes thought impossible. If PLONGEURS thought at all, they would long ago have formed a union and gone on strike for better treatment. But they do not think, because they have no leisure for it; their life has made slaves of them.
The question is, why does this slavery continue? People have a way of taking it for granted that all work is done for a sound purpose. They see somebody else doing a disagreeable job, and think that they have solved things by saying that the job is necessary. Coal-mining, for example, is hard work, but it is necessary—we must have coal. Working in the sewers is unpleasant, but somebody must work in the sewers. And similarly with a PLONGEUR’S work. Some people must feed in restaurants, and so other people must swab dishes for eighty hours a week. It is the work of civilization, therefore unquestionable. This point is worth considering.
Is a PLONGEUR’S work really necessary to civilization? We have a feeling that it must be ‘honest’ work, because it is hard and disagreeable, and we have made a sort of fetish of manual work. We see a man cutting down a tree, and we make sure that he is filling a social need, just because he uses his muscles; it does not occur to us that he may only be cutting down a beautiful tree to make room for a hideous statue. I believe it is the same with a PLONGEUR. He earns his bread in the sweat of his brow, but it does not follow that he is doing anything useful; he may be only supplying a luxury which, very often, is not a luxury.
As an example of what I mean by luxuries which are not luxuries, take an extreme case, such as one hardly sees in Europe. Take an Indian rickshaw puller, or a gharry pony. In any Far Eastern town there are rickshaw pullers by the hundred, black wretches weighing eight stone, clad in loin-cloths. Some of them are diseased; some of them are fifty years old. For miles on end they trot in the sun or rain, head down, dragging at the shafts, with the sweat dripping from their grey moustaches. When they go too slowly the passenger calls them BAHINCHUT. They earn thirty or forty rupees a month, and cough their lungs out after a few years. The gharry ponies are gaunt, vicious things that have been sold cheap as having a few years’ work left in them. Their master looks on the whip as a substitute for food. Their work expresses itself in a sort of equation—whip plus food equals energy; generally it is about sixty per cent whip and forty per cent food. Sometimes their necks are encircled by one vast sore, so that they drag all day on raw flesh. It is still possible to make them work, however; it is just a question of thrashing them so hard that the pain behind outweighs the pain in front. After a few years even the whip loses its virtue, and the pony goes to the knacker. These are instances of unnecessary work, for there is no real need for gharries and rickshaws; they only exist because Orientals consider it vulgar to walk. They are luxuries, and, as anyone who has ridden in them knows, very poor luxuries. They afford a small amount of convenience, which cannot possibly balance the suffering of the men and animals.
Similarly with the PLONGEUR. He is a king compared with a rickshaw puller or a gharry pony, but his case is analogous. He is the slave of a hotel or a restaurant, and his slavery is more or less useless. For, after all, where is the REAL need of big hotels and smart restaurants? They are supposed to provide luxury, but in reality they provide only a cheap, shoddy imitation of it. Nearly everyone hates hotels. Some restaurants are better than others, but it is impossible to get as good a meal in a restaurant as one can get, for the same expense, in a private house. No doubt hotels and restaurants must exist, but there is no need that they should enslave hundreds of people. What makes the work in them is not the essentials; it is the shams that are supposed to represent luxury. Smartness, as it is called, means, in effect, merely that the staff work more and the customers pay more; no one benefits except the proprietor, who will presently buy himself a striped villa at Deauville. Essentially, a ‘smart’ hotel is a place where a hundred people toil like devils in order that two hundred may pay through the nose for things they do not really want. If the nonsense were cut out of hotels and restaurants, and the work done with simple efficiency, PLONGEURS might work six or eight hours a day instead often or fifteen.
Suppose it is granted that a PLONGEUR’S work is more or less useless. Then the question follows, Why does anyone want him to go on working? I am trying to go beyond the immediate economic cause, and to consider what pleasure it can give anyone to think of men swabbing dishes for life. For there is no doubt that people—comfortably situated people—do find a pleasure in such thoughts. A slave, Marcus Gato said, should be working when he is not sleeping. It does not matter whether his work is needed or not, he must work, because work in itself is good—for slaves, at least. This sentiment still survives, and it has piled up mountains of useless drudgery.
I believe that this instinct to perpetuate useless work is, at bottom, simply fear of the mob. The mob (the thought runs) are such low animals that they would be dangerous if they had leisure; it is safer to keep them too busy to think. A rich man who happens to be intellectually honest, if he is questioned about the improvement of working conditions, usually says something like this:
‘We know that poverty is unpleasant; in fact, since it is so remote, we rather enjoy harrowing ourselves with the thought of its unpleasantness. But don’t expect us to do anything about it. We are sorry for you lower classes, just as we are sorry for a, cat with the mange, but we will fight like devils against any improvement of your condition. We feel that you are much safer as you are. The present state of affairs suits us, and we are not going to take the risk of setting you free, even by an extra hour a day. So, dear brothers, since evidently you must sweat to pay for our trips to Italy, sweat and be damned to you.’
This is particularly the attitude of intelligent, cultivated people; one can read the substance of it in a hundred essays. Very few cultivated people have less than (say) four hundred pounds a year, and naturally they side with the rich, because they imagine that any liberty conceded to the poor is a threat to their own liberty. Foreseeing some dismal Marxian Utopia as the alternative, the educated man prefers to keep things as they are. Possibly he does not like his fellow-rich very much, but he supposes that even the vulgarest of them are less inimical to his pleasures, more his kind of people, than the poor, and that he had better stand by them. It is this fear of a supposedly dangerous mob that makes nearly all intelligent people conservative in their opinions.
Fear of the mob is a superstitious fear. It is based on the idea that there is some mysterious, fundamental difference between rich and poor, as though they were two different races, like Negroes and white men. But in reality there is no such difference. The mass of the rich and the poor are differentiated by their incomes and nothing else, and the. average millionaire is only the average dishwasher dressed in a new suit. Change places, and handy dandy, which is the justice, which is the thief? Everyone who has mixed on equal terms with the poor knows this quite well. But the trouble is that intelligent, cultivated people, the very people who might be expected to have liberal opinions, never do mix with the poor. For what do the majority of educated people know about poverty? In my copy of Villon’s poems the editor has actually thought it necessary to explain the line ‘NE PAIN NE VOYENT QU’AUX FENESTRES’ by a footnote; so remote is even hunger from the educated man’s experience.
From this ignorance a superstitious fear of the mob results quite naturally. The educated man pictures a horde of submen, wanting only a day’s liberty to loot his house, burn his books, and set him to work minding a machine or sweeping out a lavatory. ‘Anything,’ he thinks, ‘any injustice, sooner than let that mob loose.’ He does not see that since there is no difference between the mass of rich and poor, there is no question of setting the mob loose. The mob is in fact loose now, and—in the shape of rich men—is using its power to set up enormous treadmills of boredom, such as ‘smart’ hotels.
To sum up. A PLONGEUR is a slave, and a wasted slave, doing stupid and largely unnecessary work. He is kept at work, ultimately, because of a vague feeling that he would be dangerous if he had leisure. And educated people, who should be on his side, acquiesce in the process, because they know nothing about him and consequently are afraid of him. I say this of the PLONGEUR because it is his case I have been considering; it would apply equally to numberless other types of worker. These are only my own ideas about the basic facts of a PLONGEUR’S life, made without reference to immediate economic questions, and no doubt largely platitudes. I present them as a sample of the thoughts that are put into one’s head by working in an hotel.

Saturday, August 18, 2007

Random Places, Random People and Random Chats

Often found these three roulette wheels yielding bizarre combinations with me. This time with an Iranian guy, at a London pizza joint, and a banter(a discourse rather) on religion.

Had a tough day in office, and came home to see a documentary on partition playing on tv. Just dropped my bag in the room and joined my housemates to catch it from between. As is the case is with all documentaries & films on the genre, they leave you with a different insight on the period to mull over. It got over at 11, which meant pizza for dinner(again). Also feel a good film or a good book is best followed with a stroll. So having given this intellectual backing to the only option in front of me, I took to the road.

Not very far from my place is this pizza joint where you can find freshly baked pizzas that are penny cheap. It’s here that I got into talking with the guy owning the shop. I could guess that he wasn’t British, but couldn’t guess that he was from Iran (he looked European). I told him that I had seen some of Majid Majidi’s films and had found him to be brilliant in his craft. He turned out to be a bigger fan of Shahrukh Khan – I was hoping he’d have taken some other name….but so be it. Chatting further he asked me if I was a Hindu. I said yes. He felt that religion was nothing but a business to make money, and asked me if I felt the same. Honestly, I didn’t. Because if it were, it’d make us the richest economy I the world! On another note, I do not go to temples often, neither does my family have many ceremonies and customs performed. So I felt it’s a personal discretion, that the religion can’t and doesn’t dictate. What do you believe in? he asked. And this is what he went on asking me later. Hmm…let me see…I was trying to look for an answer, but was totally lost. A person who has ever had to answer this question would know my state. My struggle to give a quick, yet a discernable answer was made worse by his continuously asking me the same question. “Tell me my friend. What do you believe in!”. I had to reply, and just to shoot something at him, I said – myself. Myself? What did I just say? It sounded funny to me and wondered if it was the best I could come up with. Anyways, I had spoken, and unless he was momentarily deafened by some miraculous cancellation wave, he’d have heard it. As I would’ve expected, he dismissed the answer, and asked me the question again. I told him that I wasn’t able to grasp what he was looking for, and hence wouldn’t be able to answer his question. I mean c’mon…You believe in so many things right from your philosophies. So though it’d be ideallic to have one belief that drives the way you live each day, each moment, it’s often not the case. Finding no answer from me, he started with his discourse. Why are you a hindu. Just because your parents are, and their parents were? How much have you tried to find your own beliefs. People don’t eat cows because it gives them milk. What the f*. A goat gives you milk, a sheep gives you wool. Why all these foolish practices when we are all going to die in the end. Why do we need to go through this cycle of living? He sounded much like a rigid anti-hindu, which got me into a defensive mode trying to defend. But soon I realized he was denouncing all religions. Islam, Jews, Christians, He touched them all, rejecting them all one by one. I was shuffling between being convinced at one moment, and finding him just another pseudo-intellectual at another. However, his narration was quite animated and gripping. Which made me spend close to 45 minutes there. I had no answer for his questions on idol worship and its likes, and found myself at the wrong end, as I’m one of those lesser hindus if compared with the average of the lot.

Going by his narrative, I was waiting for an enlightening conclusion, which turned out to be a little bland in the end though. He told me that his ideology is to take 5 minutes out every night to retrospect on his day, his past, and how it fits into his entire life. And to think about a supreme power in those 5 minutes. This way he said, if there’s a god-you were right all along. And if there isn’t, you didn’t lose much in those 5 minutes every day, and besides you’d never know that you were wrong once you die. Interesting concept I thought, but nothing that you’d have heard or thought for the first time.

Nevertheless, he had asked me to live with a motive, and try and find my beliefs in life. So, the quest goes on...

Wednesday, April 11, 2007

Trainspotting


The opening scene:

‘Choose Life. Choose a Job. Choose a career. Choose a family. Choose a fucking big Television. Choose Washing Machines, Cars, Compact Disc Players and electrical tin opener.

Choose good health. Low cholesterol and dental insurance. Choose fixed interest mortgage repayments. Choose a home. Choose your friends.

Choose Leisurewear, and matching luggage. Choose a three piece suite on hire purchase. Choose DIY wondering who the fuck you are on a Sunday morning. Choose a couch watching mind numbing spirit crushing game shows stuffing fucking junk food into your mouth.

Choose rotting away at the end of it all pissing your last in a miserable home nothing more than an embarrassment to the selfish brats you’ve spawned to replace yourselves. Choose your future. Choose Life !

But why would I want to do a thing like that. I chose not to choose life. I chose something else. And the reasons? There are no reasons. Who needs reasons when you’ve got heroin.’

And its theme. Only, the nonconformist here swings between choosing and not choosing life.

Sunday, March 18, 2007

Piff - Day 2

Sunday

The plan was pretty straightforward for day 2. Get up, drive up and witness what the festival had to offer today. Like yesterday, I wasn’t able to browse much through the catalogue, and had left the choice of films open to contemplation, mainly governed by my whim at the moment. Barring a few bad decisions, I thought I stayed pretty much on track, getting what I wanted from the fest. Few recollections from the day:


Woman with a camera

Reached a little late to catch the film from its start, but managed to catch most of it nonetheless. The movie was truly for, of and by women. Which was little disappointing for me at least. It upsets, and sometimes puzzles me when women start identifying with a creed of their own. Women’s day for instance. Before expecting men to give their share of respect, it is important that women too erase that grey line, and stop identifying themselves as an oppressed class. Anyways, this seems to spawn a new argument altogether, most of which the film doesn’t deserve, so I’ll take it in a separate thread. Having said what I said above, I still found the film noteworthy, portraying the vivid kaleidoscope of Indian, and more specifically keralite women, quite elegantly. Besides catching real life glimpses from a wide area, it also had certain abstract sequences filled in that made the painting complete. Overall, a good attempt, and definitely a well thought of film.

Thanks

The post screening session said it all. For a change, the audience was blunt on the face of the film’s representative telling him that he had left too much to the imagination. I did agree with some who spoke, as I too felt that though it is best left to the viewer to read between the lines, a film must have the substance to provoke him to do so. Otherwise, it all appears a random sequence of images created just to satisfy the director’s whims.

Chaabi Waali Pocket watch

This one was my personal favorite. So what I write here is prejudiced by my individual admiration for the film. Reason 1 – it being a ftii diploma film which I feel is reason enough. It is like catching a gushing stream right at its source. True it is majestic and grand going down the stages, but the purity of the trickling stream picks its own draw of admirers. With some of the diploma films I’ve managed to get my hands on, one can see the art of filmmaking at its embryonic best. The depth of intense thoughts is portrayed through the outdated, commercially inept equipments, much like the concept itself. It always was, and forever will be the story with ftii films. Reason 2 - the plot: pick an urdu poet, looming in obscurity, and base him in hyederabad. The idea was simple, yet having that intellectual appeal. It was played well as an old, yet spirited shayar who chooses anonymity with deliberation. From the words of the protagonist ‘ Vo fankaar hi kya jise avval hone ke liye awaam ki mohor chahiye’. The film had many short citations that kept the film rolling. Reason 3 – Gayatri Kachru : this was a pleasant surprise. Gayatri used to be my senior in school, pretty then as she is now. Once or twice I had the opportunity to have her company among other friends (whom she knew better I must admit), during the lunch breaks. I somehow remember she couldn’t pronounce my name correctly, much to the amusement of others. Well, that mispronounced name she’d very much have forgotten by now, but it was unusual, and hence moving to see someone you had known in school being part of the credits that rolled. Reason 4 – its cinematography and Art direction: The film was a visual treat if nothing else. Though the cinematography was slightly biased towards gayatri, it deserved a separate round of ovation for its brilliance.


The Old barber

I always had my doubts with Chinese films. Some that I had seen seemed to have a very picturesque subject far from the tries and tribulations of human emotions. Besides, some of them used camera techniques to ‘bend’ the reality to the script’s favour which turned me off. With nothing better showing in other theaters, I decided to try my luck with this one. Also, the title seemed interesting, so did the synopsis. I was at my cynical best(or worst) for the first few shots, that were quite slow paced. I was sure that they were intentionally created so as to catch the critics’ interest. But gradually, the story picked up pace, clearing my doubts of it not being a genuine film. For instance, the winding of the clock at 9 pm everyday that was becoming monotonous when shown repeatedly, soon took meaning when Uncle Jing doesn’t wind it one day. What moved me most was that it could very well have ended as the audience had expected it to, and it’d still have been appreciated. But the story skims through the exit points, often playing with the viewer’s anticipations. It was quite satirical in that way. It ends quite well, marking a perfect closure to a well made movie.

Vietnam symphony

This was a documentary based on a Vietnamese make-do underground music school during the war. The film fared well, tracing some of the graduates from the school, and accompanying them on their walk down the memory lane.

The Black Road

An intense documentary to say the least. Where the line between being a neutral observer is questioned, and finally crossed. Nessen, an Australian journalist who was there to cover the freedom movement rising in the Aceh’s from the Indonesian military’s perspective, soon found himself changing his viewpoint about the rebellion, and later supporting their cause with all his might (well..almost). From gun battles to the mourning over those dead, Nessen covers the rise and fall of the struggle from its very core. It had the power to take the viewer’s attention off it being a documentary, and mull over the cause. Honestly, I must admit I was slightly relieved to hear that peace was declared in the region…though with a mere compromise of a bargained autonomy to aceh, against their voice for complete independence. Made me also reflect over a cause closer at home…could we have gone wrong there?

The Collector
&
UNO

These were the bad decisions I had mentioned. UNO being worse of the two. I’d have gone for ‘The Little Lieutenant’ had I not overheard two chaps discussing in marathi of how good UNO was. Either I judged with the wrong people, or my marathi needs hell lot of improvement. Either ways, wonder how the other movies fared.

In parallel, there was a movie that took quite a rush. Thereby sparing me and a few others a lot of breathing space in other halls. It was the first movie (and I assume it’d be the last) in the fest, where people crowded up in front of the gate much before the intended start. Such was the fervour, that the tide of people now owe the regular E-square clientele a slightly un-hinged door at screen 3. The title of the film – ‘Just sex and nothing else’.

And to say that we indians don’t believe in the concept…well, sez who !

Saturday, March 17, 2007

Piff - Day 1

another filler for now....

btw, day 1 here was actually saturday...Since I got to attend the fest only for selective days, i've decided to number the days as per my calender. (I skipped friday's shows)

Thursday, March 15, 2007

Pune International Film Festival - Day 0

holding space till I find time to pen day 0 reviews down.

Saturday, October 22, 2005

Friday, April 08, 2005

Sessionals over....finally!

The 16th sessionals of my B.Tech course got over today. Should be the last ones hopefully. Still can't stop thinking about the futility of it all. What rocket science does the university teach us in 4 months that it requires to test twice a semester?(+ the end sems!)

anyways, went for a movie afterwards. This one had been up for some time - "My Brother Nikhil". A well made film, must say. Though i personally feel that more could have been said through the movie, but a notable attempt nonetheless. Its set in Goa around the time of 1989-90 and is about the changes in the life of a person that come with the revelation of the fact that he is HIV+. The way he is mortified and ostracized by the people around him is depicted prominently throughout the film. The film succeeds in portraying the shocking ignorance about the disease that people had at that time. The scene when he jumps into the pool, only to see other swimmers rushing out of it, is quite striking. He is subjected to numerous other ordeals by his friends and family alike. This is when his sister and his boyfriend fight for his cause and succeed in getting him out of the subjected isolation and bring him back to the society. The movie continues showing his efforts to regain a place in the society. However, his health continues deteriorating and he dies in the end.

Apart from the social message in the film, what struck me more was how the relationships were portrayed. The relationship between Juhi Chawla(sister) and Sanjay Suri(Nikhil) covers most of the storyline, as is expected from the title of the movie. But the friendship that Nikhil and Nigel(Purab) share, is shown equally distinctly and beautifully. Although, another issue like homosexuality was involved, I feel, the director succeeded in taking the focus off it and show the solidarity that they shared with more prominence.

Goa is shown beautifully. Especially the seaside by the night. Some scenes were really a visual treat to watch. But here again, it has been masterfully set to act as the backdrop to the story not interfering with it at any moment.

In terms of acting, Sanjay Suri has done a decent job, though he appears to falter in some scenes. However, the work of Juhi Chawla and Purab were really commendable. Overall, I found that movie conveyed what it had to convey and is reasonably fast paced contrary to what is expected of similar films.

Monday, March 21, 2005

The country shall go to the dogs

Witnessed a rather interesting conversation in the bus the other day. The bus had been standing at a stop for more about 15 mins, enough to arouse the grievances of many of the people sitting around me. That somehow seeded their critical thinking and before the bus started, the discussion had shifted to India.

The people engaged in the discussion were mostly middle-aged enjoying every bit of what was being said. As I have often seen around me, ‘Corruption’ and ‘Cricket’ are two key-words in India on which anyone and everyone holds an opinion. Somehow, here too, India was being held synonymous with the former term. Usually, such instances are meant to be taken with a pinch of salt. But, it made me wonder what image the common man has of his country. The sense of pride is always given a past tense with sentences like ‘In our times’, ‘the system has degraded’, ‘the conditions have worsened’. Words are spoken without thinking, and usually the ignorant lot of the people, safely takes a popular stand and so, gets away with it.

I had always agreed with people saying that our country needs a revolution. But I also feel that it has come in a way. This is the era of the growing countries, and India in a way seems to be paving the way. We have freer trade as compared to 25 yrs ago when we followed a protectionist approach. The GDP is growing, so are the job opportunities, where are we degrading then ?

Politically, I agree the situation is still grim. But, soon, with economics dictating the terms, politics would have to follow. There’ll barely be any room for corruption. Also, with freer and more competitive media, scams and frauds are tough to keep under the carpet. In a way politics, by the sheer nature of it, could never be sanctified completely(Mahabharata wasn’t a completely clean epic either), but with everything under tough scrutiny and under the public eye, it can be confined to a tactical sphere with minimal negative effects on the country’s growth.

Even in terms of arts and culture, the country seems to be recognizing its own distinct flavor. The age of New Wave Cinema that saw a rather humble beginning in the 1980s seems to be catching pace. Sufi Kalaam and Classical music is finding new audience. Everything traditional and Indian now is considered aesthetic and has a distinct charm attached with it. As it’s said, India is suddenly in fashion!

Where we do lack is in the ignorance of the people towards the change. I feel we all see it around us, but somehow don’t acknowledge or realize it, while sticking with our prejudices. India is predicted to be the third biggest economy by the early 2030s. By those figures, we are living in the best of times. As it’s idyllic to see your country among the superpowers of the world, but its more blissful to be a part of the generation that led it there.