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Vagabonding83
Reviews
Crash (2004)
A matter of disgrace
The movie of the season, rather of the whole year, did not impress me all the while I tried hard to read into its kindergarten narrative to find out what did the jury see into it that I, both as a "class" and a "mass", could not see. I liked the simplicity of the stories when it began and was awaiting that wondrous Oscar-winning twist and bang and collision and crash that would astound me to reaffirm my belief in the sanctity of the holiest of holies, but sadly it got over before that could happen. Disappointment! big time disappointment. As some other reviewers have aptly pointed out, you simply can't disrespect our intelligence by giving us THIS in the name of good cinema, from an industry that has matured over an era of cinematic gems. Though its not that the academy is doing a great job with the nominations either- I simply find it unfathomable to see films like Munich, Broken Flowers,Syriana, Good Night and Good Luck, Jarhead, The Matador, or even King Kong relegated to some bad-cinema alleys and people like Matt Dillon being nominated. But this is heights of cinematic injustice- to give the Best Picture Award to something like Crash which is pretense and presupposition at its worst. I would like to appeal to people to publicly support this disgust that I and many other movie lovers on and outside IMDb share. We, who hope and wait and cherish and appreciate good cinema, would never digest this bad joke. I am from India where "Being Bollywood" is a tag many contemporary film makers are running away from. I am sorry to say but Crash was nothing but Bollywood- remixed. At least you can't expect Indians to buy the supposedly-innovative plot that amused the world(or so what we are made to believe). I do not need to say why I am so disappointed, because many other one-star reviews would tell you a clear picture, but the points where I simply lost it were- a childish stereotypical depiction of racism(you should see Higher Learning, Dangerous Minds, American HistoryX etc to see how "real" these depictions can be), the tattooed-"gangbanger"-daughter angle, the predictable "surprise" in the end, the ubiquity of cross races all around(correct me if I am wrong, a US friend of mine told me LA is like that but they have simply gone overboard in the name of artistic liberties), minimum or no use of camera-enhancements, the trying-so-hard-to-be-real dialogs, uninspired works of some actors like ...everyone actually.....I could go on... On a lighter note, the only good thing I liked is the scene at the gun-shop(the double-meaning dialog of the shopkeeper!) The film tries hard to be a Geography lesson, as one of the characters point out, but ironically, has created History by presenting yet another glaring example of bastardization of art-meets-life philosophy.
And you thought Indians did injustice by awarding Black the best film!
The Doors (1991)
One of the best life adaptations of fame
I saw this one outta sheer love for Morrison. Though in the first half hour or so, i was taken aback by few forced deliverance to imitate his aura, i was pleasantly surprised by the longevity of character that kilmer created. and by the time the titles rolled, i strongly believed that this is the closest you will ever get to screen adaptations of an idol, kilmer has not played Morrison, he IS Morrison in this one, through his convoluted hours of bliss, to his on-stage romance with the realization of phallic power, from his hours of loneliness to his unrest with the commoditization of music, from his profound, almost indifferent deliverance to his childish vulnerability, kilmer scores. a great achievement for oliver stone too, meg Ryan could have been replaced for the better though....i also did not quite understand two things- why were all the other doors shown so smaller against Morrison, and where was the serene emotion seen in Morrison's eyes when he used to perform as seen in many of his live acts? kilmer does push it a little more towards insanity which is true but only in parts. his last days in France are not covered well, possibly due to the controversy surrounding his demise. another good thing about the classic is its uncompromising, unbiased portrayal of one of the greatest ever rock and youth idols.
Bhopal Express (1999)
Below expectations
Having heard so much about this underground movie, of the likes of Black Friday, Paanch and many others which are critically acclaimed for the very reason that hardly anyone has heard about them and this makes the movies worth a watch, I was looking forward to Bhopal Express. There were many reasons, the utmost was the director, Mahesh Mathai, who has directed few Lucky Ali videos, in which I kinda liked his imaginative work. I understand that when you make a movie on a factual event, you have to weave a fictional story around the actual event to make it cinematically presentable, but I would have preferred if the unnecessary love angle was done away with. Nethra Raghuraman looks like she has come straight down from Harvards to essay the role of a stereotypical Indian housewife, as if David Lynch was enough inspiration for her to do this. I am not saying that this is a badly made movie, but just that it is very predictable. There is so much that could have been done to the amazing plot line. Instead of wasting some 30 minutes of on-screen time in useless sequences of Bashir miyan drooling over ZohraBai, they could have shown a different perspective of the Bhopal disaster. Public memory might be short, but Bhopal is something we remember very well, just like Russians can never forget Chernobyl. When the sequence of the gas eruption started, I thought now it will get to a sensible track at least, but it follows the Bollywood tested path of gathering sympathy for the death of a lead character, which was Naseer in this case. Surprisingly, even Naseer hams in this one. And you can trust KK to act in such scenes where a high emotional adrenaline is required, he is no different or unimaginable in his portrayal. Also though the time period has some good detailing, there is a surprising ambiguity in the character development. I did not understand what was the perspective of the director- was he trying to show us why Bhopal happened, or is he lamenting over it being a systemic failure, or is he just trying to cash in on the sad memories of people who lost their near one sin the tragedy? I would have preferred an interspersing of factual details and interviews, that means a documentary could have been better than this weirdly titled movie. Disappointed.
Bluffmaster! (2005)
True romance relived-Celebrate Bollywood!!
Mumbai
cut to the size of the silver screen, an assortment of picture postcard shots, a lively score, and an able characterization is what makes this one of the most outstanding products this year. Oh ya, I know you are gonna say I missed the story. But frankly dear, I don't give a damn! All I know is that when I go see a movie, I should see the effort and the mindset and vision of the director right there on the huge screen in front of me, nothing else matters. From the first frame to the last, the movie exudes style, and not self-righteous style, an ingrained effortless style. I was in for this fare anyways even it would have been bad, but I was pleasantly surprised by the narrative, its more of a celebration of bollywood for me, bollywood of the seventies-the numerous references to the cinema of the yore celebrated in a universal way, which is so pleasing to the eyes the heart and the mind. A protagonist with multi-layered character, an able-skilled assistant, a merciless love interest and a lovable villain makes up this joyride-roller-coaster of a bolly-revelation-magic.
Black Friday (2004)
Simply, a Classic!
There has been a gradual evolution of a cinematic genre in India over the past few years, of the movies of the likes of Ram Gopal Verma, where we have redefined the cinema of crime, call it Noire if you will. There has been quite a few movies of this genre or rather 'school'- Satya, Company, Waisa Bi hot hail, Shool, Chhal, a lesser known but brilliant movie called Dil Pe Mat Le Yaar, Ab Tak 56 etc. Black Friday is a welcome departure from this list in terms of quality of movie making and screenplay. It could be attributed to the movie being a book adaptation but I can't comment on it as I have not read the book. The way the narrative moves back and forth in time is remarkably impressive, Anurag has pulled it off brilliantly, and that gives a sense of timeless, unrestrained cinema. A few sequences from the movie are memorable, they stay long enough with you, the second interrogation scene, the chase sequence, which definitely has to be one of the best ones I have seen so far, the disillusion phase of Badshah where the movie scores beyond the paradigm of a mere gangster flick- it addresses the finer aspects of the human psyche as it reacts to a choice of a lifelong passion-good or bad, the interrogation scene featuring the assistant cop-now watch out for the awesome camera work and lights in this one!, the hotel scene between Badshah and friends that erupts like a dormant volcano suddenly came to life. A special mention for the meticulous work on the music, it simply carries the narrative to starry heights. But there are a few glitches too- a funny Dawood, some undesired sequences in Dubai towards the end that do not carry much meat. But overall, a commendable effort. I have already seen this one twice and rediscovered some altogether new aspects the second time. I think this movie has layers that lay unexplored if you lack an eye for cinematic detail. I will just give you one example- the sequence where Badshah haplessly looks at a man playing with his dog says much more than any amount of dialog or sound could have done or the never ending quagmire of the conflict between objectivity and subjectivity of the facts as they happened. Kudos!
Bunty Aur Babli (2005)
Welcome aboard! A joyride awaits you!
I went to see the movie on Friday- house full, Saturday- house full, and it went on till I reached a point of absolutely no hope left in life. Then I decided to step inside a shady old haunted theater and finally see the movie I was so eagerly waiting for all these days. I knew I loved the movie from the word go! And I had expected that but then I had expected a lot of senseless humor too, which I never found. All I got was vintage bollywood stuff, something that we, proudly, do best. Now this is the stuff great movies are made of. What stuff? Let me address that- quintessential India, the rustic, real, romantic, carefree, unpredictable India that you never get to see in the otherwise high- brow flicks. The entire movie is picture perfect from start to finish. I am very sure the DVD is gonna be a rage when it comes. The popular aspects of the movie have already been discussed, so I would want to mention the finer ones. If one watches the movie closely, one sees traces of Maniratnam- the mist and the melody, the suspense, the vacuums felt at a lonely railway station with the smoke accompanying the restlessness. This tells where Shaad Ali Saigal comes from- the best school of cinema in the country. There are some movies that you tend to revisit in your thoughts very often. B n B is one of them for sure. It goes far beyond what a normal light romantic comedy would like to achieve, and it accomplishes a cult status of its own in unique ways. People like Kunal Kohli, who think Hum Tum was the bible of the bollywood romantic comedy genre, may pick up a lesson or two from here, if they still have some sensibility left with them. A special mention for the brilliant camera work that makes you feel you are a part of the roller coaster journey through all those lovely locales, and the infectious music that refuses to leave your mind far after it has left your car stereo. And who can miss to mention the impeccable timing of Abhishek. If Yuva was coming of age movie for him, he roars like a king in this one, and rips all the criticism apart, in the rock solid screen presence and the fearless stare at the camera. Way to go, Abhishek! You see him and Rani, and you feel like "where were they all this time when all we were subjected to in the name of comedy was something that sounds real smelly!" Big B cant be missed out from this comic caper either. Play on!! There is one Bubli and thats for sure!
Netaji Subhas Chandra Bose: The Forgotten Hero (2005)
Witness few pages of unadulterated history, and cinema at its best.
Bose, a movie, an understatement that lingers starkly loud in the memory space. The brilliance of Benegal matches with the effortless éclat of some of the best names in the Indian movie industry to create this classic of sorts. Looking back at the attempts of Indian directors at recreating the lives and contributions of the few men that remain unforgotten in the Indian freedom struggle, this depiction of one of the most influential yet neglected heroes of those times, Netaji Subhash Chandra Bose, stands apart for its simplicity and eye for detail and proximity with historical facts. A few movies that I can think of in this league would be The Legend of Bhagat Singh by Santoshi, Sardar by Ketan Mehta(a master piece, which I don't know why everyone seems to have forgotten), and of course Gandhi. Looking back, also at all these works makes me feel all these have been the best efforts of the respective directors. So is Bose Benegal's best work? Well I would agree that it is his most elaborate, ambitious work till date, and I am least interested in comparing his other works, because all his movies are so original and distinct in their genres, like Zubeidaa, Sooraj Ka Saatva Ghoda or may be Sardari Begum, for that matter. Bose works, and works magically, at various conscious and sub-conscious levels. It is a decent and honest attempt at depicting a forgotten phase in Indian history without even the slightest pinch of controversy or contempt, amidst the mist of Quit India and Gandhi, a phase no less substantial. It invokes a respect for the great work and ideals the man stood for, and still continues to inspire many generations alive and those yet to come. Another feat of the movie is the slick narrative and editing that holds the entire length of the movie with effortless flow. Khedekar is highly impressive, with his distinctive style of natural acting without any pretense or desperate attempts at imitating Netaji. But at the same time, he succeeds at the same with a surprising sensibility and spontaneity. A special mention for the mellifluous score by Rahman, which magnifies the grandeur and gives an identity to the plot. Take a bow, Benegal, Rahman and Khedekar! This one's for every Indian at heart!
White Noise (2004)
Right Noise......listen, and you will know why its so calm out there.
After listening to the entire world go gaga over the spate of so-called cross-over landslide Mumbai cinema seems to be witnessing, I finally decided to put to rest my DVD player for some time, and went out to watch some of the latest churnings from the dynamic factory called Bollywood.
The first one that I saw, One Dollar Curry, is insubstantial here, in the context that we are talking about right now. So I would like to comment over the review-starved White Noise, as I feel this is something that should be heard and enjoyed amidst the plethora of noises being created all over. When I walked into the sparsely populated theater, I expected to see another of those Rahul Bose kinds cross-cultural miss-mashes about the insecurities the upwardly mobile metro denizen suffers from when he surfaces reality in an Indian context. But the way the movie begins in-your-face, depriving you of any favors that you may hope to ask from such a movie that you obliged to pay for, in form of drool-worthy smooches or discourses on Indian ethnicity, what you get is the colors of urban immorality-stark and clear. The movie is poetic, in the way Koel Purie portrays Gauri Khanna with effortless ease, and it makes you wonder how she would have made a divide between fact and fiction. The movie is so amazingly real, you feel like you are a part of it, in its insecure moments, in its moments of dejection, desire and apathy. There is some deeper meaning in the dialogs to interpret, and there is some treat that comes your way if you are the one who likes to imagine a lot with things expressed in a paucity of words. Subtle emotions can be harsher than words, and that is one point that is beautifully exploited in the movie. Rahul's Karan Deol gives you paradoxical resemblances of yourself if you have been in and out of a professional relationship like the one portrayed in the movie. His eyes say a lot, and all he does is reconciles to Gauri's sometimes overtly exaggerated, sometimes painfully pleasant violent exhortations on love and life in the times of sweet-nothing love affairs. There is a sense of timing in the movie, which makes it predictable at places, but at the same time, makes you have a secret laugh, when you pat yourself covertly for unweaving that intricate twist in the plot. The dialogs can sometimes make you miss the other lines and emotions played out in the movie, because of their poetic beauty. There are quite a few of them, so it would be foolish to re-state them here. They retain their freshness in the slick screenplay alone. Particularly memorable sequences in the movie would be the rain washed interaction of the lead pair, the unpredictable reactions of Gauri at being hurled with abuses and praises alike, and the zoom-in zoom-out shots of the duo on the beach, and at last, an ending that tries to deviate from the mundane chores of fighting with ones' battles in a philosophical way. The end of the movie has shades of brilliance in the way the shots of Hrishikesh have been taken, depicting pain and laughter in one light
reiterating the soul of the movie, which says, "Every happiness has a life."
"I have the seen the way, Karan. It only leads to compromise
."
Black (2005)
I prefer WHITE!!
"Black is the answer to all Hollywood's misgivings till date" "Bhansali's Black is comparable to any of contemporary cinema's classics." Blah
blah
blah
..
Now time for some truth
.. Hear it from the horse's mouth
. Ladies and Gentlemen: presenting before you the man himself
Feel blessed, feel honored
. The final word on the most confusingly reviewed and misinterpreted movie of all times
.yes you are bang right, we are talking about the much raved about, famously pronounced as "The sole deserving candidate for the academy awards", a masterpiece of art, creation beyond comparison or even explanation, a movie so huge you feel like disappearing in thin air when it rolls, and wish you could run away from those pretentious pricks applauding in the dark asylum amidst an alarming vacuum of misconception and misinterpretation, and may be catch something subtle at home, for a change, far from the maddening crowds, who rejoice at every howl, who jump at every brawl
.. Take me away, O lords of my destiny, if this is BLACK, I prefer WHITE! This is easily the most misconceived movies of all times, at least in the Indian celluloid history. The minute the movie rolled, and I saw a schizophrenic Amitabh, I knew what was coming, and guess what, I was RIGHT! The protagonist, the small girl looks like an Indian impersonation of the two girls from The Ring and The Exorcist, with due apologies and respect to Verbinski and Friedkin, respectively, who keeps howling all the time as if she has just come back from watching Black. She looks like she went to see Sixth Sense and missed THE scene. Agreed that it was supposed to be a DARK movie, agreed that they were supposed to garner sympathy and tears for its hollering monologue sessions, and agreed that as human beings you do tend to get swept away in the stream of emotions so basic to our survival, but tell me one thing. Where were the emotions?! All I found was noisy confrontations all through the tiring 95 minutes (well if the actual movie is longer, I would kiss the guy who gave me an edited DVD!) in first few minutes of the movie, I thought it will take me a while to get attuned to the dark, unexpressed emotions, but when it didn't affect me a penny, I started getting worried about my reaction time and nerve impulses' functioning. But they were not to be blamed, may be I have seen way too many movies by now that such blown-up sagas of pathos don't influence me any longer even in the minutest possible way. The movie did have some inspiring aspects, like the sets, the camera, the lights, but let me add just one thing, they all were looking way too Victorian to fit the depicted time period in the movie! Amidst all this mumbo-jumbo of Black making it to the Oscars, I have some thousand thirty inhibitions about the remote possibility of that being true. The movie attempts a daring depiction and storyline of disabled people, which is a very commendable step to start with. They have even tried showing the constricted views of the world towards the chances of their betterment to a certain successful extent. But if the moviemakers had embarked upon such a noble task of diverting the attention of the hackneyed audience, who have become used to the song and dance routine much too often now, may be they should have worked a little more into understanding as to what their world is all about, beyond the stereotypical BLACK that they keep hammering from pillar to post. I understand that Black substantiates their concept and symbolizes a world devoid of all things colorful and lively, but couldn't they leave a few things to the intelligent audience's imagination, an assumption that they sure must have made while spending such obscene amounts(read a fifteen crores INR!). A few things like the much-publicized KISS between the lead actors, which truly I was imagining all the time waiting for it! This could have been a rare creation by Mumbai cinema, considering the oodles of moolah they waste on lavish sets and costumes, which make no sense whatsoever. All the movie relies on is gaining sympathy on characters oozing with self-pity and pretence. Way to go, Bollywood, you don't get Oscars by stuffing things like Alzheimer's, schizophrenia, amnesia and the works. Remember, someone said, Keep It Simple, Stupid!